diff --git a/unformated_scripts/Script_Knocked Up.txt b/unformated_scripts/Script_Knocked Up.txt new file mode 100644 index 0000000000000000000000000000000000000000..8f7386d6dd90df5e544438d819dd5330dd3d88ac --- /dev/null +++ b/unformated_scripts/Script_Knocked Up.txt @@ -0,0 +1 @@ + KNOCKED UP Written by Judd Apatow EXT. BEN'S HOUSE - DAY BEN STONE, 23, cute in a chunky Jewish guy sort of way, boxes one of his roommates, MARTIN. His other roommates, JAY and JASON fight with broom sticks. JONAH drinks beer on the couch spectating. QUICK IMAGES: We see Ben and Jay fighting. At one point they fight with gloves which are on fire, balancing on a plank over a dirty pool. Ben now has a fishbowl filled with weed smoke over his head. There is a smoking joint in his mouth, making the bowl get cloudier and cloudier. He starts coughing hysterically and takes it off. A boom box is playing. The boys are now free style rapping. It is terrible but they are having a blast. Pot is being smoked. Beer is around. EXT. AMUSEMENT PARK - A DIFFERENT DAY Ben and roommates ride a terrifying rollercoaster. INT. ALLISON'S BEDROOM - MORNING ALISON SCOTT, pretty, 24, wakes up to her radio alarm. INT. DEBBIE AND PETE'S HOUSE, BEDROOM Allison's sister, DEBBIE, sleeps on the floors of the bedroom, while her husband, PETE, sleeps on the bed with their eight-year- old daughter SADIE. CHARLOTTE, age three, jumps on the bed. CHARLOTTE Sadie, wake up. SADIE Oh my gosh. CHARLOTTE Daddy, wake up. Charlotte hits Pete. PETE Okay, I'm up. EXT. BACKYARD - MORNING She exits a guest house and walks to the main house dressed for work. INT. KITCHEN - MORNING Debbie, is making breakfast for Charlotte and Sadie. Pete enters the kitchen. KNOCKED UP - 2. DEBBIE I need you to take the kids to school this morning. PETE Oh, I would, but I'm supposed to work out. DEBBIE What? PETE I got an appointment with a trainer. I can't cancel now, he'll charge me. DEBBIE Well, you didn't tell me. PETE Yeah I did. Last week, I told you. DEBBIE You didn't tell me. PETE I did. And then I wrote it on the calendar like you told me to. DEBBIE No, you didn't tell me. PETE I did tell you. DEBBIE Well, you didn't, but what are we going to do? Because I have an appointment so you're taking the kids to school. Pete holds Charlotte in front of him. DEBBIE (CONT'D) Don't use the baby to cover your tracks. ALISON I can drive them. I'll drive them to school. PETE Thank you very much. DEBBIE Great. Good. You turned my sister into a limo driver. ALISON I don't mind. PETE (TO CHARLOTTE) It all worked out! KNOCKED UP - 3. INT. ALLISON'S CAR - DAY Alison drives the kids to school. Charlotte and Sadie sit in the back. Charlotte GIGGLES. ALISON What are you giggling about? SADIE (TO CHARLOTTE) Be quiet. You're starting to annoy me. CHARLOTTE Poo poo. ALISON Ladies. Nice. SADIE You know what I did the other day? ALISON What? SADIE I Googled "murder." ALISON You Googled "murder?" SADIE Yeah. ALISON Why? I mean what did it say? SADIE It didn't say anything. It just showed pictures of people lying dead on the floor and...blood everywhere and ugh... ALISON That was just ketchup. (BEAT) Who wants to hear some music? SADIE I want to hear "Rent." CHARLOTTE I want to hear Green Day! SADIE No, we're listening to "Rent." CHARLOTTE Well, I want to listen to Green Day. Sadies takes Charlotte's doll. SADIE Well, I got your baby! KNOCKED UP - 4. Charlotte WHINES. ALISON Don't taunt her. Come on. SADIE Here. Sadie shoves the doll at Charlotte. ALISON Sadie! CHARLOTTE (CRYING) Ow! ALISON Why did you just do that? Don't throw things at your sister! CHARLOTTE She hit me. ALISON Did you hit her? SADIE I did not. ALISON Make her happy. (TO CHARLOTTE) It's okay. SADIE It won't make her happy. She spilled all the marbles on the floor. ALISON Well, give her her marbles back. INT. BEN'S HOUSE - DAY In a living room of the house the guys have created an office for their web site. There are a few large tables, several computers which they work at, and a few TV sets which have movies running on them. Ben and his friends are holding a meeting. They each have a note pad and pen, and Jonah is on a computer. They smoke a joint and drink beers. JASON All right? Now, are you sure you understand the terms of the bet? `Cause this is serious. MARTIN Oh, no. KNOCKED UP - 5. JASON Martin, listen. You don't shave your beard or cut your hair for one year, and if you can do that, I will pay your rent. But if you shave, then you have to pay all five of our rents. MARTIN Thanks for the free money, bitch. JONAH Hey, Martin, was it weird when you joined the Taliban, being American and everything like that? Like when you see a woman driving a car, do you just get pissed? JASON Just watch your back, Serpico. You never know who your friends are. MARTIN You guy can't make fun of the me the whole time. JASON But, Martin, it's a competition. It's called "The Dirty Man Competition." We're gonna make fun of you until you shave the beard. That's the rules. JAY That's the whole point. You're supposed to be tempted into shaving. BEN Your face looks like Robin Williams' knuckles. MARTIN You guys aren't allowed to make fun of me. It's not part of the rules. JASON Martin, why didn't you just listen to me when I was explaining the rules? You just looked at me with that blank stare of yours. It was like talking to a wax statue. BEN Okay, guys, are you ready? So... "Only at `Flesh of the Stars.com' will customers be able to find exactly how long into what movies their favorite stars are exposed." JASON Nice. JAY Oh, fuckin' booya. BEN Pretty good, right? KNOCKED UP - 6. JONAH Yeah. JASON Yeah, ka-ching. Ka-ching. Ka-ching. JONAH Guys, let's start loggin', all right? Charles Manson? Do you have any other thoughts? MARTIN Good, awesome, let's start this off with a bang. Jamie Lee Curtis. I got an hour and ten minutes in "Trading Places." Uh, both chesticles. JAY Ah, I got something. A three-titted alien from "Total Recall?" JONAH Aw, she's not famous. JASON (IMITATING SCHWARZENEGGER) "Damn it, Cohaagen, give the people the air." INT. E ENTERTAINMENT TELEVISION STUDIO - DAY RYAN SEACREST stands in front of a series of cameras. Alison stands behind with a clipboard and headset. RYAN SEACREST So if you want that perfect tan like the stars, he's the one to see. We'll be right back on "E! News." Stay with us. ALISON (into her headset) Okay. RYAN SEACREST Okay, is Jessica Simpson here yet? ALISON Let me check. RYAN SEACREST Is she on her way? ALISON Hey, guys? RYAN SEACREST She's left her house? ALISON (into her headset) Okay, let me know when she's pulling in. (MORE) KNOCKED UP - 7. ALISON (CONT'D) (TO RYAN) She's about to pull in. RYAN SEACREST Is she camera-ready? ALISON (into her headset) Is she camera-ready? RYAN SEACREST If she's going to be in hair and makeup for three hours. I can't do it. I'm not going to be here. I got to do "American Idol." It's live. I got to do it. I got to be there. What are we going to interview her about? ALISON Nothing personal. RYAN SEACREST No personal questions. ALISON No personal questions. Don't ask her about her sister and her nose job. RYAN SEACREST No plastic surgery questions. ALISON She doesn't want to talk about her boobs or her father's comments about her boobs. RYAN SEACREST Great. We'll talk about the Middle East and maybe an idea of an exit strategy. Maybe she has a good pitch. Should I ask her about Korea? Maybe have her point it out to us on a globe? I don't understand the young talent in this town! It doesn't make any sense. I got four jobs. Hell, I'm more famous than half the people we talk to anyway! No one stands up. No one has the balls to sit them down and say, "Look, just cut the shit."But everybody works for `em. They're all on the payroll. They're all sucking the teat! Nobody sits `em down, eye-to- eye, one-on-one, and says... "Cut the shit." And all these stars just to fuck it up. That's what they do. They fuck my day up! And it pisses me off! And now I'm sweating. ALISON You know what? You want us to just come and get you when she gets here? You want to head to the green room for a minute? Just chill out? RYAN SEACREST That's a good idea. KNOCKED UP - 8. ALISON Want us to bring you anything? You want some water? RYAN SEACREST No. ALISON You want a cookie? RYAN SEACREST Cookie, yeah, cookie. Thanks. ALISON Okay, we'll get you a cookie. RYAN SEACREST I'm sorry I'm pissy. JILL, one of the E! executives, approaches Alison. JILL Alison? ALISON Yeah? JILL Jack and I need to see you in his office. INT. JACK'S OFFICE, E! ENTERTAINMENT - DAY Allison's boss, JACK, early forties, is at his desk. Alison and Jill sit in the office. JACK Thanks for coming in, Alison. Well, we wanted to talk to you today because we had a little debate on the conference call with New York about you. ALISON You were talking about me? JACK We were wondering aloud to one another whether or not you would be good for on-camera. ALISON What'd you decide? JILL They decided that they like you. And they would like to put you on camera. ALISON Really? JILL I know. I was so surprised, too. KNOCKED UP - 9. ALISON Oh, my God. This is the best news ever. Thank you so much. This is great! JACK Congratulations. ALISON Thank you. JACK I'll take that smile as a "Yes, I'll do it." ALISON Absolutely. I'm so excited. Oh, my God. JILL It's a lot of work. Can't wait to see what happens. It's going to be tough. Tough job. JACK About the work, most immediately, there's going to be some things that you're going to be able to get that other people in the office don't get. One of them: Gym membership. ALISON You want me to lose weight? JACK I don't want you to lose weight. JILL We can't legally ask you to do that. JACK We didn't say lose weight. JILL No. JACK I might say "tighten." ALISON "Tight." JACK A little...tighter? JILL Just like toned and smaller. JACK Don't make everything smaller. I don't want to generalize that way. Tighter. JILL We don't want you to lose weight. We just want you to be healthy. KNOCKED UP - 10. ALISON Okay. JILL You know, by, by eating less. We would just like it if you...go home and step on the scale and write down how much you weigh and subtract it by, like, twenty. ALISON Twenty. JILL And then weigh that much. JACK Just remember, you've got it here, you've got it here, and everybody's going see you right there. INT. HOUSE - NIGHT Debbie and Alison hug. Pete is on the couch wearing headphones. DEBBIE Yay! That's so exciting! ALISON Yay! DEBBIE Oh my god! (TO PETE) Hey! PETE Huh? ALISON I got a promotion. PETE Oh, congratulations! ALISON Thank you. PETE Hey, maybe you can get your own place now. ALISON Oh, let's not get ahead of ourselves. Yay! DEBBIE Let's go celebrate. ALISON Okay, let's do it. KNOCKED UP - 11. DEBBIE Pete'll watch the kids? PETE Yeah! We can watch "Taxicab Confessions." DEBBIE What are you going to do? ALISON I don't know! Debbie and Alison SHRIEK. DEBBIE I'm so excited. ALISON Yay! INT. CAR - NIGHT Alison and Debbie drive to a nightclub. DEBBIE I walked in on him masturbating one night. ALISON Ooh! Did you get the deer-in-the- headlights look? Did he freeze or did he finish? DEBBIE No, he tried to pretend like he wasn't doing anything under the covers. ALISON Oh, no! DEBBIE I buy these nice towels and he whacks off into them. ALISON "Deb and Pete forever" DEBBIE And once he does that into them once, they're never soft ever again. EXT. NIGHTCLUB - NIGHT Alison and Debbie are walking over. DEBBIE I can always tell if I'm looking good based on whether or not we get in. They reach the front. The Bouncer looks at them and waves them in. KNOCKED UP - 12. BOUNCER Ladies? ALISON Guess we're looking good. DEBBIE If I didn't get in, I would have lost my shit. Ben and the guys are standing at the head of the line. BEN What's going on man? How long you gonna make us wait out here, for Christ's sake? JAY Come on! What the fuck! INT. NIGHTCLUB Ben sits with his friends, Jason, Jonah, Jay, and Martin. BEN You know what movie I just saw again the other day which is fucking, like, mind-blowing, and I haven't seen it since it came out? "Munich." JAY "Munich!" JONAH Dude, "Munich" fuckin' rules. JAY "Munich" is awesome! BEN That movie was Eric Bana kicking fuckin' ass! They all agree. BEN (CONT'D) Dude, every movie with Jews, we're the ones getting killed. "Munich" flips it on its ear. We cappin' motherfuckers. JONAH Not only killing, but fuckin', like, takin' names. BEN If any of us get laid tonight, it's because of Eric Bana in "Munich." JONAH I agree with that. JAY I agree. KNOCKED UP - 13. BEN You know what is not helping us get laid? Is the shoe bomber, Richard Reid, over here at our table. I like your shoes. JONAH How was "Burning Man" this year? BEN Fuck you guys, I'm glad I'm not Jewish. BEN (CONT'D) So are we. MARTIN Fine. Screw it. BEN You weren't "chosen" for a reason. JAY Yeah. Ahh! JASON Ohh!!! Meanwhile, Debbie and Alison head for the bar. DEBBIE It's like everyone in here is twelve years old. Debbie SIGHS. DEBBIE (CONT'D) Am I too old to be here? ALISON What? DEBBIE Am I too old to be here? ALISON No, of course not. DEBBIE Does it look weird that I'm here? ALISON No, not at all. DEBBIE Am I hotter than these little bitches? ALISON Yes! You look amazing. DEBBIE Guys in here would fuck me, right? KNOCKED UP - 14. ALISON Yes. DEBBIE That's weird to say, but, it makes me feel better. ALISON You look hot. DEBBIE I believe you. ALISON I'm getting us drinks. Alison leaves for the bar. INT. NIGHTCLUB BAR - MOMENTS LATER Ben is already at the bar attempting to get the BARTENDER's attention. BEN Yo, a beer over here, please? You're gonna be embarrassed when you realize I'm Wilmer Valderrama. God. ALISON (to the Bartender) Oh, Hey! Excuse me! BEN He's literally ignoring this entire half of the bar. Don't even bother. ALISON Yeah, awesome. BEN A beer over here, please? He looked at us! Did you see that? ALISON Yeah, that was rough. BEN And if you can't get service, what am I gonna do, you know? ALISON Great. It's going to be that night. BEN Okay, you want a beer? ALISON Yeah. BEN Just observe. KNOCKED UP - 15. Ben leans over the bar and picks up two bottles of beer and drops money on the bar. BEN (CONT'D) (cont'd) There you go. BARTENDER Come on, man! BEN Here you go! For your trouble! Thank you. Ben hands one beer to Alison BEN (CONT'D) (cont'd) (TO ALISON) There you go. ALISON Thank you. BEN Okay, enjoy it. ALISON Are you sure? BEN I'm sure. I tried that once before at The Comedy Store and I got punched in the ear. ALISON Thanks a lot, Oh, fuck, fuck! I'm supposed to get one for my sister. BEN Oh, here, take mine. Ben hands Alison his beer. ALISON No, that's okay. I'll wait. I'll, he'll get me-- BEN (INTERRUPTING) Please, I very rarely look cool. This is a big moment for me. Just take it. ALISON Thank you. Awesome. BEN No problem. ALISON I'm Alison. BEN I'm Ben. An awkward beat passes between them. KNOCKED UP - 16. ALISON Well, have a great night. BEN Okay, you too. Have a-- ALISON Thanks for the beer. BEN Okay, enjoy, be nice to them. ALISON Bye. Thanks again. Alison leaves the bar to rejoin Debbie. BEN I'll see ya later. (TO HIMSELF) No, I won't, `cause I'm a pussy. INT. NIGHTCLUB - CONTINUOUS Ben rejoins his friends. JASON What's up, daddy? BEN That girl. She, she totally gave me an opening, man, and I locked up. I just want to get shit-faced, though, you know? I'll just jerk it later. It's cool. JASON Are you fuckin' crazy, man? She looks...smart. Who's that she's sitting with? BEN It's her sister. JASON Her sister? BEN Yeah. JASON Dude, it's the dream. What are we doin' standing here man? Let's go. Come on, follow me. (TO MARTIN) You stay here. MARTIN Why? JASON `Cause your face looks like a vagina. KNOCKED UP - 17. MARTIN Dick! Ben and Jason head toward Alison and Debbie. JASON Hey, which one's the sister? Jonah approaches Martin. JONAH Hey, Crockett. You still partyin' with Tubbs these days? MARTIN Come on, man. I'm getting it from all angles here. I don't like it anymore. JONAH I know, I don't either. Was it weird when you changed your name from Cat Stevens to Yusuf Islam? MARTIN Yeah, it was really awkward. JONAH All right, man. I got to take off. See ya, "Scorsese on coke." Jay GROWLS loudly. MARTIN What's that? JAY Chewbacca. It's, you know, it's Chewie. MARTIN Oh, another beard joke. JAY Fuck. MARTIN Fuckin' hilarious! Meanwhile, Ben and Jason get to Alison and Debbie's table. BEN Hey. ALISON Hey. BEN Hi, this is my friend, Jason. I just wanted to see how my beers were doin'. ALISON This is my sister, Debbie. KNOCKED UP - 18. BEN Oh, hi, I'm Ben. DEBBIE Hi, Ben? BEN Yes. DEBBIE Nice to meet you. JASON How ya doin'? DEBBIE Good, how are you? JASON Just trying not to stare. ALISON She's married. DEBBIE (TO ALISON) Why do you have to say that? ALISON What? JASON It's a shame. You're beautiful. DEBBIE Thank you. ALISON She has two kids, too. DEBBIE Shut up! ALISON What? It's nothing to be ashamed of. BEN You think that's gonna stop him from hitting on her? It's not, at all. JASON I love kids. DEBBIE Really? JASON Yeah, absolutely. Debbie's cell phone RINGS. KNOCKED UP - 19. DEBBIE Excuse me. (into the phone) Hello? BEN Cool phone. ALISON Yeah, she's got a really cool phone. DEBBIE (into the phone) What? Is it a rash or is it the chicken pox? I don't know! Google it. Okay. All right, bye. (to Alison et al) I got to go. Sadie might have the chicken pox. JASON I had the chicken pox three times. I have no immunity to it. BEN We don't have the heart to tell him it's herpes. JASON It's not herpes if it's everywhere. DEBBIE (TO ALISON) Are you coming? Alison and Ben exchange a strange look. ALISON Um, uh, you know, I'm all dressed, so I'll just hang out. DEBBIE Really? ALISON Yeah, I'll take a cab home. DEBBIE Be safe. ALISON I will. JASON Bye, lovely. DEBBIE Bye. Debbie leaves. JASON All right, I'm gonna let you two get to know each other. KNOCKED UP - 20. INT. NIGHTCLUB - NIGHT QUICK CUTS Ben and Alison talking, dancing and drinking. BEN Cheers. ALISON Cheers. BEN To you. Ben and Alison take pictures of each other with their cell phones. ALISON No, no. You know, the like, Entertainment News channel? BEN Oh, E! ALISON E! Ben and Alison dance, clearly pretty drunk now. We see Ben's friends in the background, also dancing. Ben pretends to throw dice while dancing. JONAH Dude, I think he's doing the dice thing too much. JAY That's really all he's got. Alison and Ben take another shot. Alison runs her fingers through Ben's hair. ALISON I love your curly hair! It's so great. Do you, like, use product or anything? You put anything in it? BEN I use Jew. You want to get out of here? ALISON Yeah, let's go. We can go hang out at my place? BEN Yes, uh, uh, uh... ALISON I'll show you my audition tape. BEN Wicked. KNOCKED UP - 21. ALISON It's really funny. BEN Okay, I'm really excited to watch that. They exit the club. EXT. NIGHTCLUB - MOMENTS LATER Alison and Ben stagger out of the club and head down the sidewalk. BEN We should get a cab. Ben grabs Alison and they kiss. EXT. BACKYARD - LATER Ben and Alison stagger across Pete and Debbie's yard towards the guest house. BEN This is a big yard! ALISON Shh! BEN Let's go swimming right now. Let's just do that. ALISON No. BEN I'm doin'-- Whoo! INT. ALLISON'S BEDROOM - MOMENTS LATER Alison and Ben collapse on the bed and make out. They take off their shirts. BEN You're prettier than I am. They continue to make out. ALISON Do you have a condom? BEN I do. ALISON Okay. BEN It's in my pants. I have a condom. KNOCKED UP - 22. ALISON Okay. BEN I'll get it. Ben grabs his pants and takes out a condom. BEN (CONT'D) Man. Ben struggles to put on the condom. BEN (CONT'D) Come on. ALISON Hurry up. BEN (to the condom) Stupid fucker. ALISON What are you doing? BEN I almost got it. Just give me a second. ALISON Oh, God, just do it already! BEN Okay. Ben throws the condom on the floor and rolls over onto Alison. BEN (CONT'D) Good thing I'm drunk. This is lasting forever. ALISON Yeah, it's awesome. BEN I just doubled my record time. (BEAT) I'm sorry I'm sweating on you. ALISON Okay, just stop taking. EXT. GUEST HOUSE - MORNING Establishing shot of the guest house in morning light. INT. GUEST HOUSE - MORNING Ben is SNORING, his ass fully exposed. Alison is wide awake, clearly kept up by his unattractive snoring. She stares at him, not sure how she feels about what happened last night. KNOCKED UP - 23. She nudges him with her foot. BEN Fuck off, Martin. I said, fuck off Martin. Ben awakens and turns around. ALISON Hi. BEN Oh. Hey. ALISON Hey. Ben assesses the situation. BEN I'm naked. ALISON Yeah. BEN (WHISPERING) Did we have sex? ALISON Yes. BEN Nice. (BEAT) What time is it? ALISON Seven-thirty. BEN Why the fuck are we awake? Let's go back to sleep. ALISON I have to go to work. BEN Really? ALISON Do you need to get to work or anything? BEN No work today. Do you want to get breakfast? ALISON Okay. KNOCKED UP - 24. EXT. GUEST HOUSE - MORNING Alison and Ben walk to their cars. Suddenly Pete walks out of the house with the kids. ALISON `Morning. PETE Good morning Alison. BEN I'm Ben. What's happenin', man? PETE Ben. BEN How's it goin'? Pete shakes Ben's hand and smiles. PETE (PLAYFULLY) Ah, to be young. ALISON Stop it. PETE You stop it. ALISON See ya later. BEN All righty. PETE See ya later. Enjoy the day. (TO CHARLOTTE) Never do what they did. CHARLOTTE I'm gonna do it. PETE You are? Uh-oh. Someone's getting home- schooled. INT. DINER - DAY Alison is in the booth. Ben emerges from the bathroom. BEN Whew. I just yacked, something nasty. I feel way better, though. I think that's the secret. You just gotta puke. Did you puke? ALISON No. KNOCKED UP - 25. BEN You can. I won't think it's gross or anything. ALISON I'm fine. BEN Oh, okay. ALISON I just need some coffee, so... BEN You know, the best thing for a hangover's weed. Do you smoke? Do you smoke weed? ALISON Not really. BEN You don't? ALISON No. BEN At all? ALISON Mm-mm. BEN Like in the morning? ALISON No, I just don't. BEN It's the best medicine. `Cause it fixes everything. Jonah broke his elbow once. We just got high and, it still clicks, but, I mean, he's okay. ALISON Right. BEN Yeah. Last night was great...what I remember of it? ALISON Right, yeah. BEN Yeah. ALISON We had a great time. BEN Yeah. So what do you do? KNOCKED UP - 26. ALISON I work at E! BEN The television channel? ALISON Uh-huh, remember? BEN Wow. ALISON We had, we had this conversation last night. I, I told you about my promotion and I was out celebrating it. No? BEN I don't remember that at all. ALISON I'm super excited about it. I'm actually doing my first on-air interview today. BEN With who? ALISON Matthew Fox. BEN Matthew Fox from "Lost?" ALISON Yeah. BEN You know what's interesting about him? ALISON What? BEN Nothing. Will you tell him he's an asshole for me? ALISON No. BEN Someone needs to. Like who gives a shit? ALISON I hope a lot of people actually because that's what my job entails, is making sure people care about what he has to say. I'm interviewing him. BEN Maybe it's just me. Maybe I just don't give a shit. I'm just saying he deserves a beat down. KNOCKED UP - 27. ALISON It's sort of embarrassing to ask at this point, but what do you do for work? BEN Me and my roommates have started...we're starting an Internet website. ALISON Oh, cool, what is it? BEN I'll give you the virtual experience okay? How's that? You're at your computer. Who's an actress you like? ALISON Mary Tyler Moore? BEN No, that does not work at all. Let's say you love Meg Ryan. ALISON I do. BEN Great. Who doesn't? Let's say you like her so much, you want to know every movie where she shows her tits. And not just that, but how long into that movie she shows her tits. Come to our web page, exclusively, type in `Meg Ryan.' Bam! `In the Cut,' thirty-eight minutes in, forty-eight minutes in, like an hour and ten minutes in. She's like naked that whole fuckin' movie. She does full-frontal in that movie. ALISON (DISGUSTED) Wow. BEN They should have called her Harry, not Sally. ALISON Really. BEN I'll show it to you. I'll show you Meg Ryan's bush. ALISON (EXASPERATED) Okay. BEN Cool. ALISON I actually need to get going, so. KNOCKED UP - 28. BEN Awesome. Can I get your number? Alison is incredulous. BEN (CONT'D) We had fun, right? We should hook up again. ALISON I'm gonna give you my card because that'll be the best way... BEN If you want to contact me, I don't have a cell right now because of payment complications, but you can email me at the web page, I check it. It's Ben at flesh of the stars, one word, dot com. Alison gets out of the booth. Ben gets up too. BEN (CONT'D) So, awesome. ALISON All right then. Nice to meet you. Ben puts his arms out for a hug. Alison complies. Ben kisses the air. ALISON (CONT'D) Take care. BEN Okay, uh, see ya. Alison exits the diner. BEN (CONT'D) Bye! (TO HIMSELF) That was fuckin' brutal. Yeah, that was brutal. CARD: 8 WEEKS LATER INT. E ENTERTAINMENT TELEVISION STUDIO - DAY Alison is standing on stage with JAMES FRANCO. ALISON Hi, I'm Alison Scott and we're here today with James Franco from "Spider Man." ALISON (CONT'D) How are you? JAMES FRANCO Great. KNOCKED UP - 29. ALISON Thanks for coming. JAMES FRANCO Of course. ALISON Tell me, were you a big fan... Alison GULPS and appears uncomfortable. ALISON (CONT'D) ...I'm sorry, let me take that again. JAMES FRANCO Okay. ALISON Tell me, were you a big fan of the comic books growing up? JAMES FRANCO No, actually, I didn't read any of the comic books until I got the movie. Alison stares at the floor looking ill. She breathes heavily. JAMES FRANCO (cont'd) Are you okay? ALISON Uh-huh. Yeah, just, what about the comic books? Keep talking. JAMES FRANCO Like I said I really wasn't into them, but now that I did the research, I think they're pretty amazing. Alison runs offstage and VOMITS into a trash can. Repeatedly. JAMES FRANCO (cont'd) What the fuck? Alison continues to puke. INT. EDITING BAY Alison and her editor, BRENT, are watching the Franco/puking clips. BRENT Is that the sound of you puking? JAMES FRANCO (ON TV MONITOR) If this is one of those fuckin' joke shows, I'm not into it. BRENT We should put this on YouTube. ALISON Shut up. KNOCKED UP - 30. BRENT This is hilarious. ALISON You're an asshole. BRENT Look how sweaty you are. You look like Dom DeLuise. ALISON I don't need to see it again. It's gonna make me throw up. BRENT You look like Jabba the Hutt dying. Brent HISSES like Jabba the Hutt. ALISON You're such an asshole. BRENT I'm just jerking your chain. I'll fix this. No problem. ALISON Yeah, maybe if you can just edit this out and we can re-- Alison swallows hard. ALISON (CONT'D) --we can reshoot my questions. Alison looks ill again. BRENT What's up? Alison is frantically looking for a place to vomit. BRENT (CONT'D) (cont'd) Whoa, whoa, whoa, no, no, no. Over here. Not on the mixing board, not on the mixing board. Alison finds the trash and VOMITS. BRENT (CONT'D) Are you okay? ALISON Oh my god. Oh my god. BRENT Are you sick? ALISON I don't know. BRENT What'd you eat? KNOCKED UP - 31. ALISON I haven't eaten today yet. BRENT You haven't eaten yet? ALISON Do you have a napkin or something? Brent grabs a stray piece of paper. BRENT Here, here. What do you have, like the flu? ALISON I don't know. BRENT God, I hope you're not pregnant. ALISON It's impossible. You have to have sex to get pregnant. Alison reacts with a sad realization. Brent picks up the phone. BRENT (into the phone) B.K. It's Brent Master Five. Alison just puked. Dude, that's what I said. She's probably pregnant, right? ALISON Oh, shit. BRENT (into the phone) How does she look right now? She looks like she just realized that she's pregnant. INT. DEBBIE AND PETE'S HOUSE, BEDROOM - NIGHT Debbie and Alison are sitting on the bed. ALISON No, I can't be pregnant. Right? That was what, eight weeks ago? DEBBIE Did you miss your period? ALISON No. Wait. I don't know. Shit. I don't know. I can't remember. I was, I mean, I've been really stressed at work. I can't remember my last period. DEBBIE Are you the lady who doesn't realize she's pregnant until she's sitting on the toilet and a kid pops out? KNOCKED UP - 32. ALISON Can you not joke right now? Don't joke right now. This is really serious. DEBBIE Did I meet him? ALISON Yeah. You know, he was kind of like medium height, sort of...chubby. Blonde, curly hair. Remember? DEBBIE With the man boobs. ALISON Yes! Here, I have this thing of him on my phone. Alison takes out her phone to play a video. BEN (ON PHONE VIDEO) Hey! I live in your phone! This is the best night of my life! I gotta pee. DEBBIE Oh god. How did this happen? ALISON Oh, shit. DEBBIE Well there's only one way to find out. INT. DRUG STORE Alison and Debbie run down the aisles looking for pregnancy tests. DEBBIE They're here! Here they are! Over here! Every test on the shelf is pulled into their basket. ALISON Okay. "Positive Choice." DEBBIE "Easy, One, Two, Three." They run toward the check out counter. INT. DEBBIE AND PETE'S HOUSE, BATHROOM - MOMENTS LATER They dump all the tests on the floor. Alison sits on the toilet and rips one test open. She puts the applicator between her legs. ALISON Here. Hurry up now. Come on. The test reads positive. KNOCKED UP - 33. ALISON (CONT'D) Get more! Get me a few more! DEBBIE Did you try the "Ova-Sure?" Alison furiously drinks some juice. ALISON I'm dripping, I'm dripping. Wait. They check another test. DEBBIE Good! A smiley face! Oh, I think that's bad. ALISON How long does this one take? DEBBIE These can't all be positive. Let me try one. Pete enters to see Debbie sitting on the toilet. Debbie urinates on the test and checks it. ALISON God, you really had to pee. Debbie picks up a test. It's positive. DEBBIE What is this? What the hell is this? ALISON I think you picked up the wrong one. DEBBIE Fuck. That scared me. That would suck. Alison glares at Debbie. DEBBIE (CONT'D) I'm sorry. That scared me. EXT. DEBBIE AND PETE'S HOUSE, POOL - NIGHT Alison is on a chaise lounge. Debbie is sitting nearby. ALISON It's gonna be fine. Right? Debbie contemplates. ALISON (CONT'D) (cont'd) Right? DEBBIE Of course it will be fine. It's gonna be fine. KNOCKED UP - 34. ALISON Shit. DEBBIE You just need to call him. ALISON Maybe I don't need to call him until after I see the doctor. DEBBIE You need to call. ALISON I don't want to call him. I don't need to call him. DEBBIE You should call. ALISON I can't call him anyway. He doesn't even have a phone. He didn't even have a number to give me. DEBBIE He doesn't have a phone? ALISON Said some kind of billing issue. DEBBIE He can't afford a phone? Sadie has a phone. ALISON Shit, you're right. I got to call. I don't know. I'm gonna have to look him up on his stupid website. DEBBIE What kind of website does he have? INT. DEBBIE AND PETE'S HOUSE, OFFICE Debbie and Alison sit at the computer looking at Flesh Of the Stars. DEBBIE He spelling "coming" wrong. Oh it's "cum." That's gross. ALISON Just go to "Contact Us." DEBBIE Ben? ALISON Yeah. Debbie begins to type the email. KNOCKED UP - 35. DEBBIE "What is your number? I need to speak with you right away." Send? ALISON Yep. DEBBIE You're sure? ALISON Yeah. EXT. BEN'S HOUSE - NIGHT Ben and his roommates are sitting around smoking weed. JAY I love weed. JONAH I could smoke weed every second of every day. Ben wears a gas mask attached to a bong. BEN (through the mask) Jay, I am your stoner. Everyony LAUGHS. Jason sits with his laptop. JASON Hey, Benjamin? BEN Yeah. JASON "Flesh of the Stars" just got an e- mail. BEN Really? JASON Would you like me to read it to you? BEN Yeah, sure. JASON "Ben, what is your number? I need to speak to you right away. Alison Scott" BEN, JASON & JONAH Ohhhhhh! BEN Shit! Someone wants seconds, mama! KNOCKED UP - 36. Jason types a reply while Ben watches on. JASON "Looking forward to speaking with you." BEN Yeah. Do one of those smiley faces at the end. Fuckin' A. Those are sexy. JASON Sent. INT. DEBBIE AND PETE'S HOUSE, OFFICE Alison paces as she dials Ben's number. EXT. BEN'S HOUSE The phone RINGS. BEN Uh-oh! JAY Somebody wants another piece! BEN Shhh.... JAY (WHISPERING) Booty, booty, booty call. INTERCUT: BEN (into the phone) Hello? ALISON (into the phone) Hi, Ben, this is Alison. I don't know if you remember me. BEN (into the phone) Oh, yeah, Alison. What's up? Ben is humping Jason's head. JONAH She like-a the way your dick tastes. ALISON (into the phone) I actually was just wondering if maybe you, wanted to get together, like tomorrow night? KNOCKED UP - 37. BEN (into the phone) I've been meaning to call you so we could hook up again. You know what I'm sayin'? ALISON (into the phone) Let's meet up maybe tomorrow night? You wanna just grab some dinner? BEN (into the phone) Why not? Meeting of minds sounds good. What do you say Geisha House, Hollywood, nine o'clock? ALISON (into the phone) Sure. That's cool. Can we make it more like six, though? I'd like to keep it early. BEN (into the phone) Six o'clock. Beat the rush. Yeah, leave more time for afterwards. Dessert. Sweet. ALISON (into the phone) Okay. I'll just meet you there, then, at six. All the guys mime having sex with each other. BEN (into the phone) I'll see you there. Take care. Peace. ALISON Oh, shit. BEN I'm gonna get laid mother fuckers! High fives all around for Ben and the roommates. INT. GEISHA HOUSE - NIGHT Ben and Alison sit at a table in the crowded restaurant. BEN Nice place, huh? ALISON It's really nice. BEN Sorry it took so long to get a table. I didn't realize you needed a reservation. KNOCKED UP - 38. ALISON That's okay. BEN You look very pretty, though. ALISON Thanks. Yeah, I just thought, I don't know, I thought maybe it'd be cool to hang out a little bit and... We didn't really get to talk much last time so I THOUGHT-- BEN That we didn't. ALISON I thought maybe we'd just talk and get to know each other...better. BEN Cool. Okay, I'll start. I'm Canadian. ALISON That's cool. BEN From Vancouver. I live here illegally, actually. Don't tell anyone. But it works out in my advantage, ultimately, `cause I don't have to pay any taxes. So financially that's helpful `cause I don't have a lot of money. I'm not poor or anything but I eat a lot of spaghetti. ALISON So the web page is it just something that you guys do for fun? Do you have a real job? BEN Well, that is our job. ALISON Oh. BEN We don't technically get money for the hours we put in, but it is our job. ALISON So, how do you...? BEN How do I pay rent and shit? ALISON Right. BEN When I was in high school, I got ran over by a postal truck. KNOCKED UP - 39. ALISON Oh, my God. BEN It was my foot more than anything. But, I got fourteen grand from the British Columbia government. ALISON Right. BEN And that really lasted me until now. It's been almost ten years. I have like nine hundred bucks left. So that should last me for I'm not a mathematician, but like another two years or some shit...I think. ALISON Yeah. So, I have something I really need to tell you. It's kind of why I called you. Here it goes. I'm pregnant. BEN Fuck off. ALISON What? BEN What? ALISON I'm pregnant...? BEN With emotion? ALISON With a baby. You're the father. BEN I'm the father. ALISON Yes! BEN How the fuck could this happen? ALISON I don't know. I thought you were wearing a condom. BEN No. ALISON What? BEN I wasn't. KNOCKED UP - 40. ALISON Why not? BEN Because you told me not to. ALISON What are you talking about? BEN What am I talking about? You told me not to. ALISON I did not tell you not to wear a condom. BEN Here's what happened, okay? I will give you a play-by-play of my memory. I almost had the condom on my dick. It was on the cusp and then you said, "Just do it, already." ALISON I didn't mean do it without a condom. I mean "do it" like "hurry up," like "get fucking going!" BEN Well, I assumed you were wearing a patch, or like a dental dam or one of those fuckin' butterfly clips or something like that. ALISON What the hell is a dental dam? BEN It's like Saran Wrap! It's disgusting, okay? But I thought you had one. Why the fuck didn't you stop me once we started? ALISON Oh, my God! I don't know! I couldn't tell that you didn't have one on! Obviously, I was drunk! BEN Was your vagina drunk? Did you think it's the thinnest condom on earth I have on? I'm a fuckin' inventor? I made a dick-skin condom? He hollowed out a penis and put it on? What the fuck?! ALISON You are unbelievable. BEN Okay, you know what? Maybe, I've reacted unfavorably. So what happens now? I don't know how this works. KNOCKED UP - 41. ALISON I am going to the doctor next week...and I thought you could come with me to the gynecologist. BEN So you haven't seen him, though? ALISON No. BEN So you don't know if you're pregnant. ALISON Well, I'm not a hundred percent sure. BEN You're not a hundred percent sure. I bet you're not pregnant. INT. DOCTOR'S OFFICE, WAITING ROOM - DAY Ben and Alison sit in the crowded waiting room. DR. PELLAGRINO'S NURSE Alison Scott? ALISON Yeah, yeah. (TO BEN) Come on. BEN I'm supposed to go? ALISON Yes. INT. DOCTOR'S OFFICE, EXAMINATION ROOM Alison is in a gown on the table. Ben stands by looking at the diagrams on the wall. DR. PELLAGRINO enters. DR. PELLAGRINO Hello. My name is Thomas Pellagrino. BEN I'm Ben Stone. DR. PELLAGRINO Hi, there, champ. And you must be Debbie's sister...Alice. ALISON Alison. DR. PELLAGRINO Hi. How are ya? KNOCKED UP - 42. ALISON Good. DR. PELLAGRINO So, what can I help you with today, Mister and Mrs. Stone? ALISON I took a home pregnancy test and it said I was pregnant, so here we are. DR. PELLAGRINO Let's have a look. Legs up. Alison puts her legs up and leans back. BEN Nice office. DR. PELLAGRINO Thank you. Dr. Pellagrino examines Allison's genital area. DR. PELLAGRINO(cont'd) Well, you do look a lot like your sister. Dr. Pellagrino picks up a long cone shaped device. DR. PELLAGRINO(cont'd) This is gonna be cold. (TO BEN) And you're next. I'm just kidding. Dr. Pellagrino looks at Ben and shrugs like saying "this is just part of the job" as he puts the cone device inside Alison. DR. PELLAGRINO (CONT'D) (cont'd) There's the cervix. And the uterus. See that? That dark sac there, that's the amniotic sac. And right there, in the middle is the embryo. Do you see that flicker? You know what that is? That's the heartbeat. Yeah, it looks like you are pregnant. About eight or nine weeks, I'd say. Congratulations. Alison points to the monitor. ALISON That, that's it? DR. PELLAGRINO Yep. Take good care of it. Now the fun part starts. Let me make a picture for ya, huh? That'll be fun. Alison begins to CRY. DR. PELLAGRINO (CONT'D) (cont'd) Well, I'll meet ya in my office. I'll give ya a little time alone, there. KNOCKED UP - 43. Alison continues to cry. Ben stands by SILENTLY, stunned. BEN Oh, God. It's okay. INT. BEN'S HOUSE - NIGHT All the roommates and Ben sit around passing a bong. JONAH I can't fuckin' believe you didn't wear a bag! Who does that?! JASON Why did we go to Costco and buy a year's supply of condoms if you weren't gonna use `em, man? JONAH I can't believe you did this. You fucked everything up. JASON Look, the real point is not to get yourself in this position. That's what you have to realize. You gotta know all the tricks. Like, for example, if a woman's on top, she can't get pregnant. It's just gravity. JONAH Everyone knows that. JASON What goes up must come down. JAY I think it's awesome that you're gonna have a kid, man. Think of it like this. It's just an excuse to play with all your old toys again. JONAH You know what I think you should do? Take care of it. JAY Tell me you don't want him to get an "A word." JONAH Yes, I do, and I won't say it for little Baby Ears over there, but it rhymes with shmish-mortion." I'm just saying -- hold on Jay, cover your ears -- you should get a "shmish-morshmion" are the "shmish-morshmion" clinic. JAY Ben, you cannot let these monsters have any part of your child's life. All right? I'm gonna be there to rear your child. KNOCKED UP - 44. JASON You hear that, Ben? Don't let him near the kid. He wants to rear your child! Ben gets up and leaves the room. JONAH Aw, Ben. Ben, come on, man. JASON I'm just kidding you. JAY Oh, great. Now he's upset. JASON I won't let him do it. INT. RESTAURANT - DAY Alison and her mother, BETTY, sit over lunch. BETTY Alison, just take care of it. Take care of it. Move on. What's gonna happen with your career? Or how, how are you gonna tell them? ALISON Well, I'm not gonna tell them for a while. I have a while before I have to say anything. BETTY How could you not tell them? ALISON Well, they're not gonna know. I mean, I'm only gonna start to show when I'm like, I don't know, six months or something. Seven months. BETTY Three months. ALISON No. BETTY Three months. Fat in the face, jowls, fast ass. ALISON Debbie didn't get fat. BETTY Debbie is a freak of nature. ALISON Mom, you know, it's important to me that you be supportive. KNOCKED UP - 45. BETTY I cannot be supportive of this. This is a mistake. This is a big, big mistake. Now think about your stepsister. Now, you remember what happened with her? She had the same situation as you and she had it taken care of. And you know what? Now she has a real baby. Honey, this is not the time. INT. DINER - DAY Ben and his father, HARRIS, sit at a table over lunch. HARRIS I'm gonna be a grandfather. BEN You happy about that? HARRIS Absolutely. Delighted. BEN This is a disaster. HARRIS No, this is not a disaster. BEN It is, you know? HARRIS An earthquake is a disaster. Your grandmother having Alzheimer's so bad she doesn't even know who the fuck I am, that's a disaster. This is a good thing. This is a blessing. BEN I had a vision for how my life would go and this definitely is not it. HARRIS Wait. Are you living your vision right now? BEN I am kinda living my vision, yeah. HARRIS Well, that is sad, I'm telling you. Life doesn't care about your vision. Okay? BEN Okay. HARRIS Stuff happens. You just got to deal with it. Roll with it. That's the beauty of it all. KNOCKED UP - 46. BEN I just don't get how I tell the kid not to do drugs when I do drugs. I'll feel like a hypocrite. HARRIS Well you remember what I told you? When you were a teenager? BEN What did you say? HARRIS I said, "No pill, no powders." BEN That's right, that's right. HARRIS Right. If it grows in the ground, it's probably okay. BEN I guess it worked. You told me not to smoke pot all those years. And then I found out you were smoking pot that whole time. HARRIS Not the whole time. Just in the evenings and all day every weekend. Not that much. BEN Honestly, though, when you look at me, do you not think at all, like, you know, if he just never existed, I would have avoided a massive heap of trouble? You know? HARRIS Absolutely not. I love you totally and completely. You're the best thing that ever happened to me. BEN I'm the best thing that ever happened to you? HARRIS Yeah. BEN Now I just feel bad for you. INT. ALLISON'S GUEST HOUSE - NIGHT Alison dials the phone. INT. BEN'S HOUSE, BEN'S BEDROOM - CONTINUOUS Ben picks up. KNOCKED UP - 47. INTERCUT: BEN Hello? ALISON Hi, Ben? BEN Hey Alison, how's it goin'? ALISON Good, good. You know, I was just calling to, let you know that, I've decided to keep the baby.That's what's happening with that. BEN Good. That's good. That's what I was hoping you'd do. So, awesome. ALISON Yeah, yeah, it is good. BEN I know we didn't plan this and neither of us really thought it was gonna happen but life is like that, you know? You can't plan for it and even if we did, life doesn't care about your plans, necessarily, and you just kinda have to go with the flow and I just know my job is to just support you in whatever it is you wanna do. I'm in, so whatever you wanna do, I'm gonna do. Alison WEEPS softly into the phone. BEN(CONT'D) I'm on board. Yaaay. ALISON I really appreciate you saying that. BEN No problem. I'll tell you, maybe if you could help me by telling me, like one thing that I am supposed to do, then that would be good, `cause I literally have no idea whatsoever. ALISON I have no idea either. BEN Do you want to, like, get together and talk about it or something like that? ALISON Yeah, sure. BEN Like a date? I mean... KNOCKED UP - 48. ALISON Yeah. EXT. BEN'S HOUSE Alison drives up to Ben's House. INT. BEN'S HOUSE Alison KNOCKS on the door and Ben answers. BEN HEY ALISON Hi. BEN You look beautiful. ALISON Thank you. BEN No problem. Come on in. Ben leads Alison into the living room where the rest of the roommates are hanging out. BEN (CONT'D) Everyone, this is Alison. ALISON Hi. JASON Ally. Hey. Jason. I'm sure you remember. ALISON Yes. JASON You look beautiful. ALISON Thank you. JASON Your body's responding really well to the pregnancy. ALISON Thank you. JASON It's amazing how fast the milk arrives. How's your sis? ALISON She's good. KNOCKED UP - 49. JASON Oh, good. Tell her "What's up" for me. ALISON Okay. JASON All right, I'm gonna go make a protein shake. BEN And this, uh, beautiful young man is Jonah. ALISON Hi. JONAH Hey. BEN Okay, that's Martin and Jodi over there. ALISON Hi. BEN I'm gonna grab my shirt. Just take a seat if you want. Ben exits. Jonah is watching the lesbian sex scene in "Wild Things." JONAH Just another day at the office. Do you have any acting experience? ALISON No. MARTIN How's it goin'? You wanna toke? ALISON Eh, no. I'm good. JODI Hi. ALISON Hi. JODI I'm Jodi. ALISON Yeah, hi. JODI I heard you were pregnant. ALISON Mm-hm. KNOCKED UP - 50. JODI Oh, aren't you scared? The way it's gonna come out of your...It's gonna hurt a lot I bet. Your vagina...That's so sick. ALISON I don't know. JODI Are you hungry? ALISON I'm okay right now. Thank you. JODI You must be angry at the baby whenever it steals your food, huh? "Oh it's mine, not yours." But, you know... Because you're family, you got to share. ALISON Right. Jay enters the room in a towel after a shower. JAY Man, my balls are shaved. My pubes are trimmed. I'm ready to fuckin' rock this shit. JONAH What the fuck, man?! If I go in there and see fuckin' pubes sprinkled on the toiled seat, I'm gonna fuckin' lose my mind! Last time I went to the bathroom, Jay, I took a shit and my shit looked like a fuckin' stuffed animal! JAY You're embarrassing me in company! JONAH You embarrass yourself! JAY Oh, great. I hope you have a great evening! Jay exits. Ben enters in his new shirt. BEN All right. Let's go. See you guys later. EXT. MICELLI'S RESTAURANT Establishing shot. KNOCKED UP - 51. INT. MICELLI'S RESTAURANT Alison and Ben sit in a booth over appetizers. ALISON The funny thing is I really had never even thought about having a baby. BEN Yeah. ALISON If this hadn't happened, I don't think I would have wanted to have a baby for, like, I don't know, at least ten years. BEN At least! God, honestly, I just got used to the notion that someone would even have sex with me. I didn't think this would happen. EXT. JACADI, BABY CLOTHING STORE - NIGHT Establishing shot. INT. JACADI, BABY CLOTHING STORE Ben puts on a baby hat and holds a baby outfit in front of him. BEN Get ready. This will be coming out of you in seven months. This is exactly what our baby will look like. ALISON It's a beautiful picture, Ben. BEN It is. It's not bad. (in a French accent) Hello, Mommy. Our baby's gonna be French Canadian. I like that. ALISON With a little hint of Spanish. BEN Exactly, I'm not good with accents. EXT. BOOKSTORE - NIGHT Establishing shot. INT. BOOKSTORE Ben and Alison browse the baby section. KNOCKED UP - 52. BEN Baby books. ALISON Awesome. BEN "What to Expect When You're Expecting." ALISON What can we expect? BEN Well, you can't eat sushi. You can't smoke. You can't smoke marijuana. You can't smoke crack. And you can't jump on trampolines. This is basically a giant list of things you can't do. ALISON It sounds thrilling. BEN I'm gonna be sitting there on the trampoline smoking crack. And you're not gonna have anything to do. You're gonna be bored. But I can't wait to read these, honestly. I put these in front of my toilet, though, they'll be read by tomorrow morning. Do you want me to get you that? ALISON Yeah, thank you. BEN No problem. These are heavy. EXT. MALL - NIGHT Ben and Alison walk side-by-side carrying their purchases. They both reach over and hold hands. INT. DEBBIE AND PETE'S HOUSE, BATHROOM - NIGHT Debbie and Pete get ready for bed at separate sinks. PETE So what do you think? Should we have sex tonight? DEBBIE Ugh. Sounds awful. I'm just really constipated. Do you really want to? PETE Well, now. DEBBIE Shut up. KNOCKED UP - 53. PETE That's pretty crazy how your sister's pregnant. DEBBIE We have to help her. PETE I think they'll be fine. They'll work it...Look at us. It happened to us. DEBBIE We'll help her raise the baby. PETE Well...fuck! EXT. ALLISON'S GUEST HOUSE Establishing shot. INT. ALLISON'S GUEST HOUSE Alison and Ben stand while kissing. BEN At least we don't have to use a condom, you know? Alison pulls away. BEN (CONT'D) (cont'd) But we can. I brought some just in case. I don't have V.D. or anything. I mean, I don't, I thought-- ALISON It's not that. BEN It's just I thought we could get a little...fun out of your situation, you know? ALISON Okay, first of all, it's not my situation. It's our situation. BEN I know that. ALISON And just because I'm pregnant, I'm not some ruined woman and all romance goes out the door. BEN I'm sorry. I like you a lot. That's all this is. ALISON I like you, too. KNOCKED UP - 54. BEN Sweet. ALISON A little, so far. I mean, we have seven months before the baby comes. We don't have to rush it. BEN Yeah. ALISON We should really just try to get to know each other and...give this a real shot. You know? We got ourselves into this situation. We kind of have to. BEN For the baby, right? ALISON Exactly. Okay, if this was our second date, what would you do? BEN B.J. If I'm just being honest. I told my roommates that I thought I was gonna get a B.J., so... ALISON You know what? For the sake of getting to know one another, can you not talk like that? BEN I can do that. I'm really nervous. ALISON I'm nervous, too. I'm really nervous. BEN Yeah. Ben and Alison kiss. ALISON You're a sweet guy, right? BEN I think I am. ALISON Don't fuck me over, okay? BEN I wouldn't do that. Just so you know, I'm the guy girls fuck over. I'm that guy. So you don't fuck me over, okay? ALISON Okay. BEN I couldn't take it. I can't raise this baby alone. KNOCKED UP - 55. Ben and Alison kiss. EXT. DEBBIE AND PETE'S HOUSE - MORNING Establishing shot. INT. DEBBIE AND PETE'S HOUSE, KITCHEN Debbie, Pete, Charlotte, Sadie, Alison and Ben eat breakfast together. CHARLOTTE Who's he? BEN I'm Ben Stone. ALISON He's my boyfriend. PETE That's nice. SADIE I never met him before. ALISON He's a new boyfriend. BEN But a boyfriend. SADIE So he came over for breakfast because he's your new boyfriend? DEBBIE He came from his house, drove over to our house because he thought it would be fun to have breakfast with us, so he drove his car from his house to our house to have breakfast. PETE Because he likes breakfast so much. CHARLOTTE I love breakfast. BEN You guys wanna hear something neat? We're gonna have a baby together. SADIE What? BEN Yeah, a baby. SADIE Well, you're not married. Aren't you supposed to be married to have a baby? KNOCKED UP - 56. PETE You don't have to be. DEBBIE But they should be because they love each other and people who love each other get married and have babies. SADIE Where do babies come from? DEBBIE Where do you think they come from? SADIE Well, I think a stork, he drops it down, and then, a hole goes in your body and there's blood everywhere, coming out of your head, and then you push your belly-button, and then your butt falls off and then you hold you butt and you have to dig and you find a little baby. DEBBIE That's exactly right. EXT. DEBBIE AND PETE'S HOUSE, BACKYARD Ben is in a playhouse with Sadie while Charlotte jumps on the trampoline. CHARLOTTE Feed the teddy bear. BEN I feed your bear the grass? Know what your bear would also like to do with some grass? Smoke it. Allison and Debbie watch Ben and the kids from the patio. ALISON (TO DEBBIE) What do you think of him? He's funny, right? Ben throws the bear's bowl. BEN Fetch. All right, bring it back. DEBBIE (TO ALISON) He's playing fetch with my kids. He's treating my kids like they're dogs. ALISON (TO DEBBIE) No's he not. Ben throws the bear this time. KNOCKED UP - 57. BEN Go get it! Fetch! DEBBIE (TO ALISON) Plays fetch with the kids. BEN All right! ALISON (TO DEBBIE) He's trying. He's making an effort. CHARLOTTE I don't wanna play this anymore. BEN Bring it back. DEBBIE (TO ALISON) He's overweight. Where does that end? How old is he? ALISON (TO DEBBIE) Twenty-three. DEBBIE (TO ALISON) Looks thirty-three. He can barely get in and out of that little house. Imagine how much bigger he's going to get. Ben tries to exit the playhouse but gets stuck a couple times. DEBBIE (CONT'D) That means he has bad genes. Your kid is going to be overweight. ALISON Shit. BEN I'm gonna get you! Ben chases the girls on top of the trampoline. BEN (CONT'D) I'm gonna get you! Whoa! Ben falls off the trampoline onto the grass. The kids love it. ALISON (TO DEBBIE) Just give him a break. DEBBIE (TO ALISON) Okay, I'll try. KNOCKED UP - 58. Charlotte pegs a beach ball at Ben's head. EXT. PLAYGROUND - DAY Ben and Pete sit while Charlotte and Sadie blow bubbles. BEN They seem to love bubbles. PETE They go ape-shit over bubbles. BEN They're really going ape-shit. PETE That's an incredible thing about a child. What's so great about bubbles? BEN They float. You can pop them. I mean, I get it. I get it. PETE I wish I liked anything as much as my kids like bubbles. BEN That's sad. PETE It's totally sad. Their smiling faces just point out your inability to enjoy anything. BEN Am I going to be okay, man? PETE Who knows? Is anybody okay? I'm not okay. You're asking the wrong guy. Just don't ask me to lend you any money, you know? BEN Can I just have some? PETE No. EXT. BEN'S HOUSE - DAY Jason and Jonah play ping-pong while the rest of the roommates, including Ben, watch. JASON I have fifteen years of tennis lessons. KNOCKED UP - 59. JONAH And twelve years of sucking dick lessons. JAY (TO BEN) So? BEN I can't ref the next games, by the way. I got to go meet gynecologists with Alison. She doesn't like her gynecologist. JAY You think she likes you? BEN She's trying to. JAY She's entertaining the idea of liking you. BEN Exactly. I'll take that. JAY Wll, see she's bringing you to the gynechiatrist. She must like you. BEN That's pretty good, I think. JASON You know who I'd like to get pregnant is that Felicity Huffman, man. Ever since "Transamerica," I can't get her out of my mind. BEN Guys, I hate to crack the whip, but it's kind of, uh, business meeting time. I need moolah. When do you think we can launch this site? JAY Geez. JONAH You can't rush this. You know what happens to these sites when they go up and they don't function well? They die. BEN Seriously, guys, let's say I want to launch today. Let's start... let's use that as a jumping off point. Let's make this happen. What can we do? JONAH Look, man, I didn't go to Yale so I could work twelve hours a day. KNOCKED UP - 60. JASON I thought you went to Santa Monica City College. JONAH I went where I went, Jason. BEN I'm not asking you to work twelve hours a day. I mean, you guys watch movies without nudity in them. JASON I'll tell you what, man. We could probably get it online in three months. BEN Thank you. Yes! Three months. JONAH Come on, Jason! Jason serves the ball and Jonah hits it as hard as he can to win the game. JONAH (CONT'D) Fuck off! JASON Yeah, well, you still have a little dick, Cartman. EXT. TOWN STREET - DAY Ben and Alison drive to the gynecologist. INT. DOCTOR'S OFFICE Alison is on the examination table while DR. KUNI examines her. DR. KUNI Do you smoke cigarettes? ALISON No. DR. KUNI Do you smoke cigarettes? ALISON I have on occasion. DR. KUNI On occasion? When? When was the last time you had one cig? You know, on, you know, a little...I need to know or I will not be your doctor. KNOCKED UP - 61. INT. GYM Ben and Alison are in a spin class. Ben is sweating profusely. ALISON How ya doing? BEN I'm breathing like James Gandolfini over here. A person next to them peddles extremely fast. BEN (CONT'D) (to nearby athlete) Slow down, man. You're making me look like a jackass. INT. DOCTOR'S OFFICE Alison is on the table with her legs up while a YOUNG DOCTOR examines her. Ben sits by Alison. YOUNG DOCTOR How long you kids been married? BEN We're not. ALISON No. YOUNG DOCTOR You're single? BEN She's not single. She's just not married. YOUNG DOCTOR Are you two together? Alison and Ben share a look of disbelief that the doctor is hitting on her. INT. BEN'S HOUSE, KITCHEN - DAY Jodi and Alison are in the kitchen, cutting vegetables. JODI Hey, you wanna trade boyfriends? Just kidding. Kind of. INT. DOCTOR'S OFFICE Alison is on the table while a FEMALE DOCTOR examines her. Ben watched on. KNOCKED UP - 62. FEMALE DOCTOR Wow. That is not your vagina. That's your asshole. That happens about five times a day. INT. BEN'S HOUSE Alison and Ben sit on the couch. The rest of the roommates are all suited up for paintball. JAY Are you sure you don't want to come paint-balling? BEN Have fun, guys. Seriously, watch the eyes. JAY All right. JASON See ya, Ally. JONAH Peace. JAY Bye. Alison looks at Ben. BEN I don't want to go. I swear to God. I want to see "Breathless" at the LACMA. INT. BEN'S HOUSE - DAY Alison is watching a movie during a scene with a topless woman. ALISON Boobs! Boobs! Boobs! Ben runs in. BEN Hold on, pause it, pause it, pause it. ALISON Boobs and bush. Ben hops on the couch the log the scene for the website. ALISON (CONT'D) Good boobs. BEN Those are good ones! We're like thirty- five seconds in. ALISON Right over the beginning credits. KNOCKED UP - 63. BEN Nice. Credit bush. You never get opening-credit bush. ALISON I know. That's so crazy. EXT. DEBBIE'S HOUSE, POOL - DAY Alison sits on the side as Ben plays with Charlotte and Sadie in the pool. BEN You got me. You got me. INT. DOCTOR'S OFFICE - DAY Ben and Alison sit across the desk from DR. HOWARD. ALISON How many doctors are there in your practice? Just because I'm sort of looking for a more personal experience. I want to make sure that you're my doctor on the day and... DR. HOWARD I understand. We have three other doctors in the practice but I'm your man, okay? I don't take vacations. I hate Hawaii. I went to the Caribbean when I was fourteen and I'm never going back. ALISON I feel really good about this. (TO BEN) I think we found our doctor. BEN Really? ALISON Yeah. BEN Oh, my God. Are you serious right now? DR. HOWARD You look relieved. BEN I am very relieved. DR. HOWARD All right. BEN I can't imagine meeting and more of you people. KNOCKED UP - 64. ALISON You're being dramatic. We didn't meet that many. CARD: 16 WEEKS. INT. E ENTERTAINMENT TELEVISION STUDIO Alison is being measured by the WARDROBE LADY. WARDROBE LADY Ooh. Do they know? ALISON Pardon? WARDROBE LADY The belly. ALISON The doughnuts, they call to me. WARDROBE LADY YOU'RE-- Jill walks by. JILL Hey, Alison! ALISON Hi. JILL Great job. ALISON Thanks. JILL (TO HERSELF) For you. WARDROBE LADY You're pregnant aren't you? ALISON What? WARDROBE LADY I mean, you've put on like eight pounds, nine. It's all in your uterus. ALISON Oh, shit. I haven't told them. Do you think they're gonna be mad? I'm really chickening out about this. WARDROBE LADY It's okay. We can hide this. We'll dress you in black and we'll emphasize your boobs. KNOCKED UP - 65. ALISON Awesome. WARDROBE LADY Your boobs are going to be big. And then they're going to be like scary big. But then they'll go down. And then they'll stay down. ALISON Just don't say anything, okay? Please don't say anything. WARDROBE LADY I won't. Just tell them. They'll be cool. Everybody loves somebody pregnant. EXT. DEBBIE AND PETE'S HOUSE - DAY Establishing shot. INT. DEBBIE AND PETE'S HOUSE, LIVING ROOM Debbie and Pete use a laptop. Ben enters. DEBBIE Ooh. Did you see this sex offender website? These are all the sex offenders in our neighborhood. Debbie points to the screen which has a map with red dots spread over it. PETE Looks like your computer has chicken pox. DEBBIE Those are sex offenders. These people live in our neighborhood. PETE We'll skip their houses when we're trick or treating. What do you want me to do? Form a posse? (TO BEN) Got your six-shooter on ya? I got my lynching rope. DEBBIE You shouldn't take it so lightly. PETE I don't take it lightly. I'm not going to go over to any of these people's houses and say, "Hey, you mind? Can you baby sit?" DEBBIE If I didn't care about these things, you wouldn't care about anything. Care more. KNOCKED UP - 66. PETE You're so concerned with stuff, like don't get them vaccinated, don't let them eat fish. There's mercury in the water. Jesus, how much "Dateline NBC" can you watch? DEBBIE I know we're supposed to be nice with each other right now, but I'm having a really hard time. I'm struggling with it right now. PETE What am I doing? DEBBIE Because I want to rip your fucking head off because you're so fucking stupid! This is scary. DEBBIE (CONT'D) These are our children. You fucking dipshit! PETE I literally am at a point where I don't know what I can say. DEBBIE So I'm the bad guy because I'm trying to protect our kids from child molesters and mercury? And you're cool because you don't give a shit? PETE Yeah. DEBBIE Yeah? Is that it? PETE Pretty much. DEBBIE God, you're an asshole. PETE Don't do this in front of Ben. DEBBIE I don't give a shit about Ben. PETE Sorry, Ben. BEN It's okay. I didn't think she did, anyway. Alison enters. ALISON Okay, come on! Let's go. KNOCKED UP - 67. PETE I can't go. This band is doing a showcase out in the Valley. I got to go. DEBBIE It's Saturday. PETE I got to go. INT. BABY CLOTHES AND ACCESSORIES STORE Debbie and Alison are browsing the baby furniture. Ben trails behind. DEBBIE You don't want to know the sex of the baby? That's no fun. ALISON Ben knows, but I've sworn him to secrecy. DEBBIE I'll get it out of him. Ben are looks at Baby Bjorn baby carriers. He brings ones to Alison. BEN Hey. Think we'll ever be as happy as Baby Bjorn couple is? ALISON We are that happy. BEN Yeah. You look happy. ALISON Which is awesome. Because I never like guys like you. It's great. BEN You keep saying that. I know. Alison and Ben walk over to Debbie who is in front of a crib. DEBBIE This is it. This is perfect. BEN Nice. Ben looks at the price tag. BEN (CONT'D) Holy shit, it's fourteen hundred bucks. KNOCKED UP - 68. ALISON (TO DEBBIE) We can just borrow yours. Is that okay? DEBBIE No. You need your own crib. BEN There's one of these in an alley behind my house. We could just grab that. Just rub Purell all over it. DEBBIE You know what? Let me buy it. I need to get you a baby present anyway, and I would love to get it for you. ALISON No. DEBBIE I'm serious. I want to. ALISON No. It's too much. BEN (whispering to Alison) Shh. Yes. We'll take it obviously. I mean don't insult the woman. She wants to get us a gift. DEBBIE Right. BEN Want to buy me some new clothes? What else can I squeeze out of you? XBOX360, XBOX360. EXT. BABY CLOTHES AND ACCESSORIES STORE Alison and Ben are carrying clothes to the car. Alison stops in her tracks when she sees a group of two young women and a man approaching. ALISON It's so hot in the Valley. GIRL #1 Hey! GIRL #2 Oh, my God! ALISON Oh, shit. GIRL #1 Alison! KNOCKED UP - 69. ALISON Hi! GIRL #2 Oh, it's so good to see you. ALISON You too. Oh, my God. GIRL #2 We've been watching you on E! It's the coolest thing. ALISON Yeah, it's been super-exciting, just crazy busy. I'm so sorry I haven't called. GIRL #2 Oh, it's fine. (TO BEN) Hi, I'm Ashley. ALISON This is my friend, Ben. BEN I'm Ben. GIRL #2 I went to school with Alison. GIRL #1 So, okay, so is Debbie having another baby? BEN No. Alison is. GIRL #2 What?! I just saw you a couple months ago. You're pregnant? ALISON It was a big surprise. BEN It's a really funny story, actually, if you guys, if you got a second to hear it. ALISON It's not really funny. GIRL #1 Tell us. ALISON It's not funny. BEN Let them be the judge, okay? I think it's funny. KNOCKED UP - 70. ALISON All right. BEN You know they say don't drink and drive? GUY #1 Right. BEN Don't drink and bone! GIRL #2 Wow. EXT. RECORD STORE - DAY Establishing shot. INT. RECORD STORE Ben and Pete browse the records. BEN Yeah, she was acting weird and I really think it's just because I haven't made an honest woman out of her. She's carrying my bastard child. No one wants that. PETE That's what I did. I married Debbie when she got pregnant. BEN You think she's, like, hiding me? Like, she's, like, embarrassed by me or something like that? PETE Probably. I'd hide you. BEN How much do wedding rings cost? PETE It really depends, you know? I think you're supposed to spend three months pay on a ring. BEN That'll be easy. I don't make any money. PETE Really? I thought there was a lot of money in porn. KNOCKED UP - 71. BEN God, it's not porn? All we do is we show you what nude scenes are in what movies. PETE Like Mister Skin? BEN Who's Mister Skin? PETE Dude, Mister Skin. Pete imitates the Mister Skin logo smile. INT. BEN'S HOUSE - DAY Ben and the roommates look at the Mister Skin website. JONAH We've wasted fourteen months of our lives. BEN This is exactly the same as our site. How the fuck did this happen? JONAH Mister Skin! That's even a better name than ours! MARTIN Well, fuck me in the beard. JASON Dude, they got the top ten group shower scenes! Why didn't you think of that, Jay! JAY Don't put this on me! BEN God damn it! MARTIN Well shit. I saw it online at one point, but I guess I didn't connect the dots. JONAH What are we gonna do now? BEN All we need to do is think of a new, better idea that no one else has thought of already. JASON "Spiderman Three" starts in eight minutes. KNOCKED UP - 72. JONAH Shit. Don't worry. We'll figure it out. Jonah, Jason and Martin exit. Ben and Jay sit at the desk. BEN You know what? Just because this site exists doesn't mean ours won't work. Good things come in pairs. JAY For sure. BEN "Volcano," "Dante's Peak." "Deep Impact," "Armageddon." "Wyatt Earp," "Tombstone." JAY Panda Express, Yoshinoya Beef Bowl. BEN Exactly. We can work together. This helps us, if anything. JAY We're golden. EXT. ALISON'S GUEST HOUSE - AFTERNOON Establishing shot. INT. ALISON'S GUEST HOUSE Alison sits on the bed while Ben kneels in front of her. BEN Alison, I'm sure this isn't how you pictured it being exactly and it's not how I wanted it. That is why I'm presenting you with this empty box. It's a promise, Alison. A promise that one day I will fill this with a ring that you deserve, a beautiful ring. I can't afford it yet. I've picked it out, though. It's at De Beers and it's really nice. So, basically, I'm asking you, will you marry me? Because I'm in love with you. ALISON I love you too. BEN Really? That's so nice to hear. That's the first time a girl's ever said that to me. ALISON But here's the thing. KNOCKED UP - 73. BEN There's a thing? ALISON I don't really know yet what that love means. It's so new and it's so exciting. It's great. I don't know. We've only known each other for seventeen weeks. BEN Look, I thought you felt weird that we're having a baby and we're not engaged. I'm going to get off my knee. It hurts. Ben sits next to Alison on the bed. ALISON I'm okay with that. We're just doing what we can. I don't want us to put any more pressure on ourselves than we have. BEN That makes sense. ALISON I didn't hurt your feelings, did I? BEN No. I just wanted to do right by you. If you don't want to, that's totally cool. ALISON I really do love you. BEN I know. Thanks. You mentioned that. It's nice. INT. DEBBIE AND PETE'S HOUSE, BEDROOM - NIGHT Debbie and Alison eat ice cream in bed and watch TV. ALISON Ben proposed to me. He did. It was really sweet. I feel a little bad. He was wearing this great button-down. He tucked it in. He got down on one knee. He didn't have an actual ring, though, just an empty box but he had this whole spiel about when he has the money, he'll buy me the ring I deserve. DEBBIE The box was empty? ALISON He can't afford a ring. KNOCKED UP - 74. DEBBIE So he got down on one knee and gave you an empty box? ALISON Yes. DEBBIE I'm sorry. ALISON Get over it. If you'd been there, you would have cried. DEBBIE You need to train him. Oprah said that when two people meet they should point out each other's differences and flaws. ALISON I thought you should love people for who they are. DEBBIE You criticize them a lot, so they get so down on themselves they have to change. ALISON You don't think that's naggy? DEBBIE In the end, they thank you for it. I/E DEBBIE'S CAR - DAY Debbie drives Alison and the girls in her car. DEBBIE You can't commit to him. You don't even know him. I don't even know Pete after ten years. I don't know what he's up to. He's miserable. ALISON Why do you say that? DEBBIE I think he's cheating on me. He's always going to business meetings at odd hours. Then I try to call him on his cell phone and he says he's in bad cell phone reception areas when he's in good reception areas. ALISON Maybe he's working late. Maybe he's trying to sign a new band. I can't imagine Pete doing that. DEBBIE There's no part of you that thinks maybe he's a dirty little scumbag? KNOCKED UP - 75. ALISON No. DEBBIE I think he might be. INT. DEBBIE AND PETE'S HOUSE, OFFICE - DAY Debbie installs software on the computer while Alison watches. DEBBIE "Memory Spy Web Memory Software. Locate history, files, websites visited, hidden downloads, e-mail history. Memory Spy." Let's see you hide from me now, little man. Alison is disturbed by this whole ordeal. CARD: 24 WEEKS LATER. INT. FANCY RESTAURANT Debbie, Pete, Alison and Ben eat dinner together. PETE You're not going to tell them? ALISON No. I don't have to. It's illegal for them to fire me over it. And I get three months maternity leave if I stay. So I'm not going to tell them. DEBBIE Good plan. PETE I like it. BEN It's a good plan until her water breaks over Robert De Niro's shoes. (impersonating Robert De NIRO) My shoes. There's baby goo on them. PETE (impersonating Robert De NIRO) These shoes? On these shoes? Did you puke on my shoes? BEN (impersonating Robert De NIRO) Is your water on my shoes? KNOCKED UP - 76. PETE (back as Pete) Isn't it weird, though, when you have a kid and all your dreams and hopes go right out the window. DEBBIE What changed for you? What went out the window? You do everything exactly the same. PETE No, I love what I'm doing. But say before you're married with children you want to live in India for a year. You can do it. DEBBIE You want to go to India? Go to India! Seriously. PETE Do you want to go to India? DEBBIE No. You can go. BEN I get what he means. Honestly, when I found out about... Ben motions towards Alison. BEN (CONT'D) ...I had this flash of me in a white Ford Bronco hauling ass for Canada. The chopper's taping it, and I bust through the border and I'm free! I kept thinking that. Alison stares at Ben. BEN (CONT'D) It was a flash! ALISON What do you mean? BEN Don't look at me. We can talk about our fears here. If Doc Brown screeched up to you in the DeLorean and said, "Alison, I got the car here. What do you want to do?" No part of you would think, "Maybe I'll go back to that night and put a condom on Ben's dick?" You never got that flash? ALISON No. What are you talking about? PETE "Where we're going, we don't need roads." KNOCKED UP - 77. BEN You wouldn't do that? ALISON I don't know who Doc Brown is. What are you talking about? BEN Doc Brown is Christopher Lloyd. He invented the DeLorean time machine. PETE Everyone has a time machine image. DEBBIE I have a really good idea. Why don't you two get in your time machine, go back in time and fuck each other? PETE Who needs a time machine? Ben holds up his drink. BEN This is my time machine! PETE (TO BEN) I'll throw you in my DeLorean and gun it to 88. BEN (TO PETE) You are a funny motherfucker, man. (TO DEBBIE) How can you fight with him? I just want to kiss his face. He's cute. PETE (TO BEN) I like the way you move. BEN This is fun! We should do this more. This is the most fun I've had in a really long time. EXT. BEN'S HOUSE - NIGHT Establishing shot. INT. BEN'S HOUSE, BEN'S BEDROOM Ben and Alison are having sex. Ben is on top. ALISON Come on, harder. BEN I can't. KNOCKED UP - 78. ALISON Why? Just do it deeper. BEN I can't. ALISON Why? BEN I'll poke the baby if I go deeper. ALISON Just do it! BEN Please don't yell at me. ALISON The doctor and Debbie said it's fine. Come on! Ben stops. BEN I'm sorry, can we change positions? I'm going to crush the baby. ALISON That's ridiculous! BEN No, it's not. It has no shell. ALISON Millions of people have sex when they're pregnant! It just works! BEN I weigh over 200 pounds. ALISON Just get over it. BEN I can't do it. Can you just get on top? All I can see if our baby, poked in the face by my penis. ALISON Trust me, you're not even close. Okay, fine. Alison moves on top. Alison abruptly stops. ALISON (CONT'D) I can't do this. I can't focus like this. I look disgusting from this angle. I can feel you looking at my chins. BEN You look beautiful. Your chin looks so skinny. KNOCKED UP - 79. ALISON And my boobs are all like, squishy and they're flopping around. I can feel it and it's distracting. It's all National Geographic. BEN (WHISPERING) Do you want to do it doggie style? ALISON No. I do not want you to fuck me like a dog. BEN I'm not fucking you like a dog. It's doggie style. It's just the style. I'm, it's not like a dog. We don't have to go outside or anything. Ben and Alison lie down side by side, Ben is behind. BEN (CONT'D) Here we go. Is it good? ALISON Yeah. BEN Should I go slower? ALISON Harder. BEN Just tell me when you're close. ALISON Just go harder. BEN Okay. ALISON Keep going! Ben recoils. BEN Oh, God. Oh, fuck! ALISON What happened? BEN The baby. It kicked my hand. ALISON It always kicks. BEN No, no, no, no, no. KNOCKED UP - 80. ALISON It's fine. BEN Not like this. No, this was a warning kick. ALISON Just keep going. BEN This was a bad kick. ALISON It's fine! It's fine! BEN Look. My dick must be like an inch away from its face and it's coming, just coming in at its face. What if it kicked because it didn't like it? I can't do that to our baby. That's the first thing it's going to see. ALISON What are you talking about? BEN It's having the baby between us, it just makes it weird. I'm sorry. It just freaks me out a bit. It's a little weird. ALISON I have totally lost it now. BEN You've totally lost it? ALISON I've lost it. BEN Okay. ALISON Great, you know what? Just forget it. Alison turns her back to Ben and gets settled to sleep. ALISON (CONT'D) (holding back tears) Don't worry. I won't make you do this again. BEN Shit. INT. BEN'S HOUSE, LIVING ROOM - NIGHT Ben smokes his bong. Suddenly, there is an earthquake. KNOCKED UP - 81. INT. BEN'S HOUSE, BEN'S BEDROOM Alison wakes up from the earthquake in a panic. ALISON Ben? INT. BEN'S HOUSE, LIVING ROOM Ben stands up and tries to steady himself. BEN Fuck me. Jay runs through the room towards the front door. JAY Oh my God! It's the Russians. Martin carries Jodi out. MARTIN Jodi! I'll protect you! Ben clutches his bong and runs to the door. Alison runs to the door as well. ALISON Ben! BEN Oh, my God! Oh, no! Oh, no! EXT. BEN'S HOUSE - MOMENTS LATER Jay, Martin, Alison, Jodi, Jonah, Jason and Ben stand on the street. Jason is naked. Jonah's girlfriend ALEX is also naked. JAY That was horrible! That was so horrible. JASON You're fine, man. JAY When will it be light out? JASON Take it easy. JAY When will it be light out? JASON Did anybody turn off the gas? MARTIN I didn't do it. KNOCKED UP - 82. JASON Oh, motherfucker. Jason runs back to the house. JONAH Martin, this is my friend, Alex. She's a pretty incredible person. MARTIN Nice to meet you. Martin holds out his hand to shake Alex's. She removes one hand from covering her breast to shake his hand. Jonah immediately covers her breast with his hand. JONAH Whoa, whoa, whoa. Dude! Not cool, Martin. MARTIN That's, that wasn't... JONAH Hey, are you serious, Howard Hughes? JODI What happened? MARTIN Nothing. Nothing happened. Come on. ALISON (TO BEN) Where were you? BEN Look, I forgot you were sleeping over. I'm sorry okay? ALISON Yeah, because you were getting high off your huge bong. How am I supposed to be comfortable with the idea that you can take care of me and the baby if you are always getting high? BEN You want me to stop smoking pot because there's an earthquake once every ten years? That makes no sense, Alison. You're being irrational. Just relax. We're all scared. Oh, shit, the cops. A cop car rolls by. Ben throws his bong behind him and it SHATTERS on the payment. BEN (CONT'D) California. Hey! KNOCKED UP - 83. INT. BEN'S HOUSE, BEN'S BEDROOM Ben and Alison sort through the debris of porn, trash and weed among other things. Alison finds Ben's bank statement that indicates he only has only $117.13. BEN You know it's times like this I'm glad I don't own nice things. It's a big mess, but there's only like fifty bucks worth of shit here. That's kind of the good thing. You know, my dad told me, "Don't move to Northridge." But you figure, what are the chances of that happening twice, you know? Alison picks up a huge sword. ALISON What is this? BEN It's a ninja weapon. I hope this place doesn't get condemned. That would suck. Alison finds a shopping bag with the baby books they bought. None of them have been read. Alison sadly puts them back without Ben noticing. CARD: 28 WEEKS LATER. INT. BEN'S HOUSE - DAY Ben's phone RINGS. BEN Hello? INT. ALISON'S WORK Alison is at her desk at work. ALISON Hey it's me. INTERCUT: BEN You! ALISON Hi! So, listen. Will you do me a big favor? Debbie wants us to come over and have dinner tonight. She thinks Pete is cheating on her. KNOCKED UP - 84. BEN Really? ALISON Yeah. Well, she saw one of his e-mails and there's an address. Ugh. BEN Oh, man. I don't want to do that. ALISON Ben, come on. BEN He's not cheating on her. ALISON How do you know? BEN I just know. ALISON Are you sure? BEN I'm one hundred percent sure he's not cheating. ALISON Are you really? BEN No. It actually kind of makes sense that he would cheat. ALISON Why? BEN Because Debbie's a pain in the ass and Pete's awesome? ALISON Well, why don't you just come over then, and, we'll just diffuse the situation a little? INT. DEBBIE AND PETE'S HOUSE, DINING ROOM - NIGHT Alison, Ben, Pete and Debbie have dinner. PETE I'm just saying the music industry is different now. Steely Dan would never even have a chance. BEN Well, maybe it's because Steely Dan gargles my balls. PETE They're incredible. KNOCKED UP - 85. BEN They really aren't good, man. PETE Old Steely Dan. BEN If I ever listen to Steely Dan, I want you to slice my head off with an Al Jarreau LP. PETE I should get going. I'm supposed to see this band tonight in Hollywood. Actually, they're playing in Laurel Canyon, so I'll call you because the reception's terrible over there. BEN That's true. PETE And I don't want you to worry. I'm just going to jump in the shower. It would be terrible if I smelled worse than the band. DEBBIE Okay. Have fun. Ben exits. BEN You guys are crazy. He's acting totally normal and hilarious. EXT. FANTASY BASEBALL HOUSE - NIGHT Debbie pulls up in front of the house in her car with Alison and Ben. BEN (TO ALISON) She doesn't have a gun, does she? ALISON No. I don't think so. BEN Oh, great. INT. FANTASY BASEBALL HOUSE Debbie tries the front door, it's unlocked. They enter. BEN Looks like no one's home. DEBBIE Why was the door unlocked? Wait here. KNOCKED UP - 86. BEN I just feel bad for Pete. ALISON What? BEN I feel like this isn't a good way to get caught cheating, it shouldn't be like this. ALISON Well, maybe he should have thought of that before he was cheating. BEN (through a fake cough) Pete! ALISON Stop it. BEN I coughed. What do you want from me? Debbie checks upstairs. DEBBIE There's nobody up there. BEN Thank you. DEBBIE I guess I was wrong. BEN I told you. Can we get out of here, please? ALISON Yeah, come on. Let's go. A MURMUR comes from a far room. DEBBIE Did you hear that? ALISON What? BEN I didn't hear anything. ALISON Come on. Debbie leads them into a room, where Pet sits with a lot of GUYS dressed in baseball clothing. FANTASY BASEBALL GUY #1 Ten seconds. KNOCKED UP - 87. PETE Carlos Delgado. FANTASY BASEBALL GUY #2 Excellent choice. Too bad I got him three rounds ago. FANTASY BASEBALL GUY #1 You're still on the clock. PETE Oh shit! FANTASY BASEBALL GUY #1 You gotta do something. We need a name here. PETE Hideki Matsui. FANTASY BASEBALL GUY #1 Ugh, you just took my whole outfield. PETE Sorry, Charlie. DEBBIE What is this? PETE Debbie. DEBBIE What the fuck is this? PETE It's our fantasy baseball draft. FANTASY BASEBALL GUY #2 We said no wives. DEBBIE Your fantasy what? PETE It's, it's our draft...for fantasy baseball. I told you all about this. Got Matsui. Debbie turns and walks out of the room. PETE (CONT'D) Aw, shit. FANTASY BASEBALL GUY #2 Hey, Pete, don't let the door hit you in the vagina on the way out! Come on, who's going? EXT. FANTASY BASEBALL HOUSE Pete and Debbie are in the driveway while Alison and Ben watch from the street. KNOCKED UP - 88. PETE I should have told you. DEBBIE What else have you been lying about? PETE Nothing. BEN (TO ALISON) That guy said, "Don't let the door hit you in the vagina on the way out." DEBBIE Where were you on Wednesday? PETE I'm going to be honest with you. ALISON (TO BEN) Yeah, I heard him. BEN (TO ALISON) That was hilarious. DEBBIE That would be a good idea. PETE You've been mad because I've been working so much and I didn't want to upset you. DEBBIE I wouldn't be mad. PETE You would be. DEBBIE I don't get mad. PETE It's a fantasy baseball draft. I'm not cheating or anything. DEBBIE No, this is worse. PETE How is this worse? DEBBIE This is you wanting to be with your friends more than your family. PETE Look, the reason I make that up is because if I told you what I was really doing, you would just get mad. So, you think I'm seeing a band, I do my fantasy draft, and it's win/win. KNOCKED UP - 89. DEBBIE Well, what did you do last Wednesday night when you said you went to see a band? PETE I went to the movies. DEBBIE With who? PETE By myself. DEBBIE What'd you see? PETE "Spiderman Three." DEBBIE Why do you want to go by yourself? Why didn't you ask me to go? PETE Because I needed to get away, you know? With work and you and the kids, sometimes I just need some time to myself. DEBBIE I need time for myself. I want time for myself, too. Debbie holds back tears. DEBBIE (CONT'D) You're not the only one. PETE It's not that big of a deal. DEBBIE (THROUGH TEARS) I like Spiderman. PETE Okay, so let's see "Spiderman Three" next week. DEBBIE I don't want to go see it now. PETE Well... DEBBIE I don't want to have to ask you to ask me. I want you to just come up with it on your own. PETE What? I don't even know what to say. Uh, what do you want me to do? KNOCKED UP - 90. DEBBIE You just think because you don't yell that you're not mean, but this is mean. PETE I'm not being mean. I'm being honest. You're telling me I need to be honest. JUST-- DEBBIE No, you're not. You're lying. PETE I'm doing it because I need to keep my sanity a little bit. DEBBIE You know what? I don't want you at the house anymore. Okay? PETE Come on. Debbie heads for the car. BEN Oh, shit, she's coming back. I/E ALISON CAR - DAY Alison drives to the gynecologist with Ben. BEN How come we go to the gynecologist so often? I bet we have to go so much so we can pay for that three-hundred- thousand-dollar machine he has. ALISON I cannot stop thinking about what an asshole Pete is. BEN That's a little strong, I would say. ALISON Really? Because that had to be one of the most selfish things I've ever witnessed. BEN It's understandable. I even think it's kind of funny. ALISON What's funny about it? BEN Well, you won't laugh now, I wouldn't imagine, but you know, the situation. (MORE) KNOCKED UP - 91. BEN (CONT'D) We break into this stranger's house thinking we're going to find him sleeping with a woman, and then it's a bunch of nerds playing fantasy baseball.If you saw that on television, you would laugh. ALISON Is that what you think? BEN Yeah. ALISON Is that what you want to do, Ben? BEN I don't even like baseball. I'm just saying when you're a guy and you have a family and you have responsibility, you lose that male camaraderie, and I get that. I totally understand where he's coming from. ALISON Why do you guys always go to that place? You miss male camaraderie. What do I give a shit? Go hang out with your bearded freak friends. I don't care. You want to hang out with guys that look like the Shoe Bomber, it's all on you, man. BEN Well what the fuck am I supposed to say to that? ALISON You should just support me! You know, you should just support everything I say because at this juncture in my life, I'm allowed to be wrong! BEN So if you're wrong, I have to support it? ALISON Yes! BEN I can't tell you that you're acting like a lunatic? ALISON Oh, that's helpful. You have to do nothing! BEN I've sacrificed a lot of shit to this! ALISON You are just fucking sitting there! You haven't sacrificed anything! KNOCKED UP - 92. BEN I have. ALISON I've had to sacrifice my job, my body, my youth, my vagina! BEN You've sacrificed your vagina? ALISON Yes! It will never look the same after this! BEN Well. Fine. I'll pay for vaginal reconstructive surgery. ALISON You can't pay for shit! You can barely buy spaghetti. BEN You're right. Fine! ALISON You know what? Get out of the car. BEN Oh! You know what? Why don't you not threaten me?! ALISON You should just get out of the fucking car. BEN I'm not going to get out of the car in the middle of nowhere! No! ALISON Get out of the car. BEN No! ALISON I own this car! Get out of my car! BEN No. ALISON Get out of my car! BEN No. ALISON (YELLING) Get out of my fucking car! Ben gets out of the car and immediately KNOCKS on the window. KNOCKED UP - 93. BEN Can you let me back in the car, please? Have you calmed down? Did you take a breath? I have no clue where we are! Alison just glares at him. BEN (CONT'D) Fine. Go. Great. Alison drives off. INT. DR. HOWARD'S OFFICE - LATER Alison stands on a scale while DR. HOWARD'S NURSE weighs her. ALISON You know what? Maybe I should take my shoes off. Or my belt buckle. My belt buckle's huge. DR. HOWARD'S NURSE Don't worry about gaining weight. Your baby wants you to gain a whole mess of weight. Ben walks into the room, winded. ALISON (TO BEN) Are you fucking kidding me? BEN Why don't you take off your earrings, too? They weigh about eighty pounds. They're made out of moon rocks aren't they? ALISON Do not make fun of me. Okay? I am hormonal, I am terrified, and I am falling apart, so stop treating everything like it's a big joke! BEN I'm sorry you're freaking out, but I just walked three fucking miles through Koreatown to get here. Sorry if I'm trying to lighten the mood a little. The Nurse leaves. ALISON Well, don't! Okay?! You can't take anything seriously! You didn't even read the baby books. BEN I didn't read the baby books! What's gonna happen? How did anyone ever give birth without a baby book?! (MORE) KNOCKED UP - 94. BEN (CONT'D) That's right, the ancient Egyptians fucking engraved "What to Expect When You're Expecting" on the pyramid walls! I forgot about that! Who gives a flying fuck about the baby books?! ALISON It just shows your lack of commitment, Ben! That you're not in this with me! BEN Did you just say my lack of commitment? Because that's what it sounded like. It almost seems as though you forgot I proposed to you like an asshole! And you said no to me! ALISON If you feel that way, you should just go. Really. Just go. Because we didn't mean to do this together, okay? And, and we tried to make it work and that was good, I suppose. Alison holds back tears. ALISON (CONT'D) But it doesn't work. Because we are two completely different people. And I think it would just be easier for both of us if we stop fooling ourselves. BEN You know what? I know this isn't you talking, it's your hormones, but I would just like to say, "Fuck you, hormones! You are a crazy bitch, hormones! Not Alison! Hormones!" Fuck them. It's a girl. Buy some pink shit! ALISON Nice. You are such an asshole. You know what? Go fuck your fucking bong, you fuck! BEN I will fuck my bong. Doggie-style, for once. Ben exits while giving Alison the finger as her walks away. Dr. Howard's Nurse returns. DR. HOWARD'S NURSE Are you ready? ALISON I'm really sorry about all that. That was really inappropriate. DR. HOWARD'S NURSE That's okay. It happens all the time here. It's fine. KNOCKED UP - 95. ALISON I don't feel so stupid, then. DR. HOWARD'S NURSE Not at all. EXT. DEL'S SALOON - NIGHT Establishing shot. INT. DEL'S SALOON Ben and Pete drink at the bar. BEN I totally know what you're talking about, man. If I wrote out the list of shit Alison doesn't let me do it would be endless. Don't smoke pot. Don't have samurai swords in your room. Don't have illegal grow operations in the house. I could go on all fucking day. Have I told her to stop doing anything ever? No. PETE Marriage is like that show "Everybody Loves Raymond," but it's not funny. All the problems are the same, but it's... Instead of all the funny, pithy dialogue, everybody's just really pissed off and tense. Marriage is like an unfunny, tense version of "Everybody Loves Raymond," but it doesn't last twenty-two minutes. It lasts forever. BEN Let's get out of here, man. Honestly, let's just go. Let's go to Vegas. PETE Let's do it. BEN Yeah. PETE Why not? INT. ALISON'S HOUSE - NIGHT Alison watches a pregnancy show on TV. Debbie marches into the guest house. DEBBIE Get up. ALISON What? KNOCKED UP - 96. DEBBIE We're not going to do this. Seriously. Debbie turns off the television. ALISON What are you doing? DEBBIE We have to do something! And have fun! ALISON I'm just so tired. DEBBIE I know you're tired. But we're going to be untired! We're going to go live! ALISON Ugh. I hate you so much sometimes. DEBBIE We're going to be positive. ALISON How many Red Bulls have you had? DEBBIE I've had about three Red Bulls in the last fifteen minutes. And I feel fabulous! We're going to create a new life and it's going to be awesome! Let's go! EXT. BEN'S HOUSE Ben and Pete KNOCK on the front door. BEN Since when do we lock this fucking thing? Come on! Jason opens the door with Jonah and Jay. All of their eyes are very infected. JASON Yo. We can't go, dude. Sorry. BEN Holy crap! What happened? JONAH We got pink eye. BEN What? You giving each other butterfly kisses or something? JASON Very funny. That's not how you get pink eye. You get it from poo particles making their way into your ocular cavities. KNOCKED UP - 97. JAY Hey, Ben. BEN Yo. JAY How's it going? I farted on Jason's pillow as a practical joke. He farted on Jonah's, thinking it was mine. And then eventually pink-eyes my pillow. I'm not proud of this. But, I think we've all forgiven each other. But, we can't go anywhere. PETE You can get pink eye from farting in a pillow? JONAH Totally. PETE That's awesome. JONAH Yeah, but you got to be bare-assed. Martin enters the doorway, his eyes are the worst. BEN Jesus. Martin got it bad! What, did someone take a dump right in your eye? MARTIN No. No pink eye for me. I'm just really...high. BEN Well stay back, guys. I got to get my suit. Ben enters the house and the guys pretend they're going to rub their faces on him. Pete stays outside. JASON (TO PETE) Are you Debbie's husband? PETE Yeah. Jason shuts the door on Pete. I/E. PETE'S CONVERTIBLE - NIGHT Pete drives with Ben to Vegas. They are wearing suits. BEN This is fun! KNOCKED UP - 98. PETE This is great. We're going to have the best time ever. BEN We make a good team, man. PETE Yep. It's like I can't come here with Debbie. She doesn't understand. It's like she wants to hold me in, and she was telling Alison she could train you. BEN She thinks she could train me? PETE Yeah, like you're running the Triple Crown. BEN She can't train this! I'm like Siegfried and Roy's Bengal. You think I'm trained. I'll bite your fucking face off. PETE That's right. BEN In front of a crowd, baby. PETE This is better. Besides I don't know if I have enough of these babies to go around. Pete brandishes a bag of mushrooms. BEN Oh, my God. Are these mushrooms? PETE I got them from a roadie for the Black Crowes. BEN I'm eating them. PETE Oh, no, save it! I got tickets to Cirque du Soleil. BEN You do?! No you don't. PETE I swear to God, man. BEN Holy shit! PETE I see the beam of light. KNOCKED UP - 99. BEN There it is, baby. PETE Woo-hoo. You're so money that you don't even know how much money you have. INT. STRIP CLUB Ben and Pete receive lap dances from topless strippers. BEN I love Vegas, man. PETE This is the greatest place on earth. BEN It's really amazing here. The stripper straddles Pete and pulls his tie through her legs so that he face is pulled against her butt. PETE Whoa. You got my tie. This is awesome. BEN Now that's how you get pink eye. EXT. NIGHTCLUB - NIGHT Debbie and Alison approach the nightclub, passing the line, straight to the DOORMAN. The Doorman lets TWO PRETTY GIRLS past the rope. DOORMAN (to the Two Pretty Girls) Hey, what's up, baby girl? Debbie and Alison move up to the doorman. DEBBIE Hi. DOORMAN What's up? End of the line, please. DEBBIE Really? DOORMAN Yeah. DEBBIE Oh, come on. DOORMAN Look, we're at capacity, okay? We'll let some people in when it clears out a little. You'll get right in if you go back to the end of the line. KNOCKED UP - 100. DEBBIE We come here all the time. It's not a big deal. It doesn't really look that crowded in there. DOORMAN Hey, look, I don't make the rules. DEBBIE Please? DOORMAN No. TWO CUTE GIRLS approach. The Doorman lifts the rope for them. DOORMAN (CONT'D) Hey, what's up, shorty? What's up pretty girls? See y'all when y'all get out. Take care of yourself. DEBBIE What was that? What the fuck was that? DOORMAN It is what it is, sweetie. Now can you step to the back, please? ALISON (TO DEBBIE) You know what? Maybe we should just go. DEBBIE You don't need to call me sweetie. DOORMAN Yeah, but maybe you should listen to your friend. DEBBIE No, you don't need to call me sweetie. DOORMAN All right, you want to come in, you're going to have to go to the end of the line and wait like everybody else. DEBBIE I'm not going to go to the end of the fucking line. Who the fuck are you? I have just as much of a right to be here as any of these little skanky girls! What, am I not skanky enough for you?! You want me to hike up my fucking skirt?! What the fuck is your problem?! I'm not going anywhere! You're just some `roided out freak with a fucking clipboard. And your stupid little fucking rope! You may have power now, but you're not God. You're a doorman! Okay? You're a doorman! So...fuck you, you fucking fag with your fucking little faggy gloves. KNOCKED UP - 101. The Doorman grabs Debbie and takes her aside. DOORMAN Come here, come on. The Doorman takes Debbie aside. DOORMAN (WHISPERING) I know. You're right. I'm so sorry. I fucking hate this job. I don't want to be the one to pass judgement and decide who gets in. This shit makes me sick to my stomach. I get the runs from the stress. It's not because you're not hot. I would love to tap that ass. I would tear that ass up. I can't let you in because you're old as fuck...for this club, not, you know, for the earth. DEBBIE What? DOORMAN You old. She pregnant. Can't have a bunch of old, pregnant bitches running around. That's crazy. I'm only allowed to let in five percent black people. He said that. Five percent. That mean if there's twenty-five people here, I get to let in one-and-a-quarter black people. So I got to hope there's a black midget in the crowd. DEBBIE Now I feel guilty. I'm sorry. DOORMAN Why y'all want to be in here anyway? Y'all need to be at a yoga class or something. (REGARDING ALISON) What the fuck is she doing at the club? That's not even good parenting right there. Your old ass should know better than that. DEBBIE Oh, God. Ugh. Debbie takes Alison away. EXT. VEGAS POOL - NIGHT Ben and Pete hold neon yard glasses and walk past numerous swimsuit-clad men and women. BEN Have the mushrooms kicked in yet? Ben and Pete CHUCKLE uncontrollably. KNOCKED UP - 102. EXT. TREASURE ISLAND HOTEL - NIGHT Establishing shot. INT. CIRQUE DU SOLEIL Ben and Pete watch from the crowd as acrobats climb poles. BEN AND PETE Ohhhhhh! BEN This was a great idea, man. PETE This is the best idea I've ever had in my life. Two bare-chested male acrobats start to balance on top of each other. BEN What are they going to do? What in the world are they doing? If I shaved my stomach and my chest, I would look exactly like that. Those guys are at work right now. (imitating one of the ACROBATS) What'd you do today? Oh, just lifted my brother. The crowd starts to APPLAUD for the acrobats. BEN (CONT'D) No! Don't applaud! He'll fall! I'm freaking out right now, man! Many acrobats in devilish outfits take the stage. BEN (CONT'D) The mushrooms are turning on me! A clown dressed as a GIANT BABY is part of the act. Ben YELLS frantically. GIANT BABY Papa. BEN I am not your papa. A giant Snail comes out onto the stage. BEN (CONT'D) I can't deal with this shit, man! Ben stands up and runs down the aisle towards the exit. KNOCKED UP - 103. EXT. STREET NEAR NIGHTCLUB - NIGHT Debbie and Alison sit on the curb. DEBBIE (WEEPING) It's over. ALISON What's over? DEBBIE My youth. ALISON Don't say that. DEBBIE It's true. I just want to dance. I love dancing. ALISON So dance. DEBBIE I can't dance. I'm embarrassed. ALISON I should be embarrassed. I'm a fucking whale and I'm trying to get into some stupid club and-- DEBBIE You look beautiful. You're young and you're tall and you got the good lips and boobs. I'm going to be alone. ALISON Debbie, no, you're not. DEBBIE Yes, I am. Oh, God! Fucking, men! I get worse looking and he gets better looking, and it's so fucking unfair. Oh, fuck. We should go. My babysitter always gets mad when we come home past twelve. She's such a pissy little high- school cunt. INT. VEGAS HOTEL ROOM - NIGHT Ben curls up on the bed with his shirt and boxers on. A scene from "CHEAPER BY THE DOZEN" plays on the television. Steve Martin juggles all of his children. STEVE MARTIN (ON TV) Let's move, gang! Come on, come on, come on! Jessica, can you get these plates and put them on the table, please?! KNOCKED UP - 104. BEN This isn't funny. That guy has twelve kids. It's not funny. This is sick. This is a sick movie. That's a lot of responsibility to be joking about. That's not funny. I got to turn this off. It's freaking me out. Pete moves several chairs into the bedroom. PETE There are five different types of chairs in this hotel room. BEN Holy fuck. What are they all doing in here? PETE These are five different types of chair. BEN Get them out of here, man. This is too many chairs for one room. PETE There's a guy that works for this hotel. His whole job is to find chairs. Pete moves to a tall chair. PETE (CONT'D) Look at this one. Look at it. It's gold and red and it's kind of shiny. Shiny thread? Unbelievable. It is beautiful, and it feels amazing. BEN The tall one's gawking at me and the short one's being very droll. I don't like them. Pete switches to another chair. PETE Oh, wow! BEN It's weird that chairs even exist when you're not sitting on them. Pete switched to another tall chair. PETE I'm up high! I'm really high up. BEN I should've read the baby books. PETE Why didn't you read the baby books? KNOCKED UP - 105. BEN Because then it's real, you know? PETE Dude, it's real whether or not you read those books. That baby's coming. Pete sits on another chair. PETE (CONT'D) Oh, man! BEN Think they'll take us back? PETE Yes. But I don't know why. Do you ever wonder how somebody could even like you? BEN All the time, man. Like every day. I wonder how you like me. PETE How can Debbie like me? She likes me. I mean, she loves me. The biggest problem in our marriage is that she wants me around. She loves me so much that she wants me around all the time. That's our biggest problem. And I can't even accept that? Uh, like that upsets me?! Ben sits up from the bed. BEN What? PETE She's the one. She loves me. BEN You can't believe...that people love you? I love you, man! Debbie loves you! PETE I don't think I can accept her love. There's something wrong with me. BEN You can't accept love? PETE I don't know what it is. BEN Love? The most beautiful, shiny, warmy thing in the world? You can't accept it? PETE I have to go to this other chair. KNOCKED UP - 106. Pete switches to a new chair. PETE (CONT'D) Oh, this is a better energy. BEN You can't accept pure love? You can't accept Debbie? She's chosen to give you her life. She's picked you as her life partner! But you play fantasy baseball because you can't accept her love? Ben BURPS. BEN (CONT'D) Ugh. I could accept it, man. And Debbie's amazing, man. She's cool and she's funny and she smells good and she's nice and her hair always looks different. She's too good for you, man. Pete shoves his hand in his mouth. PETE Tastes like a rainbow. BEN You're disgusting. You're an urchin. And she busts your balls because you're a little bitch! You're a filthy bitch! And I'd bust your balls! Debbie wants to give her life to you and Alison doesn't want to do that with me. And it makes me sad all day. I want to go home. PETE (with fist in mouth) I want to go home, too. EXT. DEBBIE AND PETE'S HOUSE - DAY Establishing shot. EXT. DEBBIE AND PETE'S HOUSE, BACKYARD Debbie and Alison set up Sadie's princess birthday party. ALISON Everything looks beautiful. DEBBIE Thanks. I went kind of overboard, huh? ALISON No, it's great. DEBBIE Your daughter only turns eight once. Is Ben going to come? KNOCKED UP - 107. ALISON I don't think so. I don't know why he would. EXT. DEBBIE AND PETE'S HOUSE Ben approaches the house with a present. He wears a button-down shirt and long khaki shorts. He KNOCKS on the door. Sadie opens the door. BEN Oh, hey, what up dog? SADIE Where have you been? BEN Around. You know, just kind of doing my thing. SADIE Why is everybody so mad at you? BEN I don't know. Are they mad? What have they been saying? SADIE They've been saying, like "blah-blah- blah-blah. Ben's a prick." BEN They said that? SADIE A lot. BEN That sucks. SADIE What does it mean? BEN Penis. It means penis. SADIE Oh. (CHUCKLING) Penis. INT. DEBBIE AND PETE'S HOUSE, KITCHEN Pete and Debbie prepare food as Ben walks in. Pete wears a crown. PETE Babe, we're running low on plates. (TO BEN) Hey Ben! What's up, man? KNOCKED UP - 108. BEN What's happening, man? DEBBIE Hey, Ben. BEN Hey, Debbie. DEBBIE How are you? BEN Good. How are you? Ben and Debbie kiss hello. DEBBIE Hi. (TO PETE) Did you just get pink cupcakes or yellow and pink cupcakes? PETE I just got yellow cupcakes. DEBBIE I thought I said to get pink cupcakes. PETE I can run out. I'll get some more. DEBBIE Nah, it's no big deal. PETE I don't mind. DEBBIE No it doesn't matter. PETE You sure? DEBBIE Yeah. You look really cute in that. Pete and Debbie kiss. Debbie exits. BEN Well, that was fast, you pussy. PETE You're the one that got dressed up like a cholo on Easter to come to this party. BEN How are things at Butt-Fucking-Ham Palace? KNOCKED UP - 109. PETE You look like Babe Ruth's gay brother, Gabe Ruth. BEN Well played, sir. That was good. PETE You going to talk to Alison? BEN Yeah, I was about to. PETE Right on. Ben hands Pete his gift for Sadie. BEN It's a doll. PETE Thanks, Ben. EXT. DEBBIE AND PETE'S HOUSE, BACKYARD Alison and Ben talk off to the side. ALISON I just don't think we can make it work. BEN We can get back on track and everything's going to be great. ALISON You're just being nice. And I'm being nice and just because we're two nice people doesn't mean we should stay together. I don't want this baby to determine the rest of our lives. You know? Me not wanting to do this alone isn't enough of a reason to drag you into a relationship with me. It's just not fair. And, and don't repeat this, but, God, I don't want to end up like Debbie. BEN But Debbie's happy. ALISON She's happy today. But every day is a constant struggle for them because they're not right for each other. You know? And they have to force it and I don't want us to have to do that. I don't want to force you to be what I think you should be. That's wrong of me because you're great. You really are. You're great the way you are and, I mean, you like to get high and you like to do shrooms in Vegas. KNOCKED UP - 110. BEN I didn't do shrooms in Vegas. ALISON And who am I to stop you? Who am I to tell you that that's wrong? It's not wrong. It's who you are. It's what you enjoy and that's your life and... BEN I'm not that guy anymore. ALISON We can be friends. And you can be there when the baby is born, and in the baby's life as much as you want. I hope you will be. BEN If you give me a shot to just show you that I'm con-- Debbie approaches. DEBBIE Excuse me? BEN Oh, shit. DEBBIE (TO ALISON) Can you grab the video camera? We're going to sing "Happy Birthday" now. ALISON Yeah. (TO BEN) I'm sorry. I got to go. I'm sorry. BEN It's okay. ALISON I'll be right back. We'll finish talking. INT. DEBBIE AND PETE'S HOUSE, KITCHEN Ben stomps back into the kitchen. Pete is carrying the birthday cake. PETE What happened? BEN Thanks for warning me, man. I just walking into a fucking buzz saw! She rejected me! Because you, for some insane reason, told Debbie that I did mushrooms with you in Vegas! She gets mad because I smoke pot! (MORE) KNOCKED UP - 111. BEN (CONT'D) Now I'm upping it to fucking psychedelics! Thanks! PETE Really? I thought that she'd take you back. BEN You know why she just rejected me? Because you're such a shitty husband, she thinks I'm going to turn into a shitty husband! Ben exits. Pete starts to carry the cake to the backyard. PETE (SINGING) "Happy Birthday to you. Happy Birthday to you." EXT. MTV MOVIE AWARDS - DAY Alison interviews JESSICA ALBA. JESSICA ALBA When are you due? ALISON I got two months. JESSICA ALBA Really? Wow. Well, you're so big already. ALISON Yeah. Alison interviews ANDY DICK. ANDY DICK When is that baby popping out? ALISON I got two months to go. ANDY DICK Really? Are you dilated yet? Andy tries to stick his hand up Alison's dress. ALISON Wow, wow. Alison interviews EVA MENDES. EVA MENDES You look fantastic. ALISON Thanks, thanks. KNOCKED UP - 112. EVA MENDES Are you going to, like, give birth right now? Alison interviews STEVE CARELL. STEVE CARELL Wow! You're about to drop any second. ALISON You know what? STEVE CARELL I love your broach here. ALISON You don't need to lie to me. I don't appreciate it. I know I look like a fat cow. And I'm sweating profusely. STEVE CARELL No, you don't look like a...fat cow at all. You look great. So, I have to get going in. They're calling me. ALISON Steve, hey! Help me out. Give me an interview, please. STEVE CARELL Well, I just need to run in. Steve starts to pull away. ALISON You know what? Just say into the camera, "You're watching E! Entertainment." Just give me that. STEVE CARELL Congratulations. ALISON No, Steve, don't be an asshole! Come on. STEVE CARELL I'm not being an asshole. INT. EDITING BAY Alison and Brent watch the MTV Movies Awards footage. BRENT Wow. You managed to turn Steve Carell into an asshole. No easy feat. ALISON Shut up, Brent. KNOCKED UP - 113. INT. BEN'S HOUSE - NIGHT Ben sits on the couch and talks to Harris on the telephone. BEN You screwed me, Dad, okay? You said everything was going to be fine and nothing is fine. Nothing is fine. HARRIS (O.S.) Ben, I've been divorced three times. Why would you listen to me? BEN Because you were the only one giving me advice! And it was, it was terrible advice! HARRIS (O.S.) You can go around blaming everyone else, but in the end, until you take responsibility for yourself, none of this is going to work out. BEN I don't know how to take responsibility for myself, okay? I didn't read the baby books! HARRIS (O.S.) You didn't read the books? BEN I should smoke less pot. I don't know what to do! I'm an idiot! What, tell me what to do! HARRIS (O.S.) I don't know. I don't know. Ben, I love ya. What can I tell ya? BEN Just tell me what to do. INT. JETSET STUDIOS - DAY Ben sits at his work desk as his new BOSS walks by. Ben has gotten a job designing web pages. BOSS Stone, you settling in okay? BEN Best job I ever had. BOSS Like to hear it. INT. BEN'S NEW APARTMENT - DAY Ben is being shown an apartment by a realtor. KNOCKED UP - 114. INT. DR. HOWARD'S OFFICE Dr. Howard gives Alison a sonogram. Ben is not there. EXT. BEN'S HOUSE - DAY Ben's roommates help him move his stuff into a moving van. INT. YOGA STUDIO - DAY Alison and Debbie participate in a baby exercise class among other couples. INT. BABY CLOTHES STORE Ben asks a salesman about baby clothes. INT. ALISON'S GUEST HOUSE - DAY Alison folds baby clothes in her nursery. INT. BEN'S NEW APARTMENT - DAY Ben hangs up wrapping paper as wall paper in his makeshift nursery. INT. JACK'S OFFICE, E! ENTERTAINMENT - DAY Alison, Jill and Jack are in the office. JACK Alison, thank you for coming in. I don't want to shock you, but know what's under that jacket. You're pregnant, have been for a while. From my count, you're right around eight months. And I don't know why you felt you couldn't tell us. ALISON I'm really sorry. JILL This is Hollywood. We don't like liars. ALISON I just wasn't expecting this and, I didn't know how to handle it, and I didn't want to lose my job. I'm really sorry. JACK It's unfortunate that you didn't tell us because you would've found out that we thought it's great. KNOCKED UP - 115. ALISON Really? JILL Yeah. JACK So, we did some research. And turns out, people like pregnant. ALISON Oh, my God! JACK The bigger you are, the bigger your numbers. JILL I was surprised because I feel the opposite. JACK We're going to do a whole maternity month on "E, Exclamation, Mommy." You're going to interview all the pregnant celebs. ALISON Really? JACK Yes. JILL Scary! JACK If you're pregnant, they're pregnant, you can talk about being pregnant. JILL It just grosses me out...when I know that people are pregnant. Because I think about the birth. Everything's so wet. JACK And everything that goes into it. None of the gross stuff. But you know, hopes, dreams, whatever. It's going to be great. ALISON Oh, my God. This is such good news. Thank you so much. JACK You're welcome. And then, after the baby is out, tighten it back up. JILL Tight. And please don't lie to us again. Because maybe someday we could be friends. KNOCKED UP - 116. ALISON Okay. I won't. I'm sorry. JILL I just don't like secrets. INT. DEBBIE AND PETE'S HOUSE - DAY Alison holds the door while Pete, Debbie, Charlotte and Sadie move their bags to the car. PETE You know, it's a rare thing that you live to see the day your wildest dreams come true. I mean what is there left to want? I get to go to Legoland. DEBBIE Shut up, Pete. PETE Say it! ALISON Legoland! DEBBIE Don't get them all riled up before the drive. PETE I shouldn't have given them all that meth then. DEBBIE We'll be back on Sunday. PETE Or Saturday. You never know. We might see it all in one day. DEBBIE Sunday. Let's go. INT. ALISON'S GUEST HOUSE - NIGHT Alison watches the lesbian pool scene from "Wild Things." She suddenly get a pain in her belly. She winces. ALISON Ow, ow, ow. INT. BEN'S NEW APARTMENT Ben's phone RINGS. BEN Hello? KNOCKED UP - 117. INT. BEN'S OLD HOUSE - CONTINUOUS Jason sits in a chair. Jonah stands behind him. JASON Hey, what's up daddy? What are you doing? INT. BEN'S NEW APARTMENT - CONTINUOUS Ben reads a baby book. BEN Just smoking a joint, drinking some beers, you know. Rocking. INTERCUT: JASON I think we're about to go to a new club. You coming? BEN No. I'm going to pack it in soon. JONAH (TO JASON) What's he doing? JASON (TO JONAH) He says he's going to call it a night. (TO BEN) Dude, it's like eight-fifteen, man. BEN I know. I'm just tired. JONAH (TO JASON) Is he depressed? JASON (TO BEN) You depressed? BEN No, I feel great. I like it. JASON (TO JONAH) He says no. JONAH (TO JASON) Ask him if he's going to kill himself. JASON (TO BEN) You going to kill yourself? BEN No, I'm not. Okay? Thank you. KNOCKED UP - 118. JONAH (TO JASON) Tell him not to jerk off with a noose around his neck. It's dangerous. JASON (TO BEN) You shouldn't jerk off with a noose around your neck because it's dangerous. BEN Okay, very good. JONAH (TO JASON) Oh, and tell him if he has to, tell him he needs a teammate or a spotter there. JASON (TO BEN) Right. And if you do, um, you should have a teammate or a spotter there. BEN Great. JASON (TO JONAH) He says your mom's already there. JONAH That's cool, man. INT. ALISON'S GUEST HOUSE Alison paces while on the phone. ALISON (TO HERSELF) Okay, okay, okay. (into the phone) Hi, Dr. Howard? INT. MEXICAN RESTARAUNT - CONTINUOUS DR. ANGELO walks into the restaraunt. DR. ANGELO No, this is Dr. Angelo. How can I help you? INT. ALISON'S GUEST HOUSE - CONTINUOUS ALISON I'm a patient of Dr. Howard's and I'm going into labor and I need to speak with him. KNOCKED UP - 119. INTERCUT: DR. ANGELO I actually don't know where he is tonight. But I've made myself available to his patients and I'd be happy to help you. ALISON Can you help me find him? Can you give me his number? DR. ANGELO Oh, no. You know what? Actually, I'm under strict instructions not give out his number, but I can help you through this. ALISON No, no, no, no. I want to speak to my own doctor. You really won't give me his number? Because this is my first baby and he promised that he would be here for me and I need you to give me his number, okay? DR. ANGELO Dr. Howard is not available tonight. Bet everything's going to be okay, I assure you. ALISON No, I don't want you to help me because I have no idea who you are! I want my own goddamned doctor! You make sure he calls me! Alison clicks off the phone. ALISON (CONT'D) (TO HERSELF) Oh, shit. Okay. Oh, shit. Alison calls Ben. INT. BEN'S NEW APARTMENT Ben's sleeps in his bed. His phone RINGS. He blindly fishes for the phone. BEN Hello? I/E BEN'S CAR - NIGHT Ben feverishly drives to Alison. BEN (TO CAR) Oh, don't run out of gas! Don't run out of gas! Come on! KNOCKED UP - 120. INT. ALISON'S GUEST HOUSE - NIGHT Ben runs into Alison's guest house. It is empty. BEN Hello? EXT. DEBBIE AND PETE'S HOUSE, BACKYARD Ben uses the back door to get into the house. INT. DEBBIE AND PETE'S HOUSE, BEDROOM Ben checks every room in the house. BEN Please be in here. Hello? Hello! INT. DEBBIE AND PETE'S HOUSE, BATHROOM Ben finds Alison in a bubble bath surrounded by candles and SOOTHING MUSIC. BEN Hello? Alison. Hello? ALISON Ben? BEN Alison. What is this, like a water birth? What are we doing? Should we go? ALISON Shh! Just relax, okay? Just be mellow, because that's what this is all about. Because if it gets too stressful in here then the baby is born into a stressful environment and then he's wired for stress for the rest of his life. So just...just be calm. BEN (WHISPERING) Okay. Okay. Let's relax. Do you want to talk about things? I feel really bad about a lot of the shit I did. I can't believe I said some of that. That's all I think about in my head. IT-- ALISON I don't want to talk about it. BEN But maybe we could bring the baby into a reconciled place so, we can talk-- KNOCKED UP - 121. ALISON No. I don't want to go there. Don't go there, okay? BEN Okay. ALISON Help me stay relaxed. BEN So, what should I do? ALISON You need to call Dr. Howard. Ben goes into the hall and calls Dr. Howard's house. INT. DR. HOWARD'S HOUSE Dr. Howard's housekeeper, MARIA, answers the phone. MARIA Hello? INT. DEBBIE AND PETE'S HOUSE, BATHROOM BEN Hello, this is Ben Stone. I'm calling on behalf of Alison Scott. We need Dr. Howard. It's an emergency. INT. DR. HOWARD'S HOUSE MARIA He's at San Francisco at Bar Mitzvah. INTERCUT: BEN He's at a Bar Mitzvah in San Francisco? Do you know when he gets back? MARIA In three days. BEN Do you have his cell number, by any chance? Ben pops his head around the corner to talk to Alison. BEN (CONT'D) (TO ALISON) Hey! Good news. I got his number right here. I'm going to call him right now. ALISON Great. Thank you so much. I'm so glad you're here. Thank you. KNOCKED UP - 122. BEN I'm glad I'm here, too. Thank you. I shouldn't have told you you were a fucking lunatic. I shouldn't have said that. I feel terrible about it. ALISON No, it's okay. We're past it. I'm sorry I told you to fuck your bong. BEN It's okay. I didn't ALISON Let's just drop it now. We're over it. BEN I'm going to call him right now. You're doing so great. Ben slips into the hallway and calls Dr. Howard. DR. HOWARD (O.S.) Hello, it's Dr. Howard. I'm not here right now. Please leave a message. BEN (into the phone) Hey, Doc Howard. Ben Stone calling. Guess what the fuck's up? Alison's going into labor and you are not fucking here. Now, where are you? You're at a fucking Bar Mitzvah in San Francisco, you motherfucking piece of shit! And you know I'm going to have to do now? I'm going to have to kill you. I'm going to have to pop a cap in your ass. You're dead! You're Tupac! You are fucking Biggie, you piece of shit! I hope you fucking die or drop the fucking chair and kill that fucking kid! Hope your plane crashes. Peace, fucker! Ben goes back to Alison. ALISON Hey. BEN Hey. ALISON Did you talk to him? BEN I didn't talk to him directly, I left him a very nice message, though. What I'm about to tell you isn't that bad. You should know that going in. We can get through this and it's just a little hiccup, but everything will be fine. Do you trust me when I say everything will be fine? KNOCKED UP - 123. ALISON I can deal with it. BEN Okay. So, Dr. Howard is at a Bar Mitzvah. ALISON A Bar Mitzvah? BEN It's a Jewish rite of passage. And he's going to be there for the next three days, so he will not be able to be here tonight. ALISON It's okay. What do you think we should do? BEN I know exactly what to do. All we do is we'll get in the car, I'll drive to the hospital, and on the way, we will call every gynecologist we've met. Someone will be available. You know? ALISON I can do that. BEN Good. We still have time. I mean, how far apart are your contractions? ALISON I think, like, seven minutes. BEN Seven minutes! See? Not until four minutes is it really coming. And has your water broken, even? ALISON I don't know. I'm in the tub. BEN That's a good point. Have you had, have you had your bloody show? ALISON What's that? BEN It's a bloody mucusy discharge. But it only comes out right before the baby's going to come, so if that hasn't happened, we have time. We can make it to the hospital. It's no problem. ALISON You read the baby books. BEN Yeah. I did. I read three of them, actually. KNOCKED UP - 124. ALISON Thank you. BEN You're welcome. EXT. HOSPITAL - NIGHT Ben drives Alison's car. They park in a handicapped spot. ALISON Wait. Are we allowed to park here? BEN It's okay. Ben takes a handicapped placard out of his jacket pocket and hangs it on the mirror. BEN (CONT'D) I stole this from Martin's grandma. ALISON Oh. That was really sweet of you. BEN Thanks. INT. HOSPITAL - FRONT DESK Alison and Ben approach the desk. A male nurse, SAMUEL, and a FEMALE NURSE tend to them. BEN (TO ALISON) We're close. Home stretch. (to Female Nurse) Hello. This is Alison Scott. Dr. Kuni said he would let you know we were coming? FEMALE NURSE He did. We'll take good care of you. Samuel? SAMUEL Yeah? FEMALE NURSE This is Alison Scott. Please admit her into room 307. SAMUEL All right. Hi. BEN You're our nurse? SAMUEL That's why I'm holding the clipboard. So, uh, what else is up with you guys? KNOCKED UP - 125. Ben and Alison stare at Samuel. SAMUEL (CONT'D) I'm just joking. Let's have a baby! INT. HOSPITAL ROOM Samuel is adjusting Alison's IV. SAMUEL So, I'm sorry it took me so long to find that vein. That little guy really didn't want me to find him. ALISON Is that the baby on that one right there? Alison points to some equipment by her bed side. SAMUEL Yeah. That's how we can tell how the little guy or gal is doing. ALISON Okay. A groggy Dr. Kuni enters. DR. KUNI Hello, Alison, Ben. Interesting night. BEN We really, really appreciate you coming, man. DR. KUNI What else do I have to do, I mean, besides sleep? I was only kidding. What happened to your doctor? BEN He's at a Bar Mitzvah in San Francisco. He didn't tell us though. DR. KUNI Nice. BEN Yeah. DR. KUNI Lucky for you I don't have any Jewish friends. ALISON Dr. Kuni, I really want to do this naturally. I don't want to use drugs. DR. KUNI Let's just take a look and see what happens, okay? Fetal heart rate is good. Samuel, where are we? KNOCKED UP - 126. SAMUEL Four centimeters. DR. KUNI Four centimeters what? SAMUEL Dilated. DR. KUNI Dilated. That's right. Focus. Pay attention, okay? We're a team. Okay? INT. HOSPITAL - WAITING ROOM Jonah, Jason, Jay and Martin sit in the waiting room. JONAH I want to get the fuck out of here. JAY What? JONAH I just want to get the fuck out of here. JAY Just relax, man, just relax. JONAH I don't fucking like hospitals. JAY Jonah, this is beautiful. I just think you need to relax and embrace the beauty of another life joining our gang. We're having a baby. We are having a baby. JONAH I'm not having shit besides a fucking panic attack. There's probably a fucking room back there full of dead bodies! You guys want to be here when one rolls out and just fucking coughs malaria into our face? JAY Jesus. JONAH Fucking shit. INT. HOSPITAL ROOM Ben massages Alison's back. BEN Is that good? KNOCKED UP - 127. ALISON Oh, yeah, get in there. BEN I could do this all day. The fetal heart monitors begins to BEEP. ALISON What was that? BEN What the hell was that? Samuel hurries in to check the monitor. BEN (CONT'D) What's that, what's happening? Dr. Kuni enters. DR. KUNI Well, boy and girls, what seems to be the problem? SAMUEL Decels. DR. KUNI Oh, dear. Okay. Alison, I need you to turn on your back now, okay? The baby's heart rate is slowing. Okay? BEN It's going to be okay. (to Dr. Kuni) Is it going to be fine? Alison turns onto her back. DR. KUNI It's going to be fine. Okay? (TO ALISON) You're going to feel a little bit of a push. Dr. Kuni tries to reposition the baby. BEN What are you doing? DR. KUNI I'm turning the baby so I can take the pressure off the cord. ALISON Oh, my God. The monitors stops beeping. KNOCKED UP - 128. DR. KUNI We're good. The heartbeat's stronger, but we're not out of the woods. We need to get things going now. I think the cord is wrapped around the neck. Okay? BEN What? DR. KUNI So I'm going to give you some medicine, pop the bag and get things going, okay? I don't want to leave the baby in there for long and we can give you some medicine for the pain. ALISON No, no, no, no. I don't want the baby to be born all drugged out. It's not my birth plan. DR. KUNI Now, things change. We don't have time to debate this. ALISON What? No. But no, I'm not comfortable with that. I'm not. BEN No. Would you please just listen to her? DR. KUNI Fine. Do what you want to do. BEN Whoa, whoa, whoa, what? DR. KUNI Should I leave? Do you want to be the doctor? Because I really don't need to be here. BEN No. What we want is to take a second to talk about our options, okay? That's all we want. DR. KUNI No. You mean you want to take a second to tell me how to do my job. My job is to get that baby out safely. Or I can go home! You just let me know. You be the doctor. BEN Can we talk outside in the hall for a second? INT. HOSPITAL - HALLWAY Ben and Dr. Kuni stand in the hallway. KNOCKED UP - 129. DR. KUNI That woman is a control freak, and she needs to let go and let me do my job. BEN Look, she's just having a hard time because her and her doctor had a very specific birth plan. And they wanted it to be a very special experience. DR. KUNI Okay. if you want a special experience, go to a Jimmy Buffet concert. We have a new birth plan: Get the baby out safely. BEN Look, man, will you help us out? I have no idea what I'm doing. You can be as big a dick to me as you want. Just be nice to her, man. That's all I ask. Just please be nice to her. Ben's stomach GROWLS loudly. DR. KUNI Are you okay? BEN I think so. DR. KUNI I'm sorry. Let's start fresh. BEN Thank you, man. DR. KUNI This is healthy. This is good. I think we're bonding. INT. HOSPITAL ROOM Dr. Kuni and Ben come back into the room. DR. KUNI Alison, I apologize for being a little brash, but if you're okay with it, it's rather important we break the bag and give you some medicine to speed things up. Because once the bag is broken, I don't want there to be an infection. ALISON Whatever. Do what you have to do. Dr. Kuni exits. ALISON (CONT'D) (whispering to Ben) Oh, my God. What a nightmare that guy is. KNOCKED UP - 130. BEN I know, I know. Look, I talked to him. I think he'll be more cool now. ALISON I'm so sorry I broke up with you. BEN You really don't need to be. And you know, I knew you'd give me another shot. I figured it'd be a lot sooner than this, you know? ALISON I was just in such a panic from all of this. And watching Debbie and Pete together, and my ass got so fat. BEN No, no. ALISON It did. I just never, for one minute, thought that the guy who got me pregnant would actually be the right guy for me. BEN Me neither. ALISON I guess he is. INT. HOSPITAL - HALLWAY Martin and Jonah wheel around the corner in wheelchairs. JONAH All right, Martin, who am I? (IMPERSONATING STEPHEN HAWKING) People think I'm smart because I speak in a robot voice. MARTIN Stephen Hawking. JONAH (IMPERSONATING STEPHEN HAWKING) I fuck my nurse with my ever-expanding cock. (STOPS IMPERSONATION) All right. Let's murderball. Come here! I'm going to murderball you! Jonah kicks Martin's wheelchair over. MARTIN Oh, fuck. KNOCKED UP - 131. JONAH Stay down! MARTIN Jonah, you shithead! INT. HOSPITAL ROOM Debbie and Pete come into the room. Pete holds a camcorder. DEBBIE Hi. I can't believe I go out of town and this happens. ALISON I know. DEBBIE I'm sorry, but I'm not going anywhere. ALISON Screw Legoland. PETE All right, how do you want this? You want this over the shoulder? I can do whatever you want. I can get in there. Kind of Spike Lee angles. ALISON No, you can shoot the waiting room. That would be great. DEBBIE (TO BEN) Well, thank you. I've got it from here. ALISON Debbie. BEN (TO DEBBIE) Can I talk to you in the hall for a second? DEBBIE Why? INT. HOSPITAL - HALLWAY Ben and Debbie talk in the hallway alone. BEN I'd like to be in there with Alison...without you. DEBBIE Okay. I understand how you feel, but this isn't up to you. KNOCKED UP - 132. BEN Look, Debbie, you are high off your ass if you think you're coming into that room. If you take one step towards that door, I will tell security there's a crazy chick in a pink dress snatching up babies. Okay? So don't even try to come into that room. That's my room now. That little area with the Pepsi machine...that's your area. My room. Your area. Stay in your area. Stay out of my room. Back the fuck off. INT. HOSPITAL - WAITING ROOM Debbie sits down in a seat next to Pete. PETE What are you doing here? DEBBIE He just kicked me out. He told me to leave. But I guess it's good, right? He said he's going to take care of her. He really seems on his game. I think he's going to be a good dad. I think I like him. Thank God. PETE I wish I'd gotten that on tape. INT. HOSPITAL ROOM Alison is in labor. She is PANTING. ALISON Go! Holy shit, almighty! Oh, shit, this really hurts! DR. KUNI Ah, I see we're well on our way. ALISON I want the epidural! Okay? Give me the epidural! BEN Give it to her. Give her the epidural, okay? ALISON Okay? BEN Give it to her now. DR. KUNI Alison, we're past the point of an epidural. The cervix is fully dilated. KNOCKED UP - 133. ALISON No, seriously, I want an epidural! I know there's time! DR. KUNI We can't give you the epidural. ALISON Take the time! I'll make sure it doesn't come out! I'll stop pushing. BEN We have time. ALISON I'll stop, oh, please, please, please! BEN Just do it, please! DR. KUNI I'm sorry. We have no time. We're going to just have to do this the all natural way, okay? The way you wanted to do it. Okay? Ready? ALISON Okay. DR. KUNI Here comes another contraction, okay? I want you to push. Okay, ready? Good, good, good. ALISON I feel everything! Oh, my God! It's happening. SAMUEL Maybe we can take it down just a little. I think you're going to scare the other pregnant women. ALISON Are you fucking kidding me? Are you kidding me? INT. HOSPITAL - WAITING ROOM Alison's SHRIEKING is heard in the waiting room. JAY Jesus. JONAH Oh. This is messed up. Something's wrong in there. JASON No, no. I mean, granted, gynecology's only a hobby of mine, but it sounds to me like she's crowning. Is that right, Deb? KNOCKED UP - 134. DEBBIE Yeah. That's what it sounds like for everyone. Everyone goes through this. JAY No, I disagree with you. That sounds terrible. I'm going to go sneak a peek, see if there's anything I can do. Jay goes to Alison's room. INT. HOSPITAL ROOM Alison is in agony. Ben, Dr. Kuni and nurses are hunched around her. DR. KUNI It's crowning! I'm seeing the head! ALISON Oh, God. Honey, what does it look like, Ben? Been peers down between Alison's legs. We actually see the crowning shot as the baby's head is being pushed out of Alison's vagina. BEN Oh, God. ALISON What? BEN You don't want to see it. You don't WANT-- ALISON No, I want to see it! BEN It's beautiful. You don't want to, though. ALISON No, I want to see... A nurse holds a mirror for Alison. She sees the actual crowning shot. ALISON (CONT'D) ...it! Oh, God! Oh, God! DR. KUNI Okay, we're almost home! One, two-- Jay bursts in. JAY You okay in here? KNOCKED UP - 135. Jay sees the crowning shot. JAY (CONT'D) Jesus! ALISON Get out! JAY Yeah, okay. INT. HOSPITAL - WAITING ROOM Jay solemnly returns to his chair. JASON You all right, buddy? JAY One sec. JONAH What did it look like? JAY I shouldn't have gone in there. Don't go in there. Promise me you don't go in there. JONAH Me go in there? That's the last fucking place I want to go. Like I'm going to go in there. Try getting a boner now. Jason beams at Debbie. JASON What's up Deb? DEBBIE Hey. Pete looks at Debbie. INT. HOSPITAL ROOM The birth is still in progress. DR. KUNI Push. One, two, three. ALISON Oh, God! DR. KUNI You've passed the shoulders. One more big push. Good. The baby comes out. Dr. Kuni cleans it up. KNOCKED UP - 136. ALISON Oh, Ben. I did it. BEN You did it. ALISON It's out. BEN You did it. Oh, my God, you did it. Dr. Kuni hands the baby to Alison. ALISON Hi, baby. I love you, Ben. BEN I love you so much, too. Oh, my God. DR. KUNI Congratulations, you two. Beautiful. ALISON Thank you. DR. KUNI You did so great. You were amazing. ALISON Pretty baby. BEN You got out. You made it out. Welcome. INT. HOSPITAL - WAITING ROOM MARTIN You ever get so bored you just stare at your balls? JONAH I bet you do, late John Lennon. MARTIN Here we go again. DEBBIE (whispering to Pete) Who is that? Is that Ben's rabbi? Is he the one who cuts the penis? PETE I think it's Matisyahu. MARTIN Awesome. JASON You want out of the bet? MARTIN I want out of the bet. KNOCKED UP - 137. JASON You know what you have to say. Just say it, man. I think now is the time. MARTIN "Jason, you're the master." JASON You heard it, right? JAY Yeah. JASON All right. You're out of the bet. You're done. Martin hugs Jason. JASON (CONT'D) Your face smells like an old man's balls. MARTIN Thank you. INT. HOSPITAL ROOM Debbie and Pete come to check in on Alison. DEBBIE Oh, my God. Hello. My goodness. She's beautiful. She's beautiful. I love you, Ben. BEN I love you, Debbie. DEBBIE (TO PETE) We're going to have another baby. PETE Okay. Pete turns the camera on himself and shakes his head "no." DEBBIE Hello, baby. INT. HOSPITAL - WAITING ROOM Ben enters the waiting room to talk to the guys. BEN Gentlemen, it's a girl! THE GUYS Ohhhhhhh! BEN Yeah! KNOCKED UP - 138. They all hug. JAY We got a daughter! Mazel Tov! JASON Congratulations, Daddy! JAY We got a beautiful little girl! BEN Let's meet her! She's awesome. JAY A beautiful little girl! JASON Let's meet her. Aw. INT. HOSPITAL ROOM - LATER Alison sleeps while Ben holds the baby. Everyone else has gone home. BEN (to the baby) And then your mommy said, "Just do it, already," which was very confusing to Daddy. So I listened to the most literal translation of that and I just did it, already. What would you do? Don't tell Mommy, but it was the smartest thing I ever did, listening to her, because now you're here. Isn't that nice? I think it is. EXT. HOSPITAL - DAY Ben and a Nurse push Alison and the baby in a wheelchair. I/E ALISON'S CAR Ben drives while Alison and the baby are in the back seat. ALISON I hope your apartment's big enough for the three of us. BEN It definitely is. That's why I got one in East LA. The rent. It's huge! The only thing is we have to decide if we're going to be Crips or Bloods before we get there. ALISON Well, I look good in red. KNOCKED UP - 139. BEN I look good in blue. The fighting continues. We could just throw off everyone and become Latin Kings. ALISON Yeah. BEN We both look good in gold. ALISON Good choice. I would yell at you about driving so slow, except the baby's here. BEN No, these guys can honk all they want. I ain't going faster than twelve. It might take us around three hours to get home, though. The car moves slowly down the highway with a line of cars waiting behind them. FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Kramer vs Kramer.txt b/unformated_scripts/Script_Kramer vs Kramer.txt new file mode 100644 index 0000000000000000000000000000000000000000..58c68b10cbf4b8e7989d1ec035c5aa9b7ab12ca5 --- /dev/null +++ b/unformated_scripts/Script_Kramer vs Kramer.txt @@ -0,0 +1 @@ + "KRAMER VS. KRAMER" by Robert Benton FADE IN: INT. OFFICE ñ ADVERTISING AGENCY ñ MIDTOWN ñ EVENING WIDE SHOT A large and very comfortable office over-looking St. Patrick's Cathedral. At the moment the office is filled to bursting with men and women, slumped in chairs, sitting on desks, all of them very tense. Among the crowd of people we note: MURRAY FISHER, a young and very ambitious junior executive and PHYLLIS BERNARD, an attractive woman in her early thirties. She is a lawyer with the agency. At the moment, TED KRAMER, nice-looking without being what you would call a matinee idol, paces back and forth. His tie is loosened, he checks his watch every fifteen seconds. Clearly he is very distraught. TED (predicting the worst) They're not gonna call... I tell you they're not gonna call. I blew it. I don't know what I did wrong, but I ñ REVERSE ON JIM O'CONNOR Ted's boss and good friend. He is in his middle fifties, nattily dressed with the slightly bleary look of a heavy drinker. He sits back in his chair with his feet propped on the desk and a drink in one hand. O'CONNOR (not unfriendly) Ted, will you take it easy? Revlon's not about to drop an account that represents more than two million in gross billing receipts in a small agency like this, without making us sweat. Now just relax, okay? Everything's gonna be fine. TED (at this stage, nothing will help) I don't think so, Jim. Maybe I shouldn't have ñ Sound-effect: The phone rings. Everyone freezes. As O'Connor reaches for the phone, CUT TO: INT. CHILD'S ROOM, KRAMER APT. ñ EVENING The room is dark, the only light coming from a small night light. We SEE a beautiful five year old boy (BILLY KRAMER). He lies in bed, half asleep. HOLD FOR A BEAT as a beautiful woman (JOANNA KRAMER) leans over, kisses the child and hugs him tightly to her. JOANNA (intense) I love you, Billy... BILLY (drowsy) I love you too, mommy... Good-night... ON JOANNA She gets up from the bed and starts toward the door of the child's room. JOANNA Sleep tight... BILLY Don't let the bedbugs bite... Joanna stops in the doorway, silhouetted against the light. She turns, takes a last look at her son, then steps outside. CUT TO: INT. HALLWAY ñ EVENING ON JOANNA Now that the light is brighter, we can SEE her more clearly. In her mid-thirties, she is beautiful, dressed in a style that can best be described as Bloomingdale's. HOLD FOR A BEAT as she leans against the door. It is clear from her expression that she is terribly upset. Then, making up her mind, she crosses to a closet and takes out a suitcase. THE CAMERA TRACKS WITH HER as she carries it into the bedroom, lays it out on the bed and opens it. PAN WITH HER as she crosses to a closet, grabs an armload of clothes and dumps them helter-skelter into the suitcase. CUT TO: INT. O'CONNOR'S OFFICE ñ EVENING It is a few minutes later, the news has obviously been good because there is a general celebration in progress. Jim O'Connor, now standing, raises one hand for silence, then making a toast. O'CONNOR Here's to Ted Kramer. Cheers and good-natured jokes. O'CONNOR (putting an arm around Ted squeezing him tight) I wanna tell you something about this little runt. He went out there and sold the shit out of Revlon and that's why we got the account. It was his idea, it was his concept, right down the line... More hoots and cheers. People start to yell "Speech." TED (embarrassed, but cannot stop grinning) All I can say... All I can say is this is maybe one of the five best days of my whole life... CUT TO: INT. BATHROOM ñ KRAMER APT. ñ EVENING Joanna stands at the medicine cabinet, going through it, packing things in a travel kit: rollers, deodorant, makeup, birth control pills. She starts to take a small bottle of perfume that has only an eighth of an inch of fluid left inside, hesitates, then puts it back. CUT TO: INT. O'CONNOR'S OFFICE ñ EVENING Now some time has passed, most of the crowd has gone and only the regulars are left. TED (in the middle of a story) So anyway Jim and I are making the pitch, right? And all of a sudden this old guy starts to cough and I keep on going and he keeps on coughing and I keep on going and he keeps on coughing and ñ Murray Fisher leans over, shakes Ted's hand. MURRAY (interrupting) Congratulations, Ted. That was a hell of a job. TED (surprised) Where you goin' Murray, it's early? MURRAY Got to get home. TED (glancing at his watch) Oh, Christ, I'm late... I gotta get out of here. (however, instead of going, he settles back and resumes his story) So anyway, I look over and this old geezer is starting to turn blue and I swear to God the only thing I can think about is that this poor sonofabitch is gonna die on me and screw up the pitch. CUT TO: INT. KITCHEN ñ KRAMER APT. ñ EVENING INSERT: A long and meticulous list that Joanna is making out of the phone numbers and addresses of doctors and hospitals, of what the various medicines are for, and of the foods that Billy is and isn't permitted to eat. WIDER ANGLE As Joanna puts the finishing touches on the list and carefully arranges it on top of the kitchen counter next to a box of unsweetened, whole grain cereal and a jar of honey. Note: It is this same set of notes that Ted will later unthinkingly throw away. CUT TO: EXT. OFFICE BUILDING ñ MIDTOWN ñ NIGHT WIDE SHOT As the doors to the outer lobby open and Ted and O'Connor appear. Ted starts to hail a cab, O'Connor stops him. O'CONNOR Hey, what's the rush? C'mon, walk me a couple of blocks. TED Jim, I've got to go. I'm already late ñ O'CONNOR Listen, Ted... I just want to tell you, when old man Schmidt retires next year, I've got a pretty good feeling they'll kick me upstairs... He turns and starts to walk off down the street, Ted, of course, follows. O'CONNOR ...and when they do, I just want you to know I'm takin' you along with me. CUT TO: INT. BEDROOM ñ KRAMER APT. ñ NIGHT CLOSE ON JOANNA As she goes through her jewelry case, taking some things, leaving others. In the B.G. we SEE a framed photograph of Billy, smiling, looking into the camera. CUT TO: EXT. STREET ñ NIGHT ON TED AND O'CONNOR Tracking with them as they walk. O'CONNOR (feeling no pain) Y'know, Ted, I mean what I said back there. You did a hell of a job on this and I want you to know I'm turning the whole show over to you. TED (thrilled) Wow! O'CONNOR I mean it Ted, you're running this one. CUT TO: INT. BEDROOM ñ KRAMER APT. ñ NIGHT WIDE SHOT The suitcase is now full. Joanna zips it shut and looks around to make sure that she hasn't forgotten anything. Then, she hefts her suitcase and starts out of the room. CUT TO: INT. FOYER ñ NIGHT WIDE SHOT Joanna carries in the suitcase, sets it by the front door, then she crosses to the living room and sits down at the dining table. CLOSER IN ON HER She takes out a list made on the back of an old envelope. As she begins to review it, checking off some items: OFF SCREEN Sound: A key turning in the lock. As Joanna looks up... CUT TO: HER POV As the door swings open to reveal Ted Kramer, an enormous grin on his face, a bottle of champagne in his hand. He is so full of himself that he doesn't notice there is anything wrong. Note: Throughout the entire scene he carries the bottle of champagne, never putting it down. TED I thought you might just like to know that at five-fifteen this afternoon we were officially handed the Fire and Ice account by Revlon. CROSS-CUTTING BETWEEN THEM: JOANNA (she takes a deep breath, then:) Ted, I'm leaving you. TED That represents a gross billing in excess of two million ñ (hearing her) What?! Joanna opens her purse, takes out her keys and wallet. JOANNA Here are my keys. I won't be needing them any more. Note: Ted does not for a moment believe that his wife will really leave him. All he can think of right now is that he will have to spend the rest of the evening coping with one of her moods. TED (sardonic) I'm sorry I'm late, all right? I'm sorry I didn't call ñ I was busy making a living. CROSS-CUTTING BETWEEN THEM: Joanna doesn't even bother to look up at him. She opens her purse, takes out her wallet and begins removing credit cards. JOANNA My American Express... My Bloomingdale's Credit Card... My check book ñ TED (the martyr) Okay, okay... What is it this time? What did I do now?... JOANNA (ignoring this) I took two thousand out of the savings account. That was what I had in the bank when we got married. TED Joanna, whatever it is, believe me, I'm sorry. JOANNA Here are the slips for the laundry and the cleaning. They'll be ready on Saturday. TED (hard lining it) Now listen, before you do something you'll really regret you'd better stop and think - JOANNA (not bothering to look up) I've paid the rent, the Con-Ed and the phone bill, so you don't have to worry about them. She checks off the last item on her list as her husband watches, dumbfounded. JOANNA There, that's everything. Joanna gets to her feet and starts toward the front door. In an instant Ted is after her. TED (panic starting) For God's sake, Joanna, would you at least tell me what I did that's so terrible! Would you do me that little favor? ON JOANNA At the door. JOANNA Look, it's not your fault, okay? It's me. It's my fault ñ you just married the wrong person. TED (placating her) So we've got problems. Everybody's got problems ñ that's normal ñ Joanna opens the door and they step out into the hallway. INT. HALLWAY OUTSIDE KRAMER APT. ñ EVENING JOANNA Ted, you're not listening to me. It's over, finished. TED I'm listening, Joanna ñ believe me, I'm listening. My wife is walking out on me after eight years of ñ JOANNA (bitter) You just don't get it, do you? (as though to a child) I ñ am ñ really ñ and ñ truly ñ leaving ñ you. TED I heard you, Joanna. I promise I heard you. JOANNA No you didn't. (quietly) You didn't even ask about Billy. TED (stiffening) What about Billy? JOANNA I'm not taking him with me. TED What? JOANNA (tears start) Ted, I can't... I tried... I really tried but... I just can't hack it anymore... TED C'mon, Joanna, you don't mean that. You're a terrific mother ñ JOANNA (from her gut) I am not! I'm a terrible mother! I'm an awful mother. I yell at him all the time. I have no patience. No... No. He's better off without me. (unable to look at Ted) Ted, I've got to go... I've got to go. TED (desperate) Okay, I understand and I promise I won't try and stop you, but you can't just go... Look, come inside and talk... Just for a few minutes. JOANNA (pleading) NO!... Please... Please don't make me stay... I swear... If you do, sooner or later... maybe tomorrow, maybe next week... maybe a year from now... (looking directly at him) I'll go right out the window. Sound-effect: The elevator approaching. CROSS-CUTTING BETWEEN THEM: There is nothing more that can be done, this is the last moment of intimacy. TED (quiet) Where are you going? JOANNA I don't know... The elevator door opens, Joanna steps inside. TED Do you want me to help you get a cab? Joanna shakes her head. The elevator door closes behind her and it starts to descend. ON TED KRAMER He stands for a moment, stunned, unable to move. Then he turns and races back into the apartment. THE CAMERA TRACKS WITH HIM as he rushes across to one of the living room windows, throws it open and leans out. HIS POV Looking down to the street from the eighth floor. We SEE Joanna step off the curb and hail a passing taxi. TED (calling out) Joanna!?... Joanna?! Either she doesn't hear him or else she pays no attention. She gets into the cab, closes the door behind her and it drives away. CUT TO: INT. APT. ñ NIGHT ON TED As he stands for a moment watching the taxi as it disappears. Then, slowly, he closes the window, turns, and AS THE CAMERA TRACKS WITH HIM, walks into the bedroom. The bedroom is a mess: the closet door stands open, inside Joanna's section is empty except for some shoe-boxes and a few dresses that are scattered across the floor. Several dresser drawers have been pulled out and their contents emptied. HOLD IN A WIDE SHOT as Ted wearily picks up one of the dresses and hangs it back on its hanger in its proper place, ready for Joanna's return. As he continues straightening up the room, THE CAMERA SLOWLY FADES TO BLACK. FADE IN: INT. LIVING ROOM ñ VERY LATE AT NIGHT WIDE SHOT Ted Kramer paces back and forth, eyeing the phone. Then, coming to a decision, he crosses to it, picks up the receiver and starts to dial. CUT TO: EXT. APT. BLDG. ñ LATE AT NIGHT WIDE SHOT The building is dark except for the Kramer apartment which is ablaze with lights. HOLD as we HEAR: Sound: The phone ringing. Then: WOMAN'S VOICE (obviously asleep) Huh... Hello? TED (righteous) All right, Thelma... That's it. I've had it. You can call your good friend Joanna Kramer and tell her enough is enough, okay? I mean, I don't know what I did, but you can tell her she's made her point. WOMAN'S VOICE Ted, what are you talking about?! TED Don't play innocent with me, Thelma. You know perfectly well what's going on. WOMAN'S VOICE (exasperated) Ted, I don't understand a word you're saying. Where's Joanna? TED Ha! You tell me. Sound-effect, as Ted slams down the receiver. Instantly a light is turned on two floors below. CUT TO: INT. FOYER ñ KRAMER APT. ñ NIGHT ON THE FRONT DOOR As we HEAR: Sound-effect: the doorbell rings. A moment later Ted opens the door and THELMA PHILLIPS enters. She is a neighbor (Apt. 6-B) and Joanna Kramer's best friend. About four months ago Thelma and her husband Charley were divorced. Until then the two families had been very close, the Kramer's son (Billy) being about the same age as the Phillips' daughter (Kim). With the divorce, however, the Kramers tried to remain friends with both Thelma and Charley and that has caused a certain amount of friction. Thelma is an attractive woman in her mid-thirties. She dresses well, works out religiously at Jack LaLanne's and goes to a therapist twice a week. She is also given to acting the lay analyst with her friends. Thelma is generous with her advice, sharing the wealth so to speak. With all of this she is kind, loyal and a loving friend. At the moment, however, she is all business. THELMA (looking around, suspiciously) All right. What's going on? ON TED From his attitude it is clear that there is no love lost between them. TED All right, Thelma, you want to know what's going on? I'll tell you what's going on. I'll tell you exactly what's going on. THELMA Look, Ted, all I ñ TED (starting to really roll) I came home tonight. We just got the Fire and Ice account at the agency. Do you know what that means?! Do you understand what that means? It means that it was maybe one of the five best days in my whole life. THELMA Ted, all I wanted to know was where ñ TED (not letting her get a word in edgewise) I walk in the house and before I can say "How are you?", "Did you have a nice day?" before I can say anything. Pow she's out the door. THELMA OhmyGod. Didn't she say anything? She must've said something. TED (sarcastic) Yeah, she said it wasn't any use talking anymore. THELMA Ted, don't be so hostile. Ted draws himself upright with the dignity of the Ambassador to the Court of St. James. However, during the following, he begins pounding the pillows on the couch into shape with real vehemence. TED Hostile? (pow) Me? (whack) Thelma, I'm not hostile. (thud) I am anything but hostile. (sock) But if you want to know what I am. I'll tell you what I am. What I am is, I am hurt. I am very hurt. And I just want to know one thing, okay? Just one thing... Why? That's all I want to know... Why? THELMA (how to say this) Ted, Joanna and I used to talk a lot and... well, she told me a lot of... ah, things about the two of you. TED (instantly nervous) Things? What kind of things? THELMA (clearly she knows more than she's willing to say) I mean... things. Ted, Joanna's very unhappy and ñ TED (flash of anger) Listen, Joanna Kramer's got a goddamn good life. She's got a husband that loves her. She's got a terrific kid. She's got a wonderful home ñ THELMA (getting mad herself) What d'you know about how Joanna felt? You went off to an office every morning and you'd come dragging home at seven or eight every night and as long as dinner was on the table you thought everything was swell. TED Did it ever occur to you guys that Joanna Kramer's not the easiest person in the world to live with?! Did it?! For one thing she's always thirty minutes late. You can set your watch by it ñ THELMA (exasperated) So she's late. What's the big deal. That's just a way of saying, "Pay attention to me." TED (not listening) Two. She is getting to be a real hermit or recluse or whatever it is you call it. Thelma, do you know where I could be in this business if I had a wife that entertained or went out socially ñ THELMA Oh for shit's sake, Ted, you are the most selfish human being I have ever met. No wonder she said you came first, then Billy, then, if there was anything left over, she got the scraps. TED Joanna said that? Thelma nods. TED Then how come she never said anything like that to me? THELMA Maybe she didn't feel like she should have to. Maybe she felt like if you'd been paying any real attention to her to start with, maybe you would've noticed. TED (stung) Boy, you guys are really something, y'know? I'd like to know one thing, okay ñ just one little thing. Did you tell Joanna she should leave me? THELMA (stiffly) No. She turns and starts toward the front door, Ted at her heel. TED Y'know something Thelma ñ you are the typhoid Mary of divorce. I mean it. Joanna and I never had any trouble until you and Charley split up. THELMA Ted, divorce is a terrible thing. I know, I went through it. You've got to believe I did everything I could to get Joanna to stay. (pause) But I'll tell you something. You may not want to hear it, but it took a lot of courage for Joanna to do what she just did. TED I'd like to know what the hell kind of courage it takes to walk out on your husband and your child? CLOSE ON THELMA That stops her dead in her tracks. She had always assumed that Joanna took Billy with her when she left. THELMA Joanna left Billy? She didn't take him with her? Ted shakes his head. There is a long beat of silence. THELMA (stunned, quiet) Oh Shit. CUT TO: FADE IN: EXT. KRAMER APT. BLDG. ñ EARLY MORNING WIDE SHOT It is a beautiful sunny morning and the super stands in front of the building hosing down the sidewalk. HOLD as a garbage truck enters FRAME and the garbage men begin loading sacks of trash into the back of the truck. As it begins to grind up the garbage with an ungodly sound, THE CAMERA PANS UP TO THE EIGHTH FLOOR WINDOWS. CUT TO: INT. BILLY KRAMER'S BEDROOM ñ EARLY MORNING MEDIUM SHOT Billy Kramer lies in his bed, fast asleep. HOLD FOR A BEAT as we HEAR: OFF SCREEN Sound: From the street below, the garbage truck grinding up garbage. A moment later, Billy opens his eyes, struggles to his feet and, AS THE CAMERA TRACKS WITH HIM, trudges sleepily out of his room, across the hall and into the bathroom. INT. BATHROOM ñ EARLY MORNING As the child stands in front of the toilet, eyes closed, we HEAR: OFF SCREEN Sound-effect: as the child pees noisily. Then, when he is finished, he turns and, without bothering to flush the toilet, shuffles down the hall and into his parents' bedroom. HIS POV The bed is empty, there is no sign that anyone has slept in it. ON BILLY A look of suspicion on his face, he turns and starts back down the hall toward the living room. INT. LIVING ROOM ñ EARLY MORNING As Billy enters, looks around. HIS POV Ted Kramer, still fully dressed, looking like the wrath of God is asleep in the chair. ON BILLY As he marches across to his father. BILLY Where's mommy? ON TED His eyes open, he looks around startled. TED Huh?... Oh God... What time is it? CROSS-CUTTING BETWEEN THEM: BILLY (suspicious) The little hand is on the six and the big hand is on the nine. Where is mommy? TED (trying to pull himself together) Oh, Christ... Ah, yeah... you want to know why mom's not here, right? Billy nods. TED (bullshit) Okay, I'm going to tell you... It's like this. Mommy and daddy had a little argument and mommy decided she wanted to go off by herself for a little while. You know how sometimes you get mad and want to go off and be by yourself? Well, it's like that, okay? Okay. (subject closed) Now how about some breakfast? Ted struggles to his feet and THE CAMERA TRACKS WITH THEM as they start toward the kitchen. BILLY When is mommy coming back? TED (lying) Soon. Very soon. By now they are inside the kitchen, Ted looks around. HIS POV There, on the kitchen cabinet is a box of "natural grain" cereal, a jar of honey, some wheat germ, and a banana, with carefully written instructions from Joanna underneath. ON TED He takes one look at the note, crumples it up and tosses it in the wastebasket. TED (the camp counselor) I'll tell you what, kiddo ñ why don't I fix us some French toast? BILLY (impressed) Wow! French toast, really? TED (the camp counselor) Sure. Didn't I ever tell you French toast was my specialty? I'll bet I never told you that. Now then, the first thing we need is... (trying desperately to remember) ...eggs! Right? Billy nods. Ted opens the refrigerator and takes some eggs. TED This is terrific... isn't this terrific? As Ted begins the process of making French toast, it soon becomes obvious that he has no idea of what he is doing. What follows is a symphony in incompetence on Ted's part. He breaks the eggs into a bowl and ends up with most of the shell mixed up with the egg. Then he takes a piece of bread and drops it into bowl. TED (saying it will make it so) I'm having a good time... Are you having a good time? ON BILLY Watching all of this with increasing apprehension. BILLY You forgot the milk. TED (still the camp counselor) That's right. You're absolutely right... It's been a long time since I made French toast. Ted takes a container of milk, pours it into the bowl so that it is filled to the brim. Then he sloshes the bread around until it is half-dissolved. TED Look at this, isn't this something?! He lops off a huge hunk of butter, drops it into an omelet pan and turns up the flame. ON BILLY Watching. He looks as though he is about to throw up. BILLY What about my orange juice? TED (the counterman) Right. One O.J. coming up. He opens the refrigerator and starts to get the orange juice. As he does, black smoke begins to billow ominously from the frying pan. BILLY (scared) Daddy!!! Ted turns, spots the smoke. TED Don't worry... Everything's fine... He lunges for the handle of the frying pan, which by now is very hot. He grabs it, lets out a howl of pain and the whole mess, frying pan, butter, bread, goes crashing to the floor. CLOSE ON TED Suddenly all the rage comes pouring out. TED Goddam! Son of a bitch! REACTION ñ BILLY Terrified. WIDE SHOT As Ted kneels down and begins to clean up the mess. TED (to himself as much as to Billy) It's okay. It's gonna be okay... Everything's going to be all right. CUT TO: EXT. STREET ñ DAY ON A BUS As it pulls to a stop. The doors open and a stream of mothers and children get off. Among them we spot Ted Kramer with Billy. As they start across the street, Ted reaches down and takes hold of Billy's hand. The moment they get to the far side, Billy takes his hand away from Ted's and wipes it on his pants. Clearly Ted's hands are very sweaty. CLOSER IN ON THEM As they start down the block toward Billy's school. CLOSER IN ON THEM BILLY When is mommy coming back? TED Soon. I told you before, very soon. BILLY (nervous) Will she pick me up after school? TED No. If I'm not here, you go home with Thelma and Kim. BILLY What if she forgets? TED (weary) I'll call Thelma and remind her, okay? Don't worry. They walk in silence for a few steps, then: BILLY But what happens if she's on her way to school and she gets runned over by a truck and killed? What happens them? Ted looks at Billy in amazement. WIDE SHOT As the two of them enter the school and disappear from view. CUT TO: INT. OFFICE, TED'S AGENCY ñ DAY ON THE ELEVATOR DOORS As they open and Ted steps out looking like the wrath of God. THE CAMERA TRACKS WITH HIM as he crosses the waiting room toward the inner offices. ON THE RECEPTIONIST Glancing up as he passes. RECEPTIONIST (cheerful) Congratulations, Mr. Kramer. ON TED Looking at her like she has lost her mind. Nevertheless he continues on, passing through swinging doors into a long corridor lined with secretaries' desks and offices leading off of it. Suddenly a younger man rushes up, grabs Ted's hand and starts to pump it vigorously. YOUNG MAN Terrific news, Ted. Another nut. Ted smiles at the man, humoring him and continues toward his office. O'Connor appears, throwing his arm around Ted, squeezing him in a bear hug. O'CONNOR Hey... Look who was out celebrating last night. Suddenly Ted realizes that all these people are congratulating him for getting the Fire and Ice account. TED (trying to appear nonchalant) Uh, Jim... Can I talk to you? CUT TO: INT. O'CONNOR'S OFFICE ñ DAY Ted and O'Connor sitting across from one another. O'Connor has just heard the news. O'CONNOR Jesus Christ. That's a real blockbuster. (shakes his head) I always figured you guys had it made. TED (morose) You want to know the real kicker? The real kicker is, for the first time in my life ñ the first time ñ I feel like a loser. O'Connor nods sympathetically. Actually he is praying that Ted won't start to cry. O'CONNOR (stiff upper lip) Listen, don't let it get you down. (doesn't believe it for a second) You're going to be fine. TED (toujour gai) Me? I've never been better. I mean having my wife walk out on me after seven years of marriage agrees with me just fine. O'CONNOR Look, Ted, I'm the oldest whore on the beat, okay? Three marriages, two divorces... You're gonna be okay. TED (wishful thinking) I'm going to be okay. The way I see it, Joanna'll come home, it's just a matter of time. O'CONNOR (emphatically) She'll be back... Ted nods in agreement. There is a beat of silence as both men consider Joanna's imminent return. Then: O'CONNOR (trying to be tactful) But... just in case... I mean, just on the off chance she doesn't. What are you going to do about the kid? TED (the wind goes out of him) I don't know, Jim. This whole thing has happened so... Pow ñ like that. O'CONNOR (a friend having to say something very difficult) Look, it's none of my business, so you can tell me to butt out, okay? But if you want my advice, you'll send Billy away to stay with relatives for a while. Just until you get yourself straightened out. TED (doubtfully) I don't know, Jim... O'CONNOR (the Dutch uncle) Ted, this may sound a little rough, but we've just landed the biggest account in the history of this agency, right? And now it's up to us ñ that's you and me ñ to deliver the goods. Ted, you're my main man, and if I can't depend on you a hundred and ten percent, twenty-four hours a day, because you're worried about a kid with a runny nose ñ TED Jim, I appreciate what you're saying. I mean it, but I really think Joanna's coming back. ON O'CONNOR Clearly he doesn't believe this. O'CONNOR I hope you're right, Ted... I really hope you're right. CUT TO: INT. FOYER ñ KRAMER APT. ñ DAY INSERT: TIGHT ON AN ENVELOPE It is postmarked Denver, Colorado. The letter is addressed to Billy Kramer and it is from Joanna. ON TED As he rips open the letter. TED Billy! ON BILLY He sits in the living room watching television, a chocolate doughnut in one hand and a remote control device for watching television in the other. Off-screen Sound: a Saturday morning kiddie program from the television set. BILLY (focused on T.V.) Uh, huh... TED You got a letter from mom. Instantly, Billy turns down the volume of the television. BILLY (excited) When is she coming home?! ON TED As he starts to read, slowly, carefully, so that Billy can absorb it. TED "My dear, sweet Billy: Mommy has gone away. Sometimes in the world daddies go away and mommies bring up their little boys. But sometimes a mommy can go away too, and you have your daddy to bring you up." As Ted continues to read, Billy starts turning up the sound on the television, using the remote control device. TED (raising his voice so he can be heard) "I have gone away because I must find some interesting things to do for myself in the world. Everybody has to, and so do I. Being your mommy was one thing, but there are other things and this is what I have to do. I did not get a chance to tell you this, and that is why I am writing you now." By now the volume from the television is so loud that Ted has to shout to make himself heard over it. TED "I will always be your mommy and I will always love you. I just won't be your mommy in the house. But I will be your mommy of the heart. And I... " (he looks up, about to tell the child to lower the volume) Billy. HIS POV Billy sits, watching television with an almost ferocious intensity on his face, doing his best to block out Ted's voice. ON TED He watches his son for a second, then carefully refolds the letter, puts it away. TED (as he reaches across, turns down the sound on the T.V.) It's okay... It's okay. We'll talk about it some other time. CUT TO: INT. KITCHEN ñ KRAMER APT. ñ LATER THAT DAY CLOSE ON THELMA Reading Joanna's letter. THELMA Oh, God... OhmyGod... She finishes the letter, looks up at Ted. THELMA What are you going to do? TED I don't know, Thel... This whole thing has happened so... Pow, like that. THELMA I mean, what are you going to do about Billy? TED (stiff) I'm gonna keep him, why? THELMA Look, this is nothing personal, but I don't think you can do it. TED Thelma, I've lost my wife, I'm not losing my child. THELMA (backing off) All right... Okay... But let's get something straight, right now. I mean, I'm sorry about what happened between you and Joanna, but it's not my problem, understand? REVERSE ON TED He nods. CROSS-CUTTING BETWEEN THEM: THELMA I'm not going to have you calling every fifteen minutes just because you can't find a hot water bottle, understand? Ted nods. THELMA I've got enough trouble raising my own kid. I don't need another one. Got it? TED Got it. THELMA You're on your own, understand? TED I understand. THELMA You're sure? TED I'm sure. ON THELMA A long pause, she looks at him with all the warmth of a top sergeant facing a raw recruit. Then: THELMA All right. Who's Billy's pediatrician? ON TED He hasn't the foggiest idea. THELMA (machine-gun delivery) Ed Davies. 230 East 76th Street. 472- 8227. Fifty bucks a house call, thirty for an office visit. Write this down: I'm not telling you twice. What's the nearest hospital? ON TED As he grabs a piece of paper and starts writing frantically. TED Wait a minute! Wait a minute! THELMA (not waiting) Lenox Hill. 77th Street between Park and Lex. The emergency number is 327- 0800. TED Slow down... Slow down... CUT TO: INT. TED'S BEDROOM ñ DAY WIDE SHOT Ted stands in the middle of the room, sorting out a huge pile of dirty clothes. Thelma sits on the edge of the bed, watching. THELMA Colors in one pile, white things in another and shirts in a third. In the BACKGROUND we SEE the bathroom door as it opens and Billy Kramer steps out, freshly bathed and wearing clean clothes. THELMA (without looking around) Brush the teeth. Hang up the towel and flush the toilet. Billy immediately turns on his heels and heads back into the bathroom. CUT TO: INT. LIVING ROOM ñ KRAMER APT. ñ DAY CLOSE ON A SILVER CIGARETTE BOX That is inscribed, "Ted and Joanna Kramer, Married April 4, 1970." HOLD FOR A BEAT then Ted's hand reaches into FRAME and picks it up. MEDIUM SHOT TED As he takes the cigarette box and balances it on a stack of scrap books, photographs, ash trays, etc., etc., that he is carrying. He crosses to another table, picks up a framed photograph of Joanna and Billy and piles that on top of everything. We realize that Ted is going through the apartment from top to bottom and methodically cleaning out every trace of Joanna that he can find. CUT TO: EXT. APARTMENT BUILDING ñ NIGHT ESTABLISHING SHOT CUT TO: INT. LIVING ROOM ñ KRAMER APT. ñ NIGHT WIDE SHOT As Ted goes through the room, picking up Billy's clothes which have been strewn every which way. THE CAMERA TRACKS WITH HIM as he carries them into Billy's room. INT. BILLY'S ROOM ñ NIGHT Billy is fast asleep, the only light coming from the night lamp on the dresser. Ted dumps the soiled clothing in a hamper, hangs up Billy's jacket, then he neatly folds the boy's sweater and crosses to the dresser. CLOSER IN ON THE DRESSER As Ted opens a drawer and starts to put the sweater away. Suddenly he spots something. CUT TO: HIS POV There, in the drawer, sitting on top of a pile of clothing is one of the photographs of Joanna that Ted put away this afternoon. Billy has retrieved it and hidden it here, hoping that Ted wouldn't find it. CLOSE ON TED As he takes a long look at the photograph, then turns to his son. HIS POV Billy asleep, tangled up in the covers. ON TED He removes the photograph from the drawer, crosses to the bed and places it on the nightstand nearby so that Billy will be able to see the picture of Joanna when he wakes up in the morning. He sits for a moment longer on the side of the bed and reaches across and smooths down his son's rumpled hair. FADE TO BLACK: INT. TED'S OFFICE ñ LATE AFTERNOON ON TED Clearly in a rush, loading his briefcase with work to do that evening. He starts for the door and THE CAMERA TRACKS WITH HIM as he walks along the outer office corridor, heading for the elevator. As he passes the door to O'Connor's office: TED (calling out) 'Night, Jim. O'CONNOR (O.S.) (calling out) Hey, Ted. C'mon in. I wanna' talk to you. Reluctantly Ted stops, turns around and walks back to the door to O'Connor's office. CUT TO: INT. O'CONNOR'S OFFICE ñ LATE AFTERNOON O'Connor sits back in his chair, his feet propped on the desk a drink in one hand. O'CONNOR (jovial) What's the big rush. C'mon in, put your feet up, have a drink. REVERSE ON TED Hanging in the doorway, clearly anxious to leave. TED Can't do it tonight. Gotta pick up Billy. I'm late. O'CONNOR (paying no attention to that) Listen, I heard a terrific joke today. There's this Polish skydiver ñ TED (urgent) Sorry, Jim I've got to go. I'll talk to you tomorrow. And before O'Connor can say anything he is gone. REVERSE ON O'CONNOR Obviously displeased. He sits for a moment, drumming his fingers on the desk top, then reaches for the phone and starts to dial. A moment later: O'CONNOR Murray? Jim O'Connor, why don't you drop by and have a drink... CUT TO: EXT. OFFICE BUILDING ñ LATE AFTERNOON WIDE SHOT As Ted emerges from the building, starts to hail a cab. CUT TO: EXT. APARTMENT HOUSE, EAST EIGHTIES ñ LATE AFTERNOON WIDE SHOT As the cab pulls to a stop. Ted leaps out and rushes inside. CUT TO: INT. HALLWAY ñ APARTMENT BLDG. ñ LATE AFTERNOON The elevator doors open and Ted steps out. THE CAMERA PANS WITH HIM as he crosses to the doorway of an apartment, rings the bell. CLOSER IN As the door is opened by a pleasant-looking woman in her thirties. This is MRS. KLINE. She has the slightly haggard look of someone who has just survived a birthday party with eight five-year-olds. In fact, behind her we SEE an abundance of crepe paper and balloons. TED (apologetic) Mrs. Kline, I'm sorry I'm late, but ñ MRS. KLINE That's all right, but I'm afraid Billy was a little nervous... (she glances off screen) THEIR POV Billy, his coat on, his goody bag in his lap sits alone on a bench in the foyer. The moment he sees his father, he gets up and starts for the door. BILLY (to Ted, accusingly) You're late. TED I'm sorry, pal, but I had a meeting and ñ BILLY (to Mrs. Kline anxious to get away) Goodbye. MRS. KLINE Goodbye, Bill. Thank you for coming. (calling out to her son in the next room) Mark. Say goodbye to Bill. MARK (O.S.) (preoccupied) Bye. BILLY Bye. And he hustles his father out into the hallway. Once door is shut behind them: BILLY (sullen) I was waiting a long time. By now they have crossed to the elevator. Ted rings the bell. TED (this ain't exactly the greeting he's expected) It wasn't so long, I'm only... (checking his watch) ...twenty minutes late. The elevator doors open. BILLY All the other mothers got here a long time ago... And the doors close, blocking them from view. CUT TO: INT. LIVING ROOM ñ KRAMER APT. ñ NIGHT WIDE SHOT Ted and Billy sit at the dining table, a large pizza between them. Ted is working hard, trying to establish some kind of rapport with his son. Billy is silent, he picks at the slice of pizza in front of him. TED (more of the camp counselor) How was school today? BILLY Okay... Same as usual... TED Billy, don't eat with your fingers. BILLY (morose) Sorry. There is a long beat of silence. TED (like pulling teeth) Well, I see the Yankees finally won a game. BILLY Mom, I mean dad? TED Yeah? BILLY Can I be excused? I'm not hungry. I think I'll go to bed. TED Sure. Too much birthday cake, right? BILLY (as he gets up from the table) I guess... WIDE SHOT As Billy shuffles off toward his room. Ted sits for a beat picking at the food on his plate. THE CAMERA TRACKS WITH BILLY as he gets up from the table and walks into his room. HOLD IN THE DOORWAY as he takes off his shirt and pants and leaves them lying on the floor. The boy crosses to the closet, gets his pajamas and puts them on. REVERSE ON TED Standing in the doorway, watching. TED Goodnight. ON BILLY He starts to crawl into bed. BILLY (aloof) 'Night. ON TED THE CAMERA PANS WITH HIM as he crosses to where Billy dropped his clothes on the floor, picks them up. TED Listen, pal, I'm sorry, okay? Silence. TED I know how you feel. Silence. Ted crosses, sits on the edge of the bed. TED Look, I remember one time when. I was a couple of years younger than you are now and... I was staying with this cousin of mine and my parents were supposed to come and pick me up by three, but it got later and later and they didn't and they didn't show up and I remember I got really scared that something had happened to them and I remember when they finally came instead of being happy to see them I was very angry and... Billy, I promise I'll never do that to you again, okay?... Silence. TED Billy? Okay? CLOSEUP BILLY His face is turned to the wall. HOLD FOR A BEAT as we SEE him nod. INT. LIVING ROOM ñ TED KRAMER'S APT. ñ NIGHT Note: The following scene, which is written as one, is actually to be played so that each time we cut back to the woman who is being interviewed as housekeeper, it is a different woman: sometimes nervous and excited, sometimes large and lugubrious, with six shopping bags, sometimes looking like a headmistress at Dachau. They are uniformly (until the last) unappetizing. Throughout this, we SEE Ted becoming increasingly desperate. WOMAN (looking around nervous) It's very big... They didn't tell me it was this big. TED (apologetically) No... No, actually it's only two bedrooms. SECOND WOMAN (sniffing) Phew... This place is a real pig sty. TED (defensively) Look, my wife just walked out on me. Okay? It's been a tough week. THIRD WOMAN Don't tell me your troubles, mister. I got enough of my own. Note: With the FOURTH WOMAN we begin on a CLOSEUP and PULL BACK to REVEAL that we are in Ted's office and it is the middle of the afternoon. INT. TED KRAMER'S OFFICE ñ DAY FOURTH WOMAN The first thing is, I don't do floors. At that point the door behind her opens and O'Connor pokes his head in. O'CONNOR Ted. FOURTH WOMAN (ignoring him) Or windows. I come in at ten and I get Wednesdays off. O'CONNOR Ted. TED (brisk) I'll be with you in a minute, Jim. (back to the woman) You couldn't make that Saturday, could you? CUT TO: INT. LIVING ROOM ñ KRAMER APT. ñ NIGHT ON THE FIFTH WOMAN (MRS. WILLEWSKA) She is a slightly built attractive woman in her early sixties. There is a long pause as she looks around. MRS. WILLEWSKA What kind of boy is your son? REACTION ñ TED This is the first person that ever asked about Billy. TED (taken aback) Well, he's... ah, he's a good kid. He's shy and... I think he's probably very creative and... MRS. WILLEWSKA Could I see him? TED Sure. He's right in here. As they start toward the child's room. CUT TO: INT. BILLY'S ROOM ñ NIGHT In the darkness we can SEE Billy, all scrunched up in the covers. HOLD FOR A BEAT as the door opens and the light from the hall falls across the sleeping boy. ON THE DOOR Ted and Mrs. Willewska stand silhouetted against the light. MRS. WILLEWSKA Oh... He's very beautiful. ON BILLY As he stirs, in his sleep. MRS. WILLEWSKA (O.S.) Mr. Kramer, you are a very lucky man. REACTION, TED This is the first time since Joanna left that this has occurred to him. TED Mrs. Willewska, could you start on Monday? CUT TO: INT. SUPERMARKET ñ DAY ON BILLY AND TED TRACKING JUST IN FRONT OF THEM as they wheel a shopping cart along the aisle. Ted has a shopping list in his hand. Ted stops, takes a box of detergent off of the shelf, starts to put it in the shopping cart, when: BILLY (worried) Mom, I mean dad... TED (his mind elsewhere) Uh huh... BILLY That's not the right soap. We use the kind in the green and yellow box. TED C'mon, there's not much difference ñ BILLY (firmly) We use the green and yellow. Ted looks at his son for a moment, then carefully replaces the detergent that he had originally picked and reaches for the green and yellow kind. They continue on for several steps and Ted stops again, this time looking for a dishwashing liquid. He starts to reach for one, stops, looks around at Billy. Billy shakes his head. Ted points to another. BILLY (shaking his head again) The pink stuff. Ted takes a bottle of the pink stuff, puts it in the shopping cart and consults his shopping list. TED Okay, what color cereal do we get? CUT TO: EXT. PLAYGROUND, CENTRAL PARK ñ DAY WIDE SHOT It is that same afternoon and Billy (his clothes are much dirtier by now) is running back and forth with a group of other children. MAN'S VOICE (O.S.) Walk him over to Bethesda Fountain and buy him an ice. ON TED He sits on one of the playground benches, the work he took from the office stacked beside him on the bench. Sitting next to him is a personable-looking man of about Ted's age. He is nattily dressed in a suit complete with vest, tie and polished Gucci loafers. We will call him THE SATURDAY FATHER. Note: The Saturday Father and his daughter (a pretty young girl of about ten) will appear from time to time throughout the film. He is a divorced father, putting in his time, not giving a shit about the child. The Saturday Father insists on treating Ted as though they were members of the same secret fraternity. And he comes to represent Ted's nightmare of what might happen to him. TED (looking in the direction of the voice) What? SATURDAY FATHER Walk him over to Bethesda Fountain, buy him an ice. It'll kill twenty minutes. TED I've got a lot more than twenty minutes to kill. SATURDAY FATHER Tough... (checking his watch) ...I get off duty at five-thirty. (bored, anxious to make conversation) How long you been divorced? TED (surprised) Three months. How can you tell? SATURDAY FATHER You've got that look. My lady and I split two years ago in August and I'm an old pro at this shit. First thing, stay away from the Children's Zoo. It's pure hell ñ if I never see another chicken, I'll be happy. (calling out to his daughter OFF SCREEN) I'm here, darling. Don't worry... CLOSER ON TED Finding this distinctly unpleasant. He glances around, looking for Billy. HIS POV The sprinkler area. Other children are running around, but there is no sign of Billy. TED (calling out) Billy? HIS POV Another area of the playground. Billy is nowhere in sight. WIDER ON TED As he grabs his stuff and starts toward the exit of the playground. TED (louder) Billy? HIS POV Looking in another direction. Nothing. WIDE ON TED Standing among a crowd of people just outside the entrance to the playground. He is looking around wildly. TED Billy?! HIS POV There in the distance is Billy Kramer, running as hard as he can away from Ted. ON TED TRACKING IN FRONT OF HIM as he starts to chase after Billy. HIS POV ñ TRACKING FORWARD It is clear that Billy is running with a purpose. TED (V.O.) Billy! Billy pays no attention to him. ON TED TRACKING IN FRONT OF HIM as he continues to chase his son. HIS POV ñ TRACKING FORWARD Closer now, we can SEE that ahead of Billy is a woman that, from behind, looks remarkably like Joanna. CLOSER ON TED As he realizes what is about to happen. CLOSER ON BILLY Catching up to the woman. BILLY Mommy! Mommy! A moment later he gets close enough to grab onto her skirt. As the woman turns around: CLOSEUP WOMAN Quite clearly it is not Joanna. CLOSEUP BILLY His face becomes impassive again. All the excitement vanishes. BILLY Oh. I thought you were my mommy. CLOSEUP TED His face reveals all of the pain that Billy's can't. CUT TO: INT. CLASSROOM, NURSERY SCHOOL ñ DAY CLOSE ON A HOMEMADE CURTAIN As it opens and Billy Kramer, wearing an outsized moustache, a makeshift cape and a stovepipe hat made from construction paper. He stands for a moment, looking around, finally he spots someone, grins and begins waving. HIS POV Across the room eighteen to twenty mothers (Ted Kramer is the only man present) are gathered, sitting on tiny chairs and at work tables watching as their children put on a show. ON BILLY Suddenly he forgets his lines, looks around nervously. A moment later a very pretty young teacher leans over, whispers in his ear. TEACHER Ladies and gentlemen... BILLY Ladies and gentlemen... TEACHER Welcome to the greatest show on earth. BILLY Welcome to the... (he forgets again) REVERSE ON TED He leans forward mouthing the words as the teacher prompts Billy. TEACHER Greatest. BILLY Greatest... TEACHER Show. BILLY Show... TEACHER On earth. BILLY On earth. Ted breathes a sigh of relief, his son having gotten through it. CROSS-CUTTING BETWEEN THE CHILDREN PUTTING ON THE SHOW AND TED KRAMER SITTING IN THE AUDIENCE WATCHING: A look of total pleasure on his face. From time to time when Billy does something particularly difficult, Ted nudges the woman next to him. Note: In all of the shots of Billy we SEE the teacher there guiding, helping, over and over and over we cannot help but notice how attractive she is. Toward the end of the show Ted's POV occasionally follows the teacher rather than the child. DISSOLVE TO: WIDE SHOT The show is over and the parents and children mill around eating popcorn, drinking lemonade from paper cups. Ted stands off to one side, talking to the teacher as Billy runs around. CLOSER IN ON THEM TEACHER Mr. Kramer, I just wanted to tell you what a wonderful boy your son is. TED (clearly attracted to her) I don't know... I've been worried... (glancing around, making sure Billy is out of earshot) I mean, with what he's been through and everything. I ñ TEACHER (solicitously) No... No... Billy is doing just fine. TED (giving himself a few points) Well, you know it's not easy raising a kid on your own and I thought if we could get together and, uh, discuss ñ At that moment one of the class mothers interrupts, reaches across Ted and takes hold of the teacher's hand. WOMAN (effusive) Barbara! Congratulations! When is the baby due? TEACHER (BARBARA) Oh, God. Not 'til August. CLOSE ON TED Inadvertently glancing at the teacher's stomach, nothing shows. ON THE TEACHER As she turns back to Ted. TEACHER Excuse me. You said you wanted to talk, Mr. Kramer. TED (embarrassed) Yes, but... ah, not now... (checking his watch) I've got an appointment... I forgot all about it... As Ted begins beating a hasty retreat, CUT TO: EXT. STREET ñ DAY ON TED TRACKING IN FRONT OF HIM as he walks down the street carrying a large and elaborate papier-m‚chÈ art thing that Billy made in school. CROSS-CUTTING BETWEEN TED AND HIS POV: As he manages to notice every single pretty girl that passes, thread his way through the crowd and still balance Billy's enormous work of art. CUT TO: INT. AGENCY ñ DAY ON THE ELEVATOR DOORS As they open, Ted squeezes off and AS THE CAMERA TRACKS WITH HIM, he crosses the waiting room and enters the offices proper. He pauses at his secretary's desk and deposits Billy's papier-m‚chÈ thing. She jumps up from her desk, takes the papier-m‚chÈ thing and her notebook in hand, and follows Ted as he walks down the corridor towards O'Connor's office. SECRETARY Mr. O'Connor called. There's a meeting with the Revlon people in the board room and you're fifteen minutes late. TED (in a rush) I know... I know. SECRETARY Mr. Schmidt can't have the figures on the television buy until Monday. TED No. Uh, uh. Tell him I asked for it Friday. I want it Friday. Period. SECRETARY Mr. Lombardo from packaging wants to meet on Friday. TED Fine. By now they have reached the board room. He enters without knocking, his secretary still in tow. SECRETARY And Mrs. Kelsey called to ask if Billy can come to Stephanie's birthday party on Tuesday. CUT TO: INT. BOARD ROOM ñ DAY The room is filled with executives in three piece suits and O'Connor who is doing a lot of backing and filling. TED (as he enters) Yes. Remind me to pick up a "Crying Chrissie" doll at lunch on Tuesday. ON O'CONNOR Clearly he is very irritated at this. O'CONNOR (sardonic) If it's all right with you, Mother Kramer, can we get down to work now? CUT TO: INT. PHYLLIS BERNARD'S OFFICE ñ DAY It is a real mess, legal files and law books scattered everywhere. In the midst of all this chaos sits PHYLLIS BERNARD, as we said before, she is about thirty, very pretty in spite of her glasses. ON PHYLLIS She looks up as Ted enters. It is clear from their attitude that they have known one another for a long time and are very relaxed together. PHYLLIS Hello, Kramer. ON TED He drops into a chair and shoves a stack of papers across the desk to her. TED Hiya, Phyllis. These are the Revlon contracts. I thought you ought to check them out. PHYLLIS Sure. She takes the papers and starts to rifle through them, stopping every so often and making a note in the margin. As she does, we notice that the second and third buttons of her blouse have come undone and that she is not wearing a bra. CLOSER ON TED As he realizes this. ON PHYLLIS She glances up to ask Ted a question about some point or other, notices the direction of his gaze and, unself- consciously buttons up her blouse. She goes back to her papers as Ted continues to watch her. ON PHYLLIS Not looking up from her papers. PHYLLIS Yes. TED (baffled) Yes, what? PHYLLIS (looks up, serious) Yes, I'll have dinner with you. CUT TO: INT. TED KRAMER'S BEDROOM ñ LATE AT NIGHT ON THE BED Although the room is dimly lit, we can SEE quite clearly that Ted and Phyllis are in bed together. They have finished making love and Ted lies back, half asleep. Phyllis reaches across to the nightstand, puts on her glasses and checks her watch. PHYLLIS Kramer, I've got to go. I've got an eight o'clock closing tomorrow down on Centre Street. TED (half asleep) Mmmmnph... I'll get you a cab... But he makes no move to get up. Phyllis gets to her feet and in the dim light we can SEE that, except for her glasses, she is naked. PHYLLIS (as she crosses the hall on the way to the bathroom) That's okay. It's just that I've got these clients that are ñ CUT TO: INT. BATHROOM ñ NIGHT There is Billy Kramer, standing by the toilet, buttoning his pajamas. He looks up at Phyllis. HIS POV There stands Phyllis, naked as the day she was born, a look of stunned amazement on her face. PHYLLIS (softly to herself) Oh, God. Too startled to cover herself. ON BILLY He looks her up and down, then: BILLY (very serious) Do you like fried chicken? ON PHYLLIS Suddenly remembering to cover herself. PHYLLIS (hoping desperately it is the right answer) Ah... Yes. SHOT ñ PHYLLIS AND BILLY BILLY So do I... And he shuffles off to bed. Phyllis waits, frozen until he disappears into his room. Then, she turns and flees back into the bedroom. CUT TO: INT. BEDROOM ñ NIGHT ON PHYLLIS As she bursts into the room, closes the door behind her, leans against it. PHYLLIS (eyes wide) I just met your son. ON TED Who has leapt out of bed and is scrambling into his pants. TED Like that?! Phyllis nods. TED And? PHYLLIS He wanted to know if I liked fried chicken. TED Do you? Phyllis nods rather frantically. TED (grinning) So what's your problem? CUT TO: INT. KITCHEN ñ KRAMER APT. ñ EVENING ON TED AND THELMA Stand side by side. He is cutting, chopping, making some kind of stew. Thelma stands nearby watching, sipping a glass of white wine. FROM OFF SCREEN we can hear Billy and Kim running around, playing. TED You ever think about getting married again? THELMA No, not really... (she thinks for a moment, then:) I guess it's different if you don't have children, but... I dunno, even if Charley and I don't live together, even if we're sleeping with other people, even if Charley was to marry again... He'd still be my husband. That stuff about "Till death do you part?" That's really true. TED (nodding toward a cookbook that is propped open nearby) How many onions does it say to use? THELMA (without bothering to look in the book) Three. And add some basil. TED (as he does) D'you think you and Charley'll ever get back together again? THELMA No. I don't think so. TED C'mon, Thel. So Charley had a little fling. So what? All in all he was a pretty good husband. THELMA Look, I know this isn't gonna make any sense, okay? I mean forget the logic part... But I keep thinking if Charley really loved me, he wouldn't have let me divorce him. CUT TO: EXT. CENTRAL PARK ñ DAY WIDE SHOT The Saturday Father and his daughter, clearly with nothing to say to one another, stand eating ices from a nearby vendor. THE CAMERA PANS AWAY FROM THEM across to Billy, Ted and Phyllis. She is dressed in a very nice suit, silk blouse, high heeled shoes and looks distinctly out of place in Central Park on a Saturday afternoon. At the moment, Ted is trying to teach Billy how to bat. TED Now look, you hold it like this... (he places Billy's hands on the bat just so) ...and you swing like this... (taking him through the motions) ON PHYLLIS Watching. She can't believe what she's seeing. Finally, she can't stand it any longer. PHYLLIS (impatient) No, no, no, Kramer. That's not how you do it. Look... She crosses to Billy, gently takes the bat from him and demonstrates. PHYLLIS ...you hold it like this... (showing him her grip) Farther down the bat. And you swing like this... (to Ted) Throw me one. ON TED As he gives Billy a look that says, we have to humor her. He throws a ball. ON PHYLLIS As she swings, connects and slams a ball in a long, looping fly that goes at least two hundred feet. ON TED Watching the ball disappear in the distance, he turns back to Phyllis, open-mouthed. CLOSE ON PHYLLIS Embarrassed, she grins, shrugs and hands the bat back to Billy. CUT TO: INT. O'CONNOR'S OFFICE ñ DAY WIDE SHOT O'Connor, Murray and the Art Director are in O'Connor's office as the door opens and Ted enters, carrying a pile of papers, charts, graphs, etc., etc. TED Okay, Jim. Here's the report on... He stops in mid-sentence, looks around. HIS POV On the walls are a series of mock-ups of the various Fire and Ice ads, none of which are what Ted and O'Connor had agreed upon. TED (surprised) What the hell is this? O'CONNOR (innocent) Murray had some ideas about the Fire and Ice campaign and he had the art department make up a few roughs... (weakly) I think they're kind of interesting. TED (bugged) I don't. Jim, this isn't anything like what we talked about. It's not even close. MURRAY (oily) Ted, basically it's still your concept. O'CONNOR (chiming in) Murray just added a few things, that's all. TED Now hold it right there, I'm the one that went in and sold Revlon on this idea to start with, remember? You said I was going to be ñ Sound-effect: The phone rings. O'Connor picks it up. ON TED O'CONNOR Yeah? He listens for a moment, then hands the phone to Ted. O'CONNOR It's for you. ON TED As he takes the receiver. TED (puzzled) Yes? Then, embarrassed, he turns his back and lowers his voice. TED Look, Billy, I told you before, one hour of T.V. a day, that's the rule... No... (clearly, Billy is giving him an argument) I don't care what the other mothers do... Listen, I can't talk now, I'm in a meeting... (firm) Billy, I'll talk to you later, good- bye. Note: During the phone call, the CAMERA PANS AWAY to Murray & O'connor, looks of bored Condescension and smug superiority on their faces. Ted hangs up the phone and turns back around. MURRAY (smooth) Ted, I appreciate what you're saying, but I really think you're just too close to it right now. O'CONNOR (quickly) Murray's right. (reassuring) Look it's just some ideas, okay? I mean nothing's locked in cement. I promise you this is your show... ON TED Not very reassured. O'CONNOR Trust me on this one, Ted... CUT TO: INT. LIVING ROOM ñ KRAMER APT. ñ NIGHT Ted is sitting at the dining room table, working. Spread out all across the table are layouts, rate sheets, etc., etc. Billy sits across from him drawing on a pad with felt-tipped pens. HOLD FOR A BEAT, then: BILLY (worried about something) Mom, I mean dad... TED (busy) In a minute... beat of silence then: BILLY What do you do when an elephant sits on your fence? Silence. BILLY You get a new fence. TED (he hasn't heard a word) C'mon, Billy. I'm trying to work for God's sake... Another beat of silence, then Billy reaches for his glass of Hawaiian Punch and accidentally tips it over, spilling purple liquid across all of Ted's papers. Instantly, Ted is on his feet, yelling. TED Goddamnit, can't you watch what you're doing! CROSS-CUTTING BETWEEN THEM: BILLY (quiet) I'm sorry. TED Je-sus Christ! I catch all kind of shit at the office because I'm not pulling my weight because I'm busting my butt trying to be a decent goddamn father and ñ BILLY I'm sorry. TED (sardonic) That's terrific. That's really terrific, but I notice I'm the one that's cleaning up this ñ (noticing an important paper covered with grape juice) Oh, crap, I'll have to do this one over. BILLY (starting to help) I'm sorry. By now there is nothing the boy can do right. TED Look, it's after your bedtime, okay? Just do me a favor and go to bed, okay? Billy gets to his feet, collects his stuff and walks into his bedroom. HOLD ON TED who sits for a moment, then gets wearily to his feet and as THE CAMERA TRACKS WITH HIM crosses to the door of Billy's room. He stops in the doorway, looks OFF SCREEN. HIS POV Billy struggling to get his pajamas on, having a hard time. CROSS-CUTTING BETWEEN THEM: TED Look, I'm sorry I yelled, okay? BILLY (quiet) That's okay. TED It's just... I've been catching a lot of flack at the office... BILLY That's okay... INT. OFFICE ñ DAY ON THE DOOR TO O'CONNOR'S OFFICE As it opens and Phyllis comes out. In the background in O'Connor's office we SEE O'Connor and Murray, talking, laughing. THE CAMERA TRACKS ALONGSIDE Phyllis as she walks to Ted Kramer's office and opens the door without knocking. PHYLLIS How about lunch, Kramer. I'm buying. CUT TO: INT. RESTAURANT, MIDTOWN ñ DAY ON TED AND PHYLLIS As they sit across from one another. A waiter stands over them, setting drinks in front of them. WAITER Perrier and lime... (placing a drink in front of Phyllis) ...and scotch with soda. (putting Ted's drink in front of him) The waiter bustles away. TED Okay, Phyllis, what's up? PHYLLIS Kramer... She breaks off, uncertain whether or not to go on. Then, making up her mind, she reaches across, takes Ted's scotch and soda and drinks half of it down in one gulp. PHYLLIS (in a rush) O'Connor's out to get you. He's going to take the Fire and Ice account away from you. TED (stunned) What?!? Phyllis nods. TED (angry) I don't believe it! That's crazy! Why would Jim do something like that? Phyllis polishes off the rest of Ted's drink. PHYLLIS (angry herself) You want to know why? I'll tell you why... (signaling to the waiter) Another scotch and soda for the gentleman. (back to Ted) I'll tell you exactly why. Because you're not his buddy anymore. Because he can't count on you to sit around the office every night until eight or nine and shoot the shit with him. TED I can't. I've got Billy to take care of. PHYLLIS (exasperated) You dope. O'Connor doesn't give a damn about Billy. All he wants is somebody that'll hang around with him every night so he won't have to go home. TED (stiff) I don't believe you. The waiter sets Ted's drink on the table in front of him. He starts to reach for it, but Phyllis is quicker. PHYLLIS (taking a stiff drink) All right. Okay. But tell me something, Kramer. Who do you think is palling around with O'Connor these days? Ted shrugs. TED How should I know? PHYLLIS Murray. REACTION, TED Stunned, but trying to be nonchalant. TED So... what's so terrible about that? PHYLLIS (would like to take him by the shoulders and shake him until his teeth rattle) Oh, for God's sake, Kramer. You have got to be the world's most naive human being. (leaning forward) Murray has gone in and changed every single ad you've done on the entire Fire and Ice campaign. Every layout... Every idea... Every single thing, right down the line. TED No. No, I don't believe it. Jim O'Connor would never let anything like that happen. He gave me my shot in this business. If it wasn't for Jim O'Connor I'd be ñ I don't know where I'd be. He's a wonderful man... PHYLLIS (apologetic for having upset Ted) Kramer, I'm sorry. All I was trying to do was ñ TED (cutting her off) I don't want to hear another word against him. Not another word. He's a wonderful man... a wonderful man... CUT TO: INT. TED KRAMER'S OFFICE ñ DAY INSERT: The finished proof of the ad that Murray had done, that Ted had seen in O'Connor's office. ON TED TRACKING WITH HIM as he steams out of his door and marches along the corridor to O'Connor's office. SECRETARY (as Ted brushes past her) I'm sorry, Mr. O'Connor is in conference. But it is too late. Ted barrels into O'Connor's office without bothering to knock. CUT TO: INT. O'CONNOR'S OFFICE ñ DAY O'Connor is alone in the office. He looks up startled as Ted comes barging in. TED (furious) All right, Jim. You said I was running this show, right? You said no decisions without my approval, right? (brandishing the ad) Well what the hell is this? What's going on, Jim? O'CONNOR (embarrassed) Well, ah... I thought it over and I decided we're doing it Murray's way. TED Jim, this is garbage. This isn't anything like what we talked to Revlon about. None of it. You can't ñ O'CONNOR (tough) That's my decision, Ted and that's final. CUT TO: INT. DINING AREA ñ KRAMER APT. ñ NIGHT ON BILLY Who sits looking down at the plate of food in front of him as though it was a coiled rattlesnake about to strike. BILLY What is it? ON TED Preoccupied, jumpy. He is eating, but he doesn't taste a thing. TED Salisbury steak. BILLY I hate it. TED You don't hate it. We had Salisbury steak last week and you liked it fine. BILLY (stubborn) No I didn't. I hate the brown stuff. It's gross. TED (strained patience) All it is is onions and gravy. BILLY I'm allergic to onions. TED You are not allergic of onions. You've had them lots of times. BILLY (sullen) I want a pizza. TED (trying not to lose patience) No. This is fine. Just take a bite, you'll like it fine. Reluctantly, Billy takes a tiny bite. He barely puts it in his mouth before he spits it out with a great show of being physically ill. BILLY I think I'm going to throw up. TED (getting pissed off) Oh, for God's sake... Here. He reaches across and scrapes most of the sauce off of the meat. TED There, okay? Now that's just plain old hamburger. BILLY Some of the brown stuff is still there. TED (through clenched teeth) Then eat around it. BILLY No. TED (anger building) Now listen to me, young man. Do you know what I had to go through to put this goddamn food on the goddamn table? BILLY (obstinate) I don't care. I hate it. I want pizza. TED (blowing up) Not on your life. That's it. I've had it with crap around this house. From now on, no more pizza! Get it? Starting right now you can eat real food like a normal human being! BILLY No! By now both of them are out of control. TED You want to know something?! You are a spoiled selfish little brat! Now eat ñ Billy takes his plate and looking his father straight in the eye deliberately overturns it, spilling food everywhere. ON TED He is out of his chair like a shot, crosses to Billy and jerks him to his feet. TED (yelling) Goddamnit! Go to your room! He half-carries, half-drags the child kicking and screaming into his room. THE CAMERA TRACKS ALONGSIDE THEM. BILLY (at the top of his voice) Owwww... You're hurting me... You're hurting me... I hate you... I hate you... TED (seething) You're no bargain either, pal. BILLY I want my mommy... I want my mommy.. By now they have reached Billy's room. Ted dumps him on the bed unceremoniously and starts out of the room. BILLY (sobbing) I want my... mm... ommy... I want mmmy... mommy... TED (at the door) Tough shit. You're stuck with me. And he slams the door behind him. CUT TO: WIDE SHOT The dining area. Ted sits down and tries to resume his meal alone. BILLY (O.S.) (sobbing, fighting to catch his breath) I want my... mmmo... mmmy. I want mmmy mmo... mmy... CLOSER IN ON TED As he lifts his glass to take a drink and we can SEE that he is shaking like a leaf. CUT TO: INT. KITCHEN ñ NIGHT ON TED As he finishes doing the last of the dishes, dries his hands and looks around to make sure that everything has been put away. He flips off the light and, as THE CAMERA TRACKS WITH HIM, he walks from room to room, turning off the lights, until he reaches the door to Billy's room which is still closed. Ted hesitates for a moment, then eases open the door and steps inside. CUT TO: INT. BILLY'S ROOM ñ NIGHT TED'S POV Billy lies sprawled across the bed, all tangled up in the covers. ON TED As he crosses to the sleeping child and starts to straighten the covers. BILLY (tentatively) Daddy? TED (all anger gone) Yeah? BILLY I'm sorry... TED (kisses him) That's okay, pal. Go back to sleep. It's very late. He starts to get up, when: BILLY Daddy? TED Uh huh? BILLY (very quiet) Are you... gonna go... away? ON TED Stunned at the question. TED Of course I'm not going away. I love you very much. I'll be right here. There is a beat of silence, then: BILLY (it comes pouring out) That's why mommy left... isn't it? 'Cause I was bad... The boy begins to weep. TED (he puts his arm around Billy and holds him close) Oh, Christ... Oh, Christ... (he thinks for a moment, then:) No, pal. Your mom loves you very much. The reason she left didn't have anything to do with you. (pause, this is very painful) Look, I don't know if this will make any sense to you, okay? But I'll try and explain. You see the reason your mom left was because... Well, I guess it was because I kept trying to make her into a certain kind of person... Make her be the way I thought a wife was supposed to be. Only she wasn't like that. She was... (smiles to himself) Well, she wasn't like that. And now, when I think about it, I can see she tried very hard to be like I wanted ñ very hard. And when she couldn't, then she tried to tell me about it. Only I wouldn't listen. I guess I thought that if I was happy, that meant she was happy too. Only she wasn't. The truth is, the only reason she didn't leave a lot sooner was because she loves you so much. Joanna stayed until she couldn't stand me any longer and then she left... But it wasn't you, pal. It wasn't you. There is a long beat of silence as Billy thinks about this. Clearly an enormous burden has been lifted from his shoulders. Finally: BILLY Is mom ever coming back? TED You mean for good? Billy nods. TED I don't think so. BILLY (thoughtfully) Oh... Ted gets to his feet, starts for the door. TED Now go to sleep. It's very late. BILLY Good night. TED Sleep tight. BILLY Don't let the bedbugs bite. TED See you in the morning light. BILLY Dad? Ted pauses in the doorway, smiles. TED Yes? BILLY I love you... CUT TO: EXT. CENTRAL PARK ñ DAY SERIES OF TRACKING SHOTS As Ted runs along beside Billy, who is learning to ride a bike. Then, in the last shot, Ted lets go of the bike and runs along just behind. Slowly as Billy gains confidence he speeds up, leaving Ted farther and farther behind. Finally, as Billy glances over his shoulders. CUT TO: TED'S POV As the boy, by now a considerable distance away, turns and waves. ON TED Waving back, a grin of enormous pride on his face. He glances around, embarrassed to make sure no one is watching and wipes tears from his eyes. CUT TO: EXT. STREET ñ DAY ON A BUS As it pulls to a stop and a mob of mothers and children get off. Among them we spot Billy and Ted Kramer. THE CAMERA PANS WITH THEM as they cross the street and enter the school building. THE CAMERA CONTINUES IT'S PAN across the street, to a Coffee Shop with large plate glass windows facing the school. There, standing in the window, watching, is Joanna Kramer. HOLD AS THE CAMERA SLOWLY ZOOMS IN ON HER and we SEE a look of overwhelming pain on her face. CUT TO: EXT. PLAYGROUND, CENTRAL PARK ñ AFTERNOON ON TED AND THELMA Sitting on a bench, the area around them is stacked high with toys that the kids have brought with them to the park. OFF SCREEN we can HEAR Billy and Kim racing around, playing. TED (a little too casual) Thel, you ever hear from Joanna? THELMA (also with deliberate nonchalance) Not for a couple of months. The last time I heard from her she was living in San Francisco. TED (surprised) California? THELMA (watching him) Uh, huh... She said she had a good job, was playing a lot of tennis. She wanted to know all about Billy. There is a beat of silence, then: TED (the real question) She ever ask about me? THELMA (lying) Uh, huh... Yeah... TED What d'you tell her? THELMA I told her you're doing a pretty good job. BILLY (O.S.) Daddy! Daddy! Ted glances around: HIS POV Billy and Kim are standing near the jungle Jim. Billy has a toy airplane in his hand. BILLY Daddy, look! Presenting Billy Kramer's Fantastic Superjet! And he begins to race around the area, making jet noises and holding the airplane in his hand. REVERSE ON TED Watching him, smiling. ON BILLY Weaving in and around the benches. He turns and starts back towards Ted. As he does: QUICK CUT: INSERT: Billy's foot, as he trips. ON BILLY As he starts to fall, still holding onto the airplane. QUICK CUT: TED Watching, horrified. ON BILLY As he hits the concrete. ON TED He leaps to his feet, starts toward the boy. ON BILLY As he looks up. JUMP CUT IN TO EXTREME CLOSEUP There is a terrible-looking gash running from his cheek into his hairline. Kim screams at the sight of the blood. BILLY (terrified) Daddy! CUT TO: EXT. ENTRANCE TO CENTRAL PARK ñ AFTERNOON ON THE ENTRANCE As Ted, carrying Billy, wrapped in his coat, comes barreling out of the park, nearly knocking over several people with shopping bags, and begins running like hell WITH THE CAMERA TRACKING JUST IN FRONT OF HIM. In the BACKGROUND we SEE Thelma and Kim chasing after him. THE LENGTH OF THE TRACKING SHOT SHOULD BE MUCH LONGER THAN WE EXPECT. IT SHOULD, IN FACT, COVER THE THREE CITY BLOCKS BETWEEN THE KRAMER APARTMENT AND THE HOSPITAL, ACROSS STREETS WITHOUT STOPPING FOR THE LIGHT, ALONG CROWDED SIDEWALKS WITHOUT STOPPING, ENDING FINALLY ON THE EMERGENCY ENTRANCE TO THE HOSPITAL. IT MUST BE GENUINELY SUPERHUMAN, GENUINELY HEROIC. CUT TO: INT. EXAMINATION ROOM, EMERGENCY SECTION, HOSPITAL ñ DAY ON TED KRAMER He is covered with Billy's blood, it is on his face, his shirt, his trousers. At the moment 'he stands helpless, watching as, Off-Screen, a surgeon examines Billy's wound. SURGEON (O.S.) (calm, reassuring) That's good, Billy... That's a brave boy... Now then, how's that? Now we've cleaned it out... WIDER SHOT Billy lies on the examining table with the doctor bending over him. SURGEON There. That wasn't so bad, was it? Billy doesn't say anything. SURGEON Now then, you just wait here, Billy. I want to talk to your dad for a minute. The doctor motions for Thelma to wait with Billy and he crosses to Ted who stands in the doorway. CLOSER IN ON THEN SURGEON (low voice, again calm and reassuring) Your boy is very lucky, Mr. Kramer. One inch over and it would have caught the eye. REACTION TED SURGEON But I'm going to have to take some stitches. TED (flat) How many? SURGEON Ten. Ted closes his eyes, there is a sharp intake of breath. SURGEON Because of the position of the wound and your son's age, I don't think there will be much of a scar. Otherwise I'd call in a plastic surgeon. Ted nods. SURGEON Now, I'd advise you to wait outside. It'll be eas ñ TED (like a shot) No. SURGEON (reasonable) Mr. Kramer, there's ñ TED (softly, but with real vehemence) Fuck you. He's my son. I'm staying with him. CUT TO: CLOSE ON TED He holds his son tightly while the doctor stitches up the boy's wound. From THIS CAMERA ANGLE we can SEE Ted's face, but only the back of Billy's head. Although we do not see the stitches being made, we do SEE the doctor's hand, with the needle and surgical thread as it moves into and out of view with a slow, steady rhythm. Billy's hand clutches Ted's so tightly that the knuckles are white. BILLY (softly, as each stitch is taken) Ohhh... Ohhhh... Ohhhhh... TED (whispering to his child) It's okay, son... I'm here... Just a little more to go... Don't worry, son... I'm here... FADE TO BLACK: EXT. KRAMER APT. BLDG. ñ NIGHT WIDE SHOT It is late, only a few lights are still on. CUT TO: INT. BILLY'S ROOM ñ NIGHT ON BILLY He lies in bed, fast asleep, his head swathed in bandages. THE CAMERA PANS AWAY FROM HIM across to Ted, who sits in a nearby rocking chair, watching his son. HOLD FOR A BEAT, then Ted gets to his feet, walks quietly to the door and steps out into the hall, closing the door behind him. CUT TO: INT. KITCHEN ñ NIGHT WIDE SHOT Thelma having washed and dried the dishes is now wiping off the top of the counter top, more to keep busy than anything else. She looks around as Ted enters. THELMA How is he? REVERSE ON TED Standing in the doorway. He hasn't changed his clothes and he is still covered with blood. TED (nods) He's okay... Thel, can I ask you a favor? THELMA Sure. TED I don't mean a little favor. I mean a big F favor. Thelma nods. She watches Ted closely. He doesn't look at her. TED Thelma, if I die ñ THELMA (aghast) What? TED (quickly) I didn't say I'm going to die, but if I should ñ THELMA (deeply upset) Don't say that! I don't want to hear you say that! TED (firmly) Thel, listen to me. If, on the million to one shot that I should ñ (correcting himself) That anything should happen to me. Would you take care of Billy? THELMA (amazed) Me?! You want me to take care of Billy?! TED I thought about it a lot and you're the only person I know that I trust with him. I mean, if anything happened to me, he'd be okay with you. You're a good mother. Silence. Thelma looks away from him. TED (hastily) I know it's not an easy thing to answer. Silence. She still cannot look at him. TED Look, if it's too much responsibility ñ Thelma nods, unable to speak. TED You're sure? She nods again. TED Thank you, Thel. Thank you very much. CUT TO: INT. BILLY'S ROOM ñ EARLY MORNING MEDIUM SHOT ON BILLY As he lies in bed asleep. Some time has passed and Billy's bandage is much smaller. HOLD ON HIM as we HEAR OFF SCREEN Sound: From the street below, the regular six-forty-five garbage truck that serves as Billy's alarm clock. HOLD ON BILLY As he wakes up, struggles to his feet. THE CAMERA TRACKS WITH HIM as, eyes closed, he stumbles into the bathroom, pees, and still not remembering to flush the toilet walks into the bedroom and wakes his father. As the child turns and walks toward the kitchen, THE CAMERA HOLDS ON TED. He heaves himself to his feet and, eyes closed, in much the same manner as his son, stumbles into the bathroom. He automatically flushes the toilet without bothering to look, walks into the living room, opens the front door and picks up the paper. As he starts into the kitchen, he meets Billy coming the other way carrying two plates, a doughnut on each. THE CAMERA NOW TRACKS WITH BILLY as he walks into the living room, carefully sets the plates on the dining table, crosses to the television set, and turns it on. He returns to the table, and sits down as Ted appears carrying two glasses of orange juice and vitamins. He takes a seat in the chair opposite Billy and opens his paper and starts to read. HOLD ON THEM as they sit without talking, eating their breakfast ñ the only sound, a children's cartoon program coming from the T.V. From time to time Ted glances up from his paper to look across at the cartoon. HOLD ON THEM as we SEE that they have become roommates in the best sense of the word. EXT. TED'S OFFICE BLDG. ñ MIDTOWN ñ DAY WIDE SHOT It is a gray, cloudy day in mid-November. Snow is falling. Sound-effect: a telephone ringing. Then: TED'S VOICE Hello? JOANNA'S VOICE Ted? TED'S VOICE Joanna? CUT TO: INT. RESTAURANT, ISLE OF CAPRI ñ NIGHT ON THE DOOR As Ted enters, looks around. The Maitre d'hotel approaches. From his attitude, it is clear that Ted and Joanna were regular customers. MAITRE D'HOTEL Good evening, Mr. Kramer. We haven't seen you for a long time. Mrs. Kramer, she waits for you in the back. TED Thank you, John. THE CAMERA TRACKS WITH TED as he walks toward the back room of the restaurant. Several waiters approach and say hello, the piano player looks up and smiles. As he reaches the door to the back room. CUT TO: INT. BACK ROOM TED'S POV ñ JOANNA She sits against the wall, a glass of white wine in front of her. She is dressed simply and no longer has a tan. Nevertheless, Joanna is still stunningly beautiful. HOLD ON HER FOR A BEAT as she looks up, smiles. ON TED He stands watching her, his knees weak. It is impossible not to fall in love with her all over again. TWO SHOT As he crosses to her table, sits down. JOANNA Hello, Ted. You look well. TED So do you. The waiter appears, carrying a scotch and soda. He sets it down on the table in front of Ted. WAITER The usual, Mr. Kramer. TED (not taking his eyes off Joanna) Thanks, Gino. The waiter nods and promptly disappears. JOANNA How's the new job? TED Fine. There is a self-conscious pause. From the bar, the piano player begins playing a new song. From Ted and Joanna's reaction, it is clearly a song that has meant a great deal to them in the past. They listen for a moment, then: TED Look at us, Joanna. Just like any old married couple having dinner. Who would believe it. JOANNA Yes... How's Billy? ON TED The question he has been dreading. TED He's great... except... (not looking at her) ...Except he had... he fell and he cut his face. He... He has a scar, Joanna, from about here to here. (indicating where and how big) There is a beat of silence. A moment of shared feeling. TED (he has to say it to someone) I can't help but feel somehow... it's my fault. I keep thinking I could've done something ñ stopped it... JOANNA You can't tell it from a distance, Ted. For the first time he looks up at her. TED What? CROSS-CUTTING BETWEEN THEM: JOANNA I've seen him. TED You have? JOANNA A few times. Sometimes I sit in that coffee shop across the street and watch when you take him to school. ON TED Speechless. JOANNA He looks like a terrific kid. TED He is... (he still can't get over it) You sat in that coffee shop across from school ñ JOANNA (completing the sentence) Watching my son... Ted, I've been living in New York for the past two months. TED (amazed) You've been living here, in the city? JOANNA (a deep breath) Ted... The reason I wanted to see you... I want Billy back. TED You want what?! JOANNA (firm) I want my son. I'm through sitting in coffee shops looking at him from across the street. I want my son. TED Are you out of your mind?! You're the one that walked out on him, remember? JOANNA (trying to explain) Ted, listen to me... You and I, we had a really crappy marriage ñ (hastily) Look, don't get so defensive, okay? It was probably as much my fault as it was yours... Anyway when I left I was really screwed up ñ TED Joanna, I don't give a ñ JOANNA (she will be heard) Ted, all my life I'd either been somebody's daughter or somebody's wife, or somebody else's mother. Then all of a sudden, I was a thirty- two-year-old, highly neurotic woman who had just walked out on her husband and child. I went to California because that was about as far away as I could get. Only... I guess it wasn't far enough. So I started going to a shrink. (leaning forward, very sincere) Ted, I've had time to think. I've been through some changes. I've learned a lot about myself. TED (like a shot) Such as? Silence. TED (boring in) Come on, Joanna, what did you learn? I'd really like to know. Silence. TED (relentless) One thing, okay? Just tell me one goddam thing you've learned. There is a beat of silence, then: JOANNA (quiet, determined) I've learned that I want my son. ON TED He reacts as though he has been slapped. TED Joanna, go be a mother. Get married, have kids. Don't get married, have kids. Do whatever you want. I don't give a damn. Just leave me out of it ñ and leave my baby out of it. JOANNA Ted, if you can't discuss this rationally - TED (getting to his feet) Joanna, go fuck yourself! And with that he turns on his heels and stalks out of the restaurant. CUT TO: INT. LAWYER'S OFFICE ñ DAY WIDE SHOT A large, very plush office: lots of antiques, beautiful nineteenth century paintings on the wall along with autographed photographs of at least three ex-Presidents of the United States. Sitting behind a large and imposing desk is JOHN SHAUNESSY, a handsome, formidable man in his early sixties. He is well-dressed, a cornflower in his buttonhole, that sort of thing. At the moment, Shaunessy leans back in his chair as Ted finishes his story. TED (leaning forward, intense) Look, she walked out on her own child, right? That's desertion, right? Mr. Shaunessy, I'm telling you it's an open and shut case. SHAUNESSY First, there's no such thing as an open and shut case. Especially where custody is involved. Got it? Ted nods. SHAUNESSY Second, the burden is on us to prove your ex-wife is an unfit mother. That means I'm going to have to play rough and, if I play rough, you can bet they will too. Can you take that, Mr. Kramer? Ted nods. SHAUNESSY Third, it'll cost you five thousand dollars. REACTION TED That's an astronomical amount of money to him. SHAUNESSY That's if we win. If we lose, you could end up having to pay your wife's court costs as well. TED (determined) Fine. SHAUNESSY Good. You've hired yourself a hell of a lawyer, Mr. Kramer. (down to business) How old is the child? TED Six. ON SHAUNESSY He shakes his head. SHAUNESSY That's tough. In most cases involving a child that young, the court tends to side with the mother. ON TED Agitated. This is not what he wanted to hear. TED But she signed over custody. Here... He digs in his pockets, pulls out a piece of paper and thrusts it at the lawyer. SHAUNESSY (glancing at it) I'm not saying we don't have a shot, but it won't be easy... (thinks for a moment) Mr. Kramer, do me a favor. There is something I find very helpful in matters like this. I sit down and make a list of all the pros and cons on an issue. I actually write them down and look at them. I want you to do that, okay? Then, after that, if you're really sure you want to retain custody of your child ñ then we'll go in there and whip their asses. CUT TO: INT. LIVING ROOM ñ KRAMER APT. ñ LATE AT NIGHT WIDE SHOT Ted sits at the dining table, the supper dishes have been pushed aside. He has a legal pad in front of him and is writing. THE CAMERA DOLLIES IN CLOSER. INSERT ñ TED'S POV The legal pad. On one side Ted has written "Pro" and on the other, "Con." Underneath "Con" Ted has written a long list of the drawbacks involved in keeping Billy: Sex Life, Money, Possibility of Remarriage, Sleep, Emotional Dependence. The "Pro" side of the list is empty. ON TED He sits for a moment, staring at the list, then he crumples the paper, gets to his feet. CUT TO: INT. BILLY'S ROOM ñ NIGHT ON THE DOOR As Ted enters. He crosses to Billy's bed where the child is fast asleep, sits down on the edge, and starts to rub the child's back. TED I love you Billy Kramer. BILLY (half-asleep) I love you too daddy. Ted kisses the child, gets to his feet and starts toward the door. TED Sleep tight. Don't let the bedbugs bite... BILLY (almost asleep again) See you in the morning light... CUT TO: INT. O'CONNOR'S OFFICE ñ DAY WIDE SHOT O'Connor stands with his back to Ted, looking out the window. From the beginning this is clearly an awkward and unpleasant moment. O'CONNOR (scared to do what he is about to do) Look, ah... Ted. I just got word from the guys at Revlon and... ah they did some marketing tests on our campaign and the results were... CLOSE ON TED Hold on him listening as it slowly dawns on him that he is being fired. O'CONNOR (stiff) Disappointing. It only pulled a fourteen share and they were hoping for a twenty five minimum, and... ah... they're not very happy and... Well, the guys have decided they want to... ah, re-think the entire concept and... Look, I don't like having to do this, okay?... But... I mean, what I mean is... ah, I'm going to have to... ah, let you go ñ TED (not really sure he heard right) Are you firing me, Jim? ON O'CONNOR He still has his back to Ted. O'CONNOR C'mon, Ted, don't get emotional. Okay? (whining) Look, this isn't exactly an easy thing for me to do, y'know? I swear Murray and I did everything we could, but those sons of bitches were out for blood. I mean it was all I could do to keep the account inside the shop... Look, I promise, if I hear of anything I'll let you know first thing. Ted, I want ñ O'Connor looks around. O'CONNOR Ted?... HIS POV The room is empty, the door stands open and Ted is gone. O'CONNOR'S VOICE Ted?... CUT TO: INT. TED'S OFFICE ñ DAY WIDE SHOT As Ted grabs a picture of Billy from his desk, takes his jacket and coat and stalks out the door. CUT TO: EXT. STREET ñ DAY TRACKING ALONGSIDE TED As he walks along the street in a state of total shock. Behind him, in the windows of expensive stores we note Christmas decorations. CUT TO: INT. INTERVIEW ROOM, EMPLOYMENT AGENCY ñ DAY WIDE SHOT Ted sits across from the interviewer, a polished young man in his middle twenties, very efficient, he sounds a bit like a tape recording. INTERVIEWER (glancing at a form Ted has filled out) Ummm, hmmm... umm, hmmm... (the good news) Well, this looks very good.. Of course (the bad news) ...you understand this is the worst time of the year to look for a job. TED (panic) What?! What do you mean, I don't understand. INTERVIEWER (patronizing) Mr. Kramer, nobody even thinks about leaving their job until after they get their Christmas bonus. TED Look, you don't understand. I need a job. I've got a kid and ñ INTERVIEWER (smooth) I understand and I'm absolutely sure something wonderful will turn up... (ending any further discussion) ...after the first of the year. CUT TO: EXT. STREET ñ DAY ON A TELEPHONE BOOTH Ted stands inside, talking on the phone. AS THE CAMERA DOLLIES IN CLOSER, he hangs up the receiver and takes the employment section of the New York Times which is filled with listings he has circled and crosses off one. He goes on to the next, takes a dime from the stack on the shelf in front of him and starts to dial. CUT TO: EXT. TED KRAMER'S APT. HOUSE ñ EVENING ESTABLISHING SHOT CUT TO: INT. KITCHEN ñ NIGHT ON TED Who stands at the sink doing the last of the dishes. A dishtowel is tucked into his belt, serving as an apron. HOLD ON HIM as we HEAR: Sound-effect: The phone ringing. Ted wipes his hands, picks up the phone. TED Uh, huh? SECRETARY'S VOICE (from the phone) Mr. Kramer? Please hold for Mr. Shaunessy... Then, a moment later: SHAUNESSY'S VOICE Ted? They've set the court date. I just heard today... It's... (checking his notes) January sixth. TED (despair) Oh, Christ.. .John, there's some- thing I ought to tell you. My... ah, situation has... changed. I lost my job. There is a long pause, too long. TED John? SHAUNESSY'S VOICE (thoughtfully) Ted, I won't lie to you, we don't have a hope in hell of winning a custody hearing if you're out of work. Ted doubles over the phone like he has been hit in the stomach. TED (softly, but with real feeling) Good Christ, Joanna, just get the hell out of my life. SHAUNESSY'S VOICE Ted? Are you there? TED Yeah. SHAUNESSY'S VOICE Any prospects? TED (trying to make himself believe it) Don't worry. I plan to have something within twenty-four hours, John. SHAUNESSY'S VOICE (amazed) How the hell are you going to do that? TED (grim) I don't know. INT. INTERVIEW ROOM ñ EMPLOYMENT AGENCY ñ DAY WIDE SHOT The same young man sits across the desk from Ted. INTERVIEWER (smirk) Mis-ter Kramer, as I mentioned yesterday, this is a very bad time of year to look for work. Now I'm sure we'll have something for you by mid-February, March at the latest. CLOSE ON TED Leaning forward, impatient. TED I need a job, now. CROSS-CUTTING BETWEEN THEM: The interviewer gives Ted a weary look. Then he starts to flip through the card file. INTERVIEWER (going through the motions) No... No... No... Finally he pauses at one card, pulls it out. INTERVIEWER (doubtfully) There might be something at J. Walter Thompson. But... (shaking his head) ...I don't think they're really serious. The position's been open for two months and... (shrugs) They may just be on a fishing expedition. (cheerful) I'm sure you'll be much happier if you wait until after the first ñ TED (checking his watch) Call up the people at J. Walter Thompson. Set up an appointment at four. INTERVIEWER (politeness strained almost to the breaking point) Mis-ter Kramer, it's... (checking his watch) ...almost four now. It's the Friday before Christmas. Nobody is going to want to ñ TED (leaning forward, tough as nails) Either you call and set up the appointment, or I'll call. And if I call, you lose the commission. INTERVIEWER (arch) My, we are a hot shot aren't we? Ted is already on his feet and halfway out the door. TED You bet your ass. CUT TO: INT. OFFICE ADVERTISING MANAGER, J. WALTER THOMPSON ñ LATE AFTERNOON It is dark outside and the lights are on in the office. From beyond the door, we can hear the sounds of a Christmas office party in full swing. ON JACK ACKERMAN The advertising manager. A balding man in his mid-forties, he wears a suit, complete with vest. At the moment he sits behind his desk listening to Ted's spiel, from time to time he glances at the resume on the desk in front of him. TED (O.S.) So, Mr. Ackerman, as you can see from my resume, my experience in setting up the leisure package concept means that I've spent a lot of time working along the same lines as your multiple buys and your regional advertising ideas. I know the pitfalls, but ñ and this is more important ñ I know the potential revenue for the company inherent in these programs. ON TED As he finishes. He sits back, pleased with himself. CROSS-CUTTING BETWEEN THEM: ACKERMAN Well, Mr. Kramer, I must say this has been very impressive. I'd like to think about it and get back to you. TED (leaning forward) Mr. Ackerman, is there anyone else that I should see before you come to a decision. ACKERMAN Mr. Spencer, our Advertising Director. TED (no time to waste) Could I see him right away? ACKERMAN (taken aback) I'm sorry, but he's leaving this evening for a two-week vacation. I'll set up something the moment he gets back. He gets to his feet, starts to shake Ted's hand, ready to end the interview. TED I'd like to see him now ñ before he leaves. ACKERMAN Mr. Kramer, I don't think ñ TED (means it) I want this position very much. Ackerman gives Ted a long, considered look, then: ACKERMAN Wait here. He turns and goes out the door. CUT TO: INT. OUTER OFFICE, J. WALTER THOMPSON ñ LATE AFTERNOON The large room is crowded with secretaries, junior executives, researchers, editors, ad-men, etc., etc. They all have drinks in their hands and there is a good deal of kissing and general conviviality going on. THE CAMERA TRACKS WITH ACKERMAN as he steps out of his office, closes the door behind him and makes his way across the room to MR. SPENCER, the Advertising Director. At the moment, Spencer stands with his coat over one arm and a drink in his hand talking to a very pretty young woman. Ackerman approaches him, whispers something in his ear. Spencer shakes his head and points to his watch. Ackerman says something else and finally, with a look of weary resignation, Spencer excuses himself from the pretty young woman and follows Ackerman back to his office. THE CAMERA FOLLOWS THEM. As Ackerman opens the door to his office, THE CAMERA IS ANGLED so that we can SEE past them, into the office where Ted stands waiting. ACKERMAN (as they enter) Mr. Spencer, Mr. Kramer. SPENCER (not wasting any time) So you're the go-getter. All right, you've got ten minutes. As the door closes behind them, blocking our view, THE CAMERA PANS UP to a clock over the door. It reads five-fifteen. MATCH DISSOLVE TO: INT. ACKERMAN'S OFFICE ñ LATE AFTERNOON ON A CLOCK Which now reads five twenty-two. THE CAMERA PULLS BACK TO REVEAL Spencer, now sitting in Ackerman's chair, his feet on Ackerman's desk. Ted has just finished his pitch. SPENCER (sipping his drink) That's very interesting, Mr. Kramer. I must say, it's very interesting. Let me think about it. I'll let Jack... (indicating Ackerman) ...know and he'll get in touch with you. Spencer gets to his feet, starts to retrieve his coat. ON TED As he decides to take a gamble. TED Excuse me, I believe you said I had ten minutes. ON SPENCER Almost at the door, looking around. SPENCER Well? ON TED Checking his watch. TED That means I've got two minutes left. I understand you're paying twenty- five. Spencer nods. TED (a deep breath, then a real huckster) All right, I'll tell you what I'm gonna do ñ I'll take the job at twenty- two-five. Now, that's twenty-five hundred less than you're offering. The only thing is, you have to say yes right now. Not tomorrow. Not next week. Not after the holidays. It's worth it to me for a yes right now and I'll take twenty-five hundred less. There is a long beat of silence as Spencer and Ackerman look at one another. They were clearly not prepared for this. TED (watching them) Today only. One day only. Twenty-two five. SPENCER Mr. Kramer, can we talk privately for a moment? TED Certainly. CUT TO: OUTER OFFICE ñ LATE AFTERNOON ON TED As he steps out of Ackerman's office, sits down. Now, all of the fear, all of the anxiety that he has been fighting down comes welling up. What if he pushed too hard? What will he do if he doesn't get a job? If Ted Kramer could fall to his knees and pray, he would. CROSS-CUT WITH THE CHRISTMAS PARTY That swirls around him. We notice in particular, one very pretty young woman flirting with a number of men. She is wearing a dress with straps, one of them has broken and she has patched it with a piece of masking tape. Finally the door to Ackerman's office opens and he steps out. ACKERMAN Mr. Kramer? Ted jumps to his feet, starts into the office. CUT TO: INT. ACKERMAN'S OFFICE ñ LATE AFTERNOON ON SPENCER He looks at Ted carefully for a long time, then: SPENCER (grins) Welcome aboard, Mr. Kramer. CLOSEUP TED There is an instant of relief, then, with astounding cool: TED Well, gentlemen, I'm pleased to be with you. ANOTHER ANGLE As they shake hands, say their good-byes. THE CAMERA TRACKS WITH TED as he makes his way through the Christmas party that is still going strong. Then, suddenly, as he passes the very pretty woman we noticed earlier, he turns and kisses her. QUICK CUTS As a look passes between them, a sudden chemistry, something we have not seen in Ted before. TED (steps back from the astounded girl, grins) Merry Christmas. CUT TO: EXT. STREET ñ DAY ON A BUS As it pulls to a stop, the doors open and, along with the usual flood of mothers and children we SEE Ted and Billy. THE CAMERA TRACKS WITH THEM as they walk to school. Billy is talking a mile a minute, describing in minute detail the plot of an episode of "I Dream of Jeannie." Ted listens intently, then, almost involuntarily, he glances over his shoulder in the direction of the Coffee Shop. HIS POV There, standing in the window, watching, is Joanna. ON TED AND BILLY As they continue to walk. Ted's eyes remain on Joanna. As they reach the door to the school, Ted looks at his son. TED (kissing Billy goodbye) You're a terrific kid, Billy Kramer. He stands watching as Billy rushes off into the building. Then he turns back and once again looks in the direction of the Coffee Shop. HIS POV This time there is no one there. CUT TO: EXT. KRAMER APT. BLDG. ñ NIGHT ESTABLISHING SHOT HOLD FOR A BEAT as we HEAR: OFF SCREEN Sound: A telephone ringing. Then, a moment later: TED'S VOICE Hello? SHAUNESSY'S VOICE Ted? John Shaunessy here. I just got a call from your wife's lawyer. She wants to see the kid. CUT TO: INT. KITCHEN ñ KRAMER APT. ñ NIGHT Ted Kramer, the phone cradled against his ear is cleaning up the remains of one of Billy's attempts to make the perfect peanut butter sandwich. CLOSE ON TED Horrified. TED What?! She wants what?! SHAUNESSY'S VOICE (he's been through this a million times) She's the mother. That means she's within her legal rights. TED (agitated) John, what if she kidnaps him. I've heard all these ñ SHAUNESSY (the patience of a saint) Look, Ted, I don't honestly think she would go to the trouble of suing you for custody of the child if she was planning on kidnapping him. TED (doubtful) I don't know, John... I mean, to be brutally honest, I'm not so sure what kind of mental shape Joanna's in right now. Y'know she admitted she was seeing a shrink. SHAUNESSY'S VOICE (a flicker of interest) You ever see her talk to the walls? TED No, but ñ SHAUNESSY'S VOICE Then you don't have a choice. Have Billy at the Seventy-Fifth Street entrance to Central Park, Saturday at ten. CUT TO: EXT. FIFTH AVE. SIDE OF CENTRAL PARK ñ DAY ON TED AND BILLY TRACKING IN FRONT OF THEM as they walk along the Central Park side of Fifth Ave. From their attitude it is clear that each of them, for their own reasons, is very nervous. TED'S POV ñ TRACKING FORWARD About half a block away Joanna paces back and forth. She hasn't seen them and it is clear that she is as nervous as they are. ANOTHER ANGLE ON TED AND BILLY Ted stops, turns to Billy and gives him a last-minute check. Then, spotting a smudge he takes his handkerchief, spits on it and wipes the child's chin. Now satisfied, he takes Billy's hand and they continue. Suddenly: CLOSEUP BILLY As he spots his mother. BILLY Mommy! QUICK CUT: JOANNA As she turns, spots Billy, starts to run. ON BILLY TRACKING WITH HIM as he lets go of Ted's hand and starts to run flat out toward his mother. She kneels, opens her arms wide for him and he goes barreling into her, almost knocking her down from the impact. JOANNA (somewhere between laughter and tears) Oh, Billy... Oh my Billy... Oh my son... WIDER SHOT Joanna gets to her feet and takes Billy's hand. JOANNA (to Ted, but looking at Billy) I'll have him back at six. And they start off in the opposite direction. ON TED Realizing that Billy has not said good-bye, has not looked at him once. JUMP CUT TO: WIDER SHOT Ted stands helpless, watching them leave. JUMP CUT TO: WIDER SHOT Ted, now almost lost from view on the crowded street, still hasn't moved. FADE TO BLACK: WIDE SHOT Ted and Phyllis, getting ready to go to bed. They look like a couple that has been married at least five years. Ted is busy talking as he takes off his tie, jacket and starts to unbutton his shirt. Phyllis is getting undressed also, hanging things in the closet, putting things away in drawers. But as Ted continues to talk, she watches him apprehensively, it is clear that something is wrong. TED (he has become an armchair lawyer) So, naturally, you assume that since Joanna left, that would be a compelling point against her, right? PHYLLIS (thoughtful) Right. TED But it doesn't work that way. A major decision was handed down by the Appellate Court in 1969 ñ in the case of Haskins vs. Haskins. PHYLLIS Kramer ñ TED Now in Haskins vs. Haskins the court ruled in favor of the mother, thus establishing a precedent for awarding the child to the mother even though she previously abandoned the baby. PHYLLIS Kramer... There's something I ought to tell you. TED Yeah? PHYLLIS I've been offered a job in Washington with H.E.W. CLOSE ON TED He stops what he is doing, turns to her. TED And? PHYLLIS (a deep breath) I'm going to take it. REACTION ñ TED He sits down on the bed. PHYLLIS It's a very good job ñ too good to pass up. I'll be handling funding for the whole... (she stops, sits beside him on the bed) Look, I... (she means love) ..."like" you a lot. And you... (she means love) ..."like" me, okay? Maybe if it was a year from now, maybe things would be different... TED (quiet) But it's not a year from now, is it? She shakes her head, then, reaches out and touches him. PHYLLIS I'll miss you, Kramer... INT. KRAMER APT. ñ DAY ON THE FRONT DOOR It is open and standing in the doorway is an attractive woman, a bit overweight and very serious. This is DR. ALVAREZ, the court appointed psychiatrist. ALVAREZ Mr. Kramer? TED Yes? ALVAREZ I'm Dr. Alvarez, Judge Atkins asked me to look in on your son and prepare an evaluation sheet. TED Oh, yes. Won't you come in. Dr. Alvarez enters the apartment. Ted helps her off with her coat. ALVAREZ Where is the child? TED He's in his room, playing. ALVAREZ Good. I'll see him in there. As Ted carries her coat to the closet, Dr. Alvarez walks into the living room, looks around. ALVAREZ Mr. Kramer, do you ever have sex in here with anyone? TED Doctor, I attempt to conduct my social life discreetly. At the moment I am seeing no one. CROSS-CUTTING BETWEEN THEM: ALVAREZ Does that distress you? TED Not particularly. ALVAREZ What does? TED The prospect of losing my child. ALVAREZ (makes some notes, then:) Very well, I'd like to see him if I may. They cross to the door of Billy's room. Ted opens it. INT. BILLY'S ROOM ñ DAY THEIR POV The room is a mess, blocks are stacked everywhere. Billy sits in the middle playing with his toys. ON TED AND DR. ALVAREZ They stand in the doorway. TED Billy. This is Dr. Alvarez. She would like to talk to you. BILLY (looking up from his toys) Sure. There is an awkward pause as Ted remains in the doorway. DR. ALVAREZ (pointedly) I'd like to talk to Billy privately. TED (embarrassed at being caught) Oh, yeah... Reluctantly, Ted leaves, closing the door behind him. THE CAMERA TRACKS WITH HIM as he crosses the living room to the couch where he has a stack of legal books and a number of note pads spread out. He is obviously continuing his legal education. THROUGH OUT THE FOLLOWING, THE CAMERA REMAINS ON HIS FACE. ALVAREZ (O.S.) What do you have here, Billy? BILLY (O.S.) Detroit. ALVAREZ (O.S.) Have you ever been to Detroit? BILLY (O.S.) No. But I've been to Brooklyn. ALVAREZ (O.S.) I see you have people there. What are their names? BILLY (O.S.) That's Kim... and this one's Thelma and that's Mrs. Willewska and this is daddy and that's Batman and over there is Robin. ALVAREZ (O.S.) What about your mommy? BILLY (O.S.) Oh, sure. Here, this can be mommy. ALVAREZ (O.S.) Do you like to be with your mommy? Ted by now has given up all pretense of working. He wags his pencil in the direction of the door. TED (the defense attorney) Objection. You're leading the witness. BILLY (O.S.) Sure. ALVAREZ (O.S.) What do you like best about her? BILLY (O.S.) Lunch in a restaurant. ALVAREZ (O.S.) What do you like best about your daddy? BILLY (O.S.) Playing. ALVAREZ (O.S.) Tell me, does your daddy ever hit you? REACTION ñ TED Eyes wide. He starts to get up. TED Objection. BILLY (O.S.) Sure. Lots of times. This brings Ted all the way to his feet. He starts across the living room headed for the door to Billy's room. ALVAREZ (O.S.) (interested) When does he hit you? Ted has his hand on the doorknob, about to enter. BILLY (O.S.) He hits me on the planet Kriptarium, when I steal the buried treasure from the famous peanut butter factory. ALVAREZ (O.S.) In real life when does he hit you? BILLY (O.S.) (laughing) My daddy doesn't hit me, silly. Why would my daddy hit me? CUT TO: EXT. MODERN OFFICE BUILDING, MIDTOWN ñ DAY WIDE SHOT It is a Saturday afternoon. HOLD FOR A BEAT as we SEE Ted Kramer and Billy approaching. Billy is talking a mile a minute. Ted listens intently, absorbed in the boy's description. As they turn into the entrance of the office building: INT. CORRIDOR, J. WALTER THOMPSON ñ DAY WIDE SHOT A long corridor with desks for secretaries lined up next to doors leading to smaller individual offices. As they approach a door in the foreground that bears a small sign reading, "Ted Kramer": TED (interrupting Billy, who is still in the middle of his story) See. That's my name. BILLY (looking at the sign) It's my name too. TED Right. As he opens the door: CUT TO: INT. TED KRAMER'S OFFICE ñ DAY It is a pleasant enough office, but nothing spectacular, windows that look out over Fifty-seventh Street, simple Formica furniture, that sort of thing. ON THE DOOR As they enter. BILLY (he stops dead in his tracks at the sight of the office) Wow! TED (pleased) You like it? Billy crosses to the window, presses his nose to the glass, looks out. BILLY Wow! Is this really where you work? Ted nods, walks over to the desk and begins collecting paperwork to do over the weekend. As he does, Billy goes through the office, sitting in every chair, looking in every drawer. BILLY Is this really your desk? TED Yep. BILLY Is that really your chair? TED Uh huh... BILLY Wow! That's neat. Can I sit in it? TED Sure. Billy plops himself down in Ted's chair, swivels around. BILLY Did mommy ever see this? TED No, she never did. BILLY Are you going to get remarried? TED I don't know. I hadn't thought much about it. BILLY Are you going to remarried Phyllis? TED (shaking his head) No. CLOSE ON BILLY There is a long pause, then: BILLY Will you and mommy get remarried? Ted stops what he is doing, looks across at Billy: TED No, son. Daddy and mommy will never get remarried. BILLY (looking around Ted's office) Boy, I bet you if mommy ever saw this she'd remarried you. CUT TO: INT. BEDROOM ñ VERY EARLY IN THE MORNING CLOSE ON AN ALARM CLOCK THAT SITS ON A NIGHTSTAND As it rings, THE CAMERA PANS ACROSS and we SEE Joanna sitting in bed wide awake, smoking. As she puts out the cigarette she has been smoking and starts to get out of bed, CUT TO: INT. KITCHEN ñ TED KRAMER'S APT. ñ EARLY MORNING ON TED Who stands with a cup of coffee in his hands, looking out the window, but not seeing anything. HOLD FOR A BEAT, then he checks his watch and starts for the bedroom. CUT TO: INT. JOANNA'S BEDROOM ñ MORNING ON JOANNA As she selects a very conservative suit from her closet. CUT TO: INT. BILLY KRAMER'S BEDROOM ñ MORNING WIDE SHOT As Ted, now fully dressed, wearing a dark blue suit, white shirt, conservative tie, leans over Billy and wakes him. CUT TO: INT. COFFEE SHOP ñ MORNING Joanna sits across from her lawyer as he talks to her, intently, giving her last-minute instructions. CUT TO: EXT. STREET ñ MORNING ON TED KRAMER Taking Billy to school. They stop at the entrance, Ted kisses his son good-bye and stands for a moment watching as the boy runs into the building. CUT TO: EXT. COURTHOUSE ñ DAY WIDE SHOT It is a bleak January morning, the streets around the courthouse are mobbed with people on their way to work. We SEE Ted Kramer, a tiny figure among hundreds, coming out of the subway. He crosses the street and starts up the steps of the large and forbidding courthouse. CUT TO: INT. COURTHOUSE ñ DAY WIDE SHOT As Ted gets off the elevator and starts down the corridor, toward the courtroom. In the f.g., ñ standing by the door of the courtroom itself is John Shaunessy, he greets Ted, they shake hands and talk together for a moment. Then, as they enter the courtroom: CUT TO: INT. COURTROOM ON THE DOOR As Ted enters, looks around. Mrs. Willewska sits in one of the back rows, wearing her best Easter hat. Ted pauses by her, thanks her for coming. Several rows in front of her is Thelma. Ted crosses to her, they talk quietly between themselves for a few moments. Then Ted moves on to a table at the front of the room where John Shaunessy waits. ON THE DOORS AT THE BACK OF THE COURTROOM As they swing open and Joanna, along with her lawyer, a MR. GRESSEN. THE CAMERA PANS WITH THEM as they walk to the front of the room and take their seats at the table opposite Ted and his lawyer. CLERK Oyez, oyez... The third Circuit Court of the State of New York, Judge Atkins presiding is now in session. All rise... WIDE SHOT As the judge enters, takes his seat. Opening business of the court. WIDE SHOT As Gressen (Joanna's lawyer) gets to his feet. GRESSEN Your honor. As our first witness I would like to call Joanna Kramer. TWO SHOT ñ TED AND SHAUNESSY The lawyer leans across to Ted. SHAUNESSY (stage whisper) Real direct. Motherhood... They're going right for the throat. WIDE SHOT As Joanna gets to her feet, crosses to the witness stand and is sworn in. Note: Throughout the following, we continually CROSS-CUT to Ted Kramer, leaning forward, listening intently. It becomes evident that, in spite of himself, there are moments he feels great compassion for Joanna. GRESSEN Now then, Mrs. Kramer, would you tell the court how long you were married? JOANNA Six years. GRESSEN And would you describe those years as happy? JOANNA The first couple, yes, but after that it became increasingly difficult. GRESSEN Mrs. Kramer, did you ever work in a job while you were married to your ex-husband? JOANNA No, I did not. GRESSEN Did you wish to? JOANNA Yes. I tried to talk to Ted ñ my ex- husband ñ about it, but he wouldn't listen. He refuses to discuss it in any serious way. I remember one time he said I probably couldn't get a job that would pay enough to hire a baby-sitter for Billy. GRESSEN Tell me, Mrs. Kramer, are you employed at the present time? JOANNA Yes, I work for Jantzen as a sportswear designer. GRESSEN And what is your present salary? JOANNA I make thirty-one thousand dollars a year. REACTION ñ TED Stunned. GRESSEN (switching tactics) Mrs. Kramer, do you love your child? JOANNA (emphatically) Yes. Very much. GRESSEN And yet you chose to leave him? There is a long pause, then: JOANNA (speaking carefully, with great thought) Yes... Look, during the last five years we were married, I had... I was getting more and more... unhappy, more and more frustrated. I needed to talk to somebody. I needed to find out if it was me, if I was going crazy or what. But every time I turned to Ted ñ my ex-husband, he couldn't handle it. He became very... I don't know, very threatened. I mean, whenever I would bring up anything he would act like it was some kind of personal attack. Anyway, we became more and more separate... more and more isolated from one another. Finally, I had no other choice, I had to leave. And because of my ex- husband's attitude ñ his unwillingness to deal with my feelings, I had come to have almost no self-esteem... (with feeling) At the time I left, I sincerely believed that there was something wrong with me ñ that my son would be better off without me. It was only when I got to California and started into therapy I began to realize I wasn't a terrible person. And that just because I needed some creative and emotional outlet other than my child, that didn't make me unfit to be a mother. GRESSEN (to the judge) Your honor, I would like to place in evidence a report on Mrs. Kramer's therapy by her therapist, Dr. Elinore Freedman of La Jolla, California. And with that he hands both the judge and Shaunessy a thick sheaf of papers. Then, turning his attention back to Joanna: GRESSEN Mr. Kramer, why did you set up residence in New York? JOANNA Because my son is here. And his father is here. As a mother, I don't want my child to be separated from his father. GRESSEN Mrs. Kramer, can you tell the court why you are asking for custody? There is a pause, then: JOANNA Because he's my child... Because I love him. I know I left my son, I know that's a terrible thing to do. Believe me, I have to live with that every day of my life. But just because I'm a woman, don't I have a right to the same hopes and dreams as a man? Don't I have a right to a life of my own? Is that so awful? Is my pain any less just because I'm a woman? Are my feelings any cheaper? I left my child ñ I know there is no excuse for that. But since then, I have gotten help. I have worked hard to become a whole human being. I don't think I should be punished for that. I don't think my son should be punished for that. Billy's only six. He needs me. I'm not saying he doesn't need his father, but he needs me more. I'm his mother. There is a beat of silence, then: GRESSEN Thank you, Mrs. Kramer. I have no further questions. ON SHAUNESSY As he stands, collects his papers from the table and, taking his own sweet time, crosses to Joanna. SHAUNESSY Now then, Mrs. Kramer, you said you were married seven years. Is that correct? JOANNA Yes. SHAUNESSY In all that time did your husband ever strike you or abuse you physically in any way. JOANNA No. SHAUNESSY Did your husband strike or physically abuse his child in any way? JOANNA No. SHAUNESSY Would you describe your husband as an alcoholic? JOANNA No. SHAUNESSY A heavy drinker? JOANNA No. SHAUNESSY Was he unfaithful? JOANNA No. SHAUNESSY Did he ever fail to provide for you? JOANNA No. SHAUNESSY (wry smile) Well, I can certainly understand why you left him. GRESSEN Objection. SHAUNESSY (switching his line of questioning) How long do you plan to live in New York, Mrs. Kramer? JOANNA Permanently. Note: During the early part of Shaunessy's cross-examination, Joanna has been very forthright, very sure of herself. Now, as he starts getting tougher, she begins to falter. SHAUNESSY Permanently? (smiles, like a shark smiles) Mrs. Kramer, how many boy friends have you had ñ permanently? ON JOANNA Her head snaps back as though she's been hit. JOANNA I don't recall. SHAUNESSY (boring in) How many lovers have you had ñ permanently? JOANNA (looks toward Gressen for help) I don't recall. SHAUNESSY More than three, less than thirty- three ñ permanently? ON GRESSEN He is again on his feet, outraged. GRESSEN Objection! JUDGE Overruled. The witness will answer, please. JOANNA (almost a whisper) Somewhere in between. SHAUNESSY Do you have a lover now? GRESSEN (furious) Objection! SHAUNESSY (to the judge) Your honor, I would request a direct answer to a direct question. Does she have a lover? JUDGE I'll allow that. The witness will answer please. JOANNA (in a whisper) Yes. SHAUNESSY Is that... permanent? JOANNA (by now she is becoming thoroughly rattled) I... I don't know... SHAUNESSY Then, we don't really know, do we, when you say "permanently" if you're planning to remain in New York, or even to keep the child for that matter, since you've never really done anything in your life that was continuing, stable, that could be regarded as permanent. ON THE PETITIONER'S TABLE Gressen jumps to his feet. GRESSEN Objection! I must ask that the counsel be prevented from harassing the witness. JUDGE Sustained. SHAUNESSY (a new attack) Mrs. Kramer, how can you consider yourself a fit mother when you have been a failure at virtually every relationship you have undertaken as an adult? GRESSEN (red in the face) Objection! JUDGE Sustained. SHAUNESSY I'll ask it another way. What was the longest personal relationship you have had in your life ñ other than parents and girlfriends? JOANNA (rattled) Ah... I guess I'd have to say... with my child. SHAUNESSY (wonder, irony) Whom you've seen twice in a year? Mrs. Kramer, your ex-husband, wasn't he the longest personal relationship in your life? JOANNA (reluctantly) I suppose... SHAUNESSY Would you speak up, Mrs. Kramer? I couldn't hear you. JOANNA (louder) Yes. SHAUNESSY How long was that? JOANNA We were married two years before the baby. And then four very difficult years. SHAUNESSY So, you were a failure at the longest, most important relationship in your life. GRESSEN Objection! JUDGE Overruled. JOANNA I was not a failure. SHAUNESSY (sarcastic) Oh? What do you call it then ñ a success? The marriage ended in divorce. JOANNA (so angry she forgets her cool) I consider it less my failure than his. SHAUNESSY (seizes on this) Congratulations, Mrs. Kramer. You have just rewritten matrimonial law. You were both divorced, Mrs. Kramer. GRESSEN (on his feet) Objection! SHAUNESSY (to the judge) Your honor, I'd like to ask what this model of stability and respectability has ever succeeded at? (to Joanna) Mrs. Kramer, were you a failure at the longest, most important personal relationship in your life? CLOSE ON JOANNA Who sits silently. JUDGE Please answer the question, Mrs. Kramer. JOANNA (whisper) It did not succeed. SHAUNESSY (suddenly fierce) Not it... Not it, Mrs. Kramer ñ you. Were you a failure at the most important personal relationship of your life? CLOSER IN ON JOANNA Silence. SHAUNESSY Were you? EXTREME CLOSEUP JOANNA JOANNA (barely audible) Yes. WIDE SHOT Shaunessy smiles, turns his back on Joanna and walks back toward the respondent's table. SHAUNESSY No further questions. CLOSER IN ON THE TABLE As Shaunessy sits down next to Ted. TED (leaning over, in a whisper) Jesus Christ. Did you have to be so rough on her? SHAUNESSY (tough) Do you want the kid or don't you? ON JOANNA Shaken, she gets down from the witness stand, crosses to the petitioner's table without looking at Ted. She sits, leans across to her lawyer and whispers something in his ear. As he nods... CUT TO: INT. COURTROOM, LATER IN THE DAY ON JIM O'CONNOR Who sits in the witness stand. At the moment he is being examined by Gressen. GRESSEN Now then, Mr. O'Connor, how long did Ted Kramer work for you? O'CONNOR Eight, almost nine years. GRESSEN And did you have a close personal relationship? O'CONNOR (in a whisper) Yes... GRESSEN And how did you find his work? O'CONNOR It was good. He was a hard worker, a lot of drive, a real hustler. GRESSEN And yet you fired him. There is a long pause. O'CONNOR (looking down) Ted was a good worker. But, ah... after his wife left him and he was taking care of the kid on his own, things started to change. Look, I know he had problems, I understand that. I've got problems, everybody's got problems. But I've got a shop to run, I can't let that kind of thing get in the way... (quietly) I guess I felt that Ted was letting his duties at home interfere with his responsibilities in the office. GRESSEN Thank you. I have no further questions. Shaunessy stands up. SHAUNESSY Mr. O'Connor, does the agency still have the Fire and Ice account? O'CONNOR (up tight) No. SHAUNESSY Mr. O'Connor, can you tell me where you are employed at the moment? O'CONNOR (stiff) At the moment I am unemployed. ON THE JUDGE JUDGE If the petitioner has no further witnesses, we will hear the respondent tomorrow morning at 9:30. CUT TO: INT. LIVING ROOM ñ KRAMER APT. ñ NIGHT WIDE SHOT Ted sits at the dining table poring over law books, writing copious notes on a legal pad. Billy sits across from him drawing in a pad with magic markers. HOLD FOR A BEAT as Billy looks up at his father. It is clear that something is bothering him. BILLY Mom ñ I mean, dad? TED (not looking up) Uh, huh? BILLY What did you do when you were little? TED (still involved in his books) I guess about the same kind of things you do. BILLY Did you watch "I Dream of Jeannie?" TED (distracted) Uh, uh... We didn't have television then. ON BILLY Eyes wide. He finds this hard to believe. BILLY You didn't have T.V.? ON TED He looks up for the first time, smiles. TED Nope. It hadn't been invented yet. He starts to go back to work. BILLY (this is serious business) Was there apple juice when you were little? TED Yeah, there was apple juice. BILLY Was there Burger King? TED Uh, uh. There was no such a thing as Burger King. BILLY What else wasn't there? ON TED He takes a long look at his son, then closes the law book, puts his notes away. TED Well, let's see... There wasn't McDonald's. And there wasn't astronauts... And there wasn't frozen yogurt. And there wasn't... As he continues on about what wasn't, we FADE TO BLACK: EXT. COURTHOUSE ñ DAY ESTABLISHING SHOT INT. COURTROOM ñ DAY ON THELMA She sits in the witness stand being examined by Shaunessy. From her attitude it is clear that she is very wrought up, that all of this is taking a heavy emotional toll on her. SHAUNESSY Mrs. Phillips, how long have you known Ted Kramer? THELMA Six years. Ever since Ted and Joanna moved into the building. SHAUNESSY How often do you see Mr. Kramer and his son? THELMA (to the judge, by way of explanation) Charley, my husband, and I are... divorced and Kim, that's our daughter is about Billy's age and the children play together a lot. So, I guess we see each three or four times a week. SHAUNESSY Can you describe the relationship between Mr. Kramer and his son? THELMA It's beautiful. It's just beautiful. They have a beautiful relationship. ON GRESSEN Getting wearily to his feet. GRESSEN (patronizing) Objection, your honor. The answer is, to be generous, very vague. SHAUNESSY Can you recall any particular incident that relates to Mr. Kramer's care of his child? THELMA (fighting a losing battle with her emotions) Ted ñ Mr. Kramer, spends a great deal of time with his child. I don't just mean hours, I mean good time, involved time. He reads to Billy. They play together. They talk all the time... (tears start) He is a very... kind man... a very... devoted father, and... and... (she turns to Joanna) And Joanna if you ever saw them together... there wouldn't be a trial at all... (she breaks down, weeping) Oh, shit... I'm sorry... I'm sorry... Note: during this we cross-cut to Joanna, who sits, staring at her friend, shaken. SHAUNESSY (gently) No further questions. Thank you Mrs. Phillips. GRESSEN (without looking up from his notes) No questions. Thelma leaves the stand and walks back to her seat. CUT TO: INT. COURTROOM ñ DAY ON TED KRAMER Sitting in the witness stand. SHAUNESSY Mr. Kramer, would you tell the court exactly why you want to retain custody of your child. TED (speaking quietly) When Joanna ñ (to the judge, correcting himself) ñ my ex-wife ñ when she was talking before about how unhappy she was during our marriage... Well, I guess most of what she said was probably true. There were a lot of things I didn't understand ñ a lot of things I would do different if I could. Just like I guess there are a lot of things Joanna wishes she could change... But we can't. Some things, once they are done, can't be undone. Joanna says she loves Billy. I believe she does. So do I. But the way it was explained to me, that's not the issue. The only thing that's supposed to matter here is what's best for Billy... When Joanna said why shouldn't a woman have the same ambitions as a man, I suppose she's right. But by the same token what law is it that says a woman is a better parent simply by virtue of her sex? I guess I've had to think a lot about whatever it is that makes somebody a good parent: constancy, patience, understanding... love. Where is it written that a man has any less of those qualities than a woman? Billy has a home with me, I've tried to make it the best I could. It's not perfect. I'm not a perfect parent. (unconsciously echoing something Joanna said earlier) I don't have enough patience. Sometimes I forget he's just a little kid... But I love him... More than anything in this world I love him. SHAUNESSY Thank you, Mr. Kramer. No further questions. ON GRESSEN As he gets up from the petitioner's table and crosses to the witness stand. GRESSEN (hard-lining it) Mr. Kramer, by any chance have you ever had a woman in your bed while your child was asleep in the next room? TED I suppose. GRESSEN (pointedly) So do I. SHAUNESSY Objection! JUDGE Sustained. GRESSEN (switching to another line of attack) Mr. Kramer, isn't it true that you were fired from your last job not more than six weeks ago? TED (not losing his cool) Technically, the agency lost a big account and seventy four people were let go. I was one of them. GRESSEN (snotty) You were fired, correct? TED Yes, but I'm with J. Walter Thompson now. I don't think that will happen again. GRESSEN (snide) Give them time... SHAUNESSY Objection, your honor! Counsel is harassing the witness. GRESSEN (to the judge, pettish) Your honor, I'm only examining the man's employment record. He pretends to fitness when he cannot hold a job. JUDGE Sustained. ON GRESSEN He is thoughtful for a moment, like a man trying to decide whether or not to drop the bomb. Then, turning back to Ted: GRESSEN (very tough) Mr. Kramer, did your child nearly lose an eye when he was in your care? REACTION ñ TED Stunned. He looks across at Joanna. QUICK CUT ñ HIS POV Joanna looks away. GRESSEN (boring in) Mr. Kramer, did you, or did you not tell the child's mother that you were responsible for the injury that permanently disfigured your child? Shaunessy is on his feet racing toward the bench. SHAUNESSY (vehement) Objection! Your honor, counsel is raising a question that is not germane to these proceedings. GRESSEN (to the judge) While the child was in the care of the witness, he cut his face badly and is now scarred. JUDGE (to Gressen) Are you introducing the question of negligence here, counselor? GRESSEN Yes, your honor. JUDGE I see. Well, you'll have to do better than that. Do you have any affidavits to support negligence? GRESSEN I do not, your honor, however ñ JUDGE This is an isolated incident, counselor, unless you can prove otherwise. GRESSEN (back to Ted) Does the witness deny the injury took place? JUDGE (before Ted can say anything) No, counselor, I'm going to over- rule you on this line of questioning. GRESSEN Then I have concluded my questions. ON THE PETITIONER'S TABLE Joanna sits, still not looking at Ted. She holds her face, one hand shielding her eyes. CUT TO: ON THE JUDGE As he makes his closing statement. CUT TO: INT. MAIN LOBBY, COURTHOUSE ñ DAY WIDE SHOT Shaunessy and Ted stand talking, reviewing the case. Then the two men shake hands, the lawyer waves goodbye, turns and starts back into the building. THE CAMERA PANS WITH TED as he walks toward the main exit. CUT TO: EXT. MAIN ENTRANCE, COURTHOUSE ñ DAY ON TED As he comes out of the building, starts down the steps. JOANNA (O.S.) Ted. He stops, turns: HIS POV There, standing waiting for him is Joanna. CLOSE ON TED His face a mask of cold anger. She crosses to him. JOANNA I'm sorry... I just mentioned it in passing. I never thought he'd use it. TED (sarcastic) Yeah, well he did, didn't he. JOANNA Please, Ted. I never would have brought it up if I thought ñ TED I'm not interested, Joanna. Goodbye. WIDE SHOT As he turns and walks away from her, leaving her standing, watching him as he disappears. CUT TO: EXT. STREET ñ DAY ON TED AND THELMA It is a bleak winter's day. THE CAMERA TRACKS WITH THEM as they walk along, Ted carrying a bag of groceries, Thelma with cleaning. The children run around them, playing. THELMA You heard anything yet? TED (shakes his head) Any day. They walk in silence for several beats, each clearly lost in their own thoughts. Then: THELMA Ted. TED (preoccupied) Uh, huh... THELMA (this is hard to say) Ah, Charley and I are... Well, we're thinking about... I mean, actually we're sort of talking about maybe getting back together. TED (thunderstruck) You and Charley? Thelma nods. TED Really? Thelma nods. TED (conflicting emotions) Hey, that's terrific. THELMA (hastily) Maybe. I said maybe. (apologizing for her good fortune) What I mean is, ah... I don't think it'll really work out, but Charley seems to want it, so... She leaves the sentence unfinished. They walk in silence for several more steps. Then she takes his hand. THELMA (can't help grinning) Oh, God... Ted, I am really scared. They walk in silence for a beat, then Ted looks OFF SCREEN, spots something: HIS POV The Saturday Father, restless, bored, walking with his daughter who is also bored. It is clear that they have nothing to say to one another. He looks around, spots Ted, waves and starts in his direction. CLOSEUP TED He reacts as though he has seen a vision of his own death. TED (to Thelma, urgent) C'mon. (to Billy and Kim) Billy, Kim. Let's go. WIDE SHOT As Ted ushers them across the street, away from the Saturday Father. CUT TO: INT. MEN'S BAR, MIDTOWN ñ DAY A crowded, rather posh watering spot. Shaunessy sits alone at a table for two, a drink in front of him. REVERSE ON THE DOOR As Ted enters, spots Shaunessy and starts in his direction. CLOSER ON SHAUNESSY'S TABLE As Ted sits down. TED Well? ON SHAUNESSY As he looks up at Ted, says nothing. ON TED He realizes that they have lost. TED Oh, Christ! CROSS-CUTTING BETWEEN THEM: SHAUNESSY The judge went for motherhood straight down the line. TED I lost him? I lost him? SHAUNESSY I can't tell you how sorry I am. TED Oh, no.. SHAUNESSY (reading from a piece of paper) Ordered, adjudged and decreed that the petitioner be awarded custody of the minor child, effective Monday the 23rd of January. That the respondent pay for the maintenance and support of said child, four hundred dollars each month. That the father shall have the following rights of visitation: every other weekend, one night each week to be mutually agreed upon and one half of the child's vacation period. (looks up at Ted) That's it. TED (grim) What if I fight it? SHAUNESSY (matter of factly) We can appeal, but I can't guarantee anything. TED (determined) I'll take my chances. SHAUNESSY It's going to cost. TED (his mind is made up) Don't worry. I'll get the money. There is a beat of silence, then: SHAUNESSY I've got to tell you something, Ted. This time it'll be Billy that pays. This time I'll have to put him on the stand. CLOSE ON TED As his last hope goes crashing to the ground. TED Oh, Christ no... I can't do that. I just... can't... (he looks up at the lawyer in despair) Excuse me... I'm sorry... I just... That is all Ted can manage to say. He gets to his feet and rushes for the door. CUT TO: EXT. KRAMER APT. BLDG. ñ DAY ON THE ENTRANCE As Mrs. Willewska comes out. Her eyes are red from crying. THE CAMERA PANS WITH HER as she turns up the street on her way to pick up Billy from school. THE CAMERA HOLDS IN POSITION as she meets Thelma. They stand talking for a moment, then Thelma turns and starts to run toward the building. CUT TO: INT. HALLWAY, OUTSIDE TED'S APT. ñ DAY ON THE ELEVATOR DOORS They open and Thelma steps out. She runs to the door, begins to knock. THELMA (calling out) Ted!... It's me... Ted?... There is a beat of silence, then: TED (O.S.) (very quiet) Please go away, Thel... I... I just have to be by myself for a little while... THELMA Ted, I just heard... TED (O.S.) Please, Thel... Thelma leans against the door and begins to sob. THELMA I'm so... sorry... Oh, Ted, I'm so sorry... FADE TO BLACK: FADE IN: EXT. KRAMER APT. BLDG. ñ DAY WIDE SHOT As Mrs. Willewska brings Billy back from school. CUT TO: INT. KRAMER APT. ñ DAY ON THE FRONT DOOR It opens and Billy and Mrs. Willewska enter. Billy sees Ted and rushes across to him. BILLY (excited) Daddy! You're home early. Did you get fired again? TED (laughing in spite of himself) No, son, I didn't get fired. (fake cheerful) I'll tell you what we'll do, okay? How about if we go to a Burger King and then we watch a little T.V. and then we get packed to go to the country tomorrow. Just you and me... How 'bout that? CUT TO: EXT. KRAMER APT. BLDG. ñ NIGHT ESTABLISHING SHOT HOLD FOR A BEAT, then: CUT TO: INT. LIVING ROOM ñ KRAMER APT. ñ NIGHT ON TED He sits at the dining table, a typewriter in front of him. As he begins to type, hunt and peck system, we: CUT TO: INSERT ñ HIS POV The page in the typewriter. We SEE and HEAR at the same time. TED (V.O.) Joanna... This is by way of introducing William Kramer. He is a sweet child, as you will see. He is allergic to grape juice, but will more than make up for the loss in apple juice. He is also allergic to peanut butter from the health food store, but not from the supermarket. Don't ask me why. CUT TO: EXT. STREET ñ DAY ON A CORNER MAILBOX As Ted mails the letter. TED (V.O.) At times, in the night he will have nightmares, one particular monster is called The Face. The Face, as best as I can determine, looks like a circus clown without a body, and from what the pediatrician says, and what I have read, may be sexual fear of losing his penis, or a fear of his own anger, or just a circus clown he saw once. CUT TO: EXT. STREET ñ DAY ON THE SAME MAILBOX As a sack of mail is loaded into a truck. TED (V.O.) His doctor, by the way, is still Ed Davies. The Sundafed is for colds, one tablespoon every four hours. I will pack it in the blue suitcase. CUT TO: EXT. JOANNA KRAMER'S APT. BLDG. ñ DAY WIDE SHOT A POSTMAN enters the building carrying a bag of mail. TED (V.O.) His best stories have been Babar and Winnie the Pooh up to now, with Batman moving up. His housekeeper has been Etta Willewska and she is the main reason for the note. She is a loving woman, conscientious, very concerned about Billy and more important, Billy cares about her. CUT TO: INT. HALLWAY, JOANNA'S APT. BLDG. ñ DAY ON A STACK OF MAIL As it is dropped in front of a doorway. We SEE that the letter from Ted to Joanna is on top. TED (V.O.) I urge you to retain her. Her number is 722-8099, and I think she will take the job if it is offered. I'm sure other things will come up. Ask me what you need to and I guess eventually we'll talk... CUT TO: INT. JOANNA'S APT. ñ DAY ON HER As she finishes reading the letter. TED (V.O.) That's all I can think of, except to repeat what I said before, he's a terrific kid. I'm grateful for the time we've had together and I feel I am a better man because of my son... Ted. CUT TO: EXT. BEACH ñ DAY It is a clear, cold beautiful winter's day. Ted and Billy walk along the beach at the edge of the water. THE CAMERA TRACKS WITH THEM. There are several beats of silence as Ted tries to think of how to begin. Finally: TED Billy, sometimes when a mother and a father are divorced, there's a discussion about who the child should live with, the mother or the father. Now there is a man who is very wise. He's called a judge. And a judge has a lot of experience with divorces and he decides who it would be best for the child to live with. BILLY Why does he decide? TED Because... Well, that's what he does. He's a very powerful man. BILLY Like a principal? TED Bigger than a principal. The judge sits in robes in a big chair... The judge has thought a lot about us, about you and me and your mom, and he has decided... (a deep breath) ...he has decided that it would be best for you to live with your mom Joanna in her apartment. (fake cheerful) And I'm very lucky. Because even though you'll live with your mom Joanna I'll get to see you once a week for dinner and a couple of weekends a month. BILLY I don't understand, daddy. TED (trying very hard not to cry) What don't you understand, pal? BILLY Where will my bed be, where will I sleep? TED At your mom's. She'll have a bed for you in your own room. BILLY Where will my toys be? TED I'll send your toys there and I'm sure you'll get some new ones. BILLY Who will read me my stories? TED Your mom. BILLY (worried) Daddy, what if The Face comes when I'm at mommy's? TED Your mom knows all about The Face, okay? Don't worry, she'll tell The Face to beat it. BILLY Will you come and say good-night to me every night? Suddenly Ted can't stand it any longer. TED Look, it's getting cold. Why don't you go inside where it's warm. I'll be along in a minute. Billy hangs back, watching Ted. TED Go on, scoot. The boy turns and runs back along the beach toward the house. Then, he stops, turns back to look once more at his father. HIS POV ñ LONG SHOT Ted stands at the ocean's edge, his back to CAMERA, weeping. FADE TO BLACK: EXT. KRAMER APT. BLDG. ñ DAY WIDE SHOT It is early Monday morning. CUT TO: INT. KRAMER KITCHEN ñ MORNING ON TED AND BILLY They stand side by side, like a surgeon and his assistant. Spread out on the counter in front of them are the makings of French toast. The following is done with great efficiency, in contrast to the first time we saw them go through the same ritual. They work in silence except for an occasional command. Each concentrating on this last moment of closeness, each doing his best to avoid thinking about Billy's departure. Finally: ON BILLY Looking at his father, trying to memorize the older man's face. Ted turns, sees his son watching him. TED (with false gaiety) Hey? What's doin' with that bread? Let's see a little hustle around here. CUT TO: INT. LIVING ROOM ñ KRAMER APT. ñ MORNING WIDE SHOT Billy's bags are packed and stacked neatly in the living room. Nearby, Billy and his father sit, silent, waiting. Sound-effect: The intercom from the lobby buzzes. CLOSER IN ON TED AND BILLY Ted looks at his son, smiles. The boy smiles back. TED This is it, pal. Billy, fighting back tears, nods. Sound-effect: The intercom buzzes again. Ted gets to his feet and starts toward the foyer. CUT TO: INT. FOYER ñ DAY As Ted picks up the intercom: TED Yes? JOANNA'S VOICE Ted, it's Joanna. Can you meet me in the lobby?... Alone? And she hangs up before he can answer. TED (to Mrs. Willewska, in the kitchen) I'll be back in a minute. CUT TO: INT. LOBBY ñ DAY ON THE ELEVATOR DOORS As they open, Ted steps out, looks around. HIS POV The lobby is dark, the only light coming from the window. Joanna sits off to one side, wearing sunglasses. She looks up as Ted approaches, a small smile on her face. TED (abrupt) Okay, I'm here. Now why did you ñ JOANNA Ted, do you love him? TED Goddamnit, Joanna. What the ñ JOANNA (insistent) Ted, do you love him? He nods. JOANNA I love him too... I don't think I ever knew how much until now. There is a long pause as she looks at Ted, unable to speak. Finally: JOANNA (a deep breath, then:) Ted, when we got married it was because I was twenty-seven years old and I thought I should get married and... when I had Billy it was because I thought I should have a baby... and I guess all I did was mess up my life and your life and ñ TED Joanna, what the hell is ñ JOANNA (urgent) Please... Please don't stop me. This is the hardest thing I've ever had to do.. ON TED Struck by the urgency in her voice. JOANNA After I left... when I was in California, I began to think, what kind of mother was I that I could walk out on my own child. It got to where I couldn't tell anybody about Billy ñ I couldn't stand that look in their faces when I said he wasn't living with me. Finally it seemed like the most important thing in the world to come back here and prove to Billy and to me and to the world how much I loved him... And I did... And I won. Only... it was just another "should." (she begins to break down) ...Sitting in that courtroom. Hearing everything you did, everything you went through... Something happened. I guess it doesn't matter how much I love him, or how much you love him. I guess it's like you said, the only thing that counts is what's best for Billy. I don't know, maybe that's all love is anyway... Ted, I think Billy should stay with you... TED (stunned) What? JOANNA (she reaches out, takes his hand) He's already got one mother, he doesn't need two... He's yours... (her last ounce of reserve crumbles) I won't fight you for him any more. He's yours... TED Oh, God... Oh, my God... JOANNA Only can I still see him? TED No more waiting in Coffee Shops... I promise. Joanna's last ounce of reserve crumbles, she begins to sob. Ted puts his arms around her and holds her. They do not kiss. Then, after a few moments she steps back. JOANNA (chin high) Okay... I think I'll go talk to my son now. (wiping her eyes) How do I look? TED Beautiful. They step into the elevator and, as the doors close, blocking them from view, we... DISSOLVE TO: EXT. STREET ñ DAY ON TED AND BILLY TRACKING JUST IN FRONT OF THEM as they walk to the park. They are deep in conversation, although we are too far away to bear what they are saying. HOLD ON THEM and, as they reach the entrance to the park, Billy first, then Ted begin to run, overwhelmed with the sheer joy of being alive, of being together. As they continue to run, THE CAMERA PULLS BACK AND UP AND WE SEE that they are only two among thousands of parents and children in Central Park on a sunny afternoon. THE CAMERA CONTINUES TO PULL BACK until they are lost from view and it is... FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Kundun.txt b/unformated_scripts/Script_Kundun.txt new file mode 100644 index 0000000000000000000000000000000000000000..7ca11d48c2fcc582f9d179135da7a719c8638cbb --- /dev/null +++ b/unformated_scripts/Script_Kundun.txt @@ -0,0 +1 @@ +KUNDUN Melissa Mathison 16 October 1992 Cast of Characters (in order of appearance) Reting Rinpoche ... Regent of Tibet, served in the years between the death of the Thirteenth Dalai Lama and the discovery of the Fourteenth Dalai Lama. A monk. Lama of Sera ... Keustang Rinpoche A high lama. Lhamo Dhondrup ... The Fourteenth Dalai Lama. Also known as Tenzin Gyatso. Lobsang Samten ... The Dalai Lama's immediate older brother. Tsering Dolma ... The Dalai Lama's older sister. Mother ... The Dalai Lama's mother. Father ... The Dalai Lama's father. Chinese Governor ... Representative of China in Amdo Province Takster Rinpoche ... The Dalai Lam's oldest brother, abbot of Kumbum Monastery. Bodyguard ... A Khamba, monk bodyguard. The Attendants ... Masters of the Kitchen, the Robe and the Ritual. All monks. Lord Chamberlain ... The official closest to the Dalai Lama. A monk. Norbu Thundrup ... A sweeper who works at the Potala. The Yigstang and the Tsitang ... The Tibetan Government. Monks and laymen. Taktra Rinpoche ... The Regent who replaced Reting Rinpoche. A monk. Ling Rinpoche ... A senior tutor, a monk. Kashag ... The Dalai Lama's personal cabinet of advisors. Nechung Oracle ... The monk medium for the deity, Droje Drakden. Lukhangwa and Lobsang Tashi ... The Prime Ministers Muslim Man, Tibetan Woman, Noble Boy ... People the Dalai Lama meets on his way to Yadung. General Chiang Chin-wu ... First representative of Communist China sent to Tibet. Mao Tse Tung ... Chairman of the Chinese Communist Party. Khamba Leaders ... Leaders of the Tibetan Resistance Movement. Ghurka Soldiers ... Indians who make up the welcoming party for the Dalai Lama. The Himalayas. A still photograph, a portrait, of a mountain; the north face of Chomolungma - a peak also known as Mount Everest - twenty-nine thousand feet high. We hear a very young boy speak. BOY (VO) Mama, my story. A woman speaks: WOMAN (VO) Again? BOY (VO) Tell me. Portrait of a mountain - Khangbochen - craggy peaks covered with snow, twenty-four thousand feet high. WOMAN (VO) Your father had been very ill, We thought he would die, and some animals had died. BOY (VO) Cow. Portrait of a mountain - Shishapangma - twenty-six thousand feet high. WOMAN (VO) And a yak. And chickens. And we had four years of bad crops, all the farmers did. Portrait of a mountain - Anye Machin II - twenty thousand feet high and slightly obscured by clouds. WOMAN (VO) In the night, I knew you were coming. Now, the foothills. The still photograph of this barren mountain range comes to life as we see something moving. It is a small caravan - traveling this narrow mountain pass. WOMAN (VO) At dawn, you were born. CLOSER on this caravan. We can make out eight or ten men, walking, and on horseback, dressed in heavy, brocade coats, and large woolen hats, black braids trailing down their backs. A yellow palanquin is carried by four large monks, wearing maroon robes. The caravan reaches the top of the mountain pass and turns - a sudden shift in direction - a switchback. The travelers head downhill. BOY (VO) Tell me. Now, we see the mens's destination. A lake. An incredibly blue, circular lake, sunk between snow-dusted mountains. It is LHAMO I' LATSO - "the Oracle Lake" - and it shimmers in the sunlight. As the lake comes into view, a young man pushes back the curtain of the yellow palanquin and peers down at it. The man is dressed in royal robes. He is young, twenty four years old. His name is RETING RINPOCHE. He is the Regent of Tibet. The color of the lake changes - from brilliant turquoise, to a deep, murky, unfathomable darkness. WOMAN (VO) You were a beautiful baby. So calm. BOY (VO) No cried? The woman laughs. WOMAN (VO) Maybe, just a little. The palanquin is set down on a flat rock overlooking the lake. The water's color changes again, to a deep purple, then blue again, then red, then indigo. WOMAN (VO) And that day, your father got better. He named you Lhamo. "The Protector." BOY (VO) I know. Silence. The noblemen and monks surround Reting as he steps out of the palanquin. One man stands out here, a monk, a high lama in fact, with a kind face and fantastic, mesmerizing eyes. He is the LAMA OF SERA. WOMAN (VO) Go to sleep, Lhamo. Reting stares at the lake. The water turns a light grey, and an image appears - obscure at first, then becoming more solid. A vision. He sees a house - a small, stone, one-story, u-shaped house. The house has a flat, tile roof and an unusual, wooden rain gutter, with windows outlined in black and a prayer flag in the courtyard. A spotted dog is in front of the house, barking, though we cannot hear him. The vision becomes completely clear, for an instant - clear enough to see the face of a young boy at the window. CLOSE on Reting Rinpoche. Looking. Searching. Cut to: a portrait of a mountain: Kyeri - a majestic, glacier mountain - the "house mountain" of the village of Takster, Amdo Province, North Eastern Tibet. Sound returns as the wind whistles around this jagged, mountain peak and then the view moves down, below the tree line, and into the rhododendron forest and the farmlands, until it comes to rest on a small, stone, u-shaped house. A house caught in the dawn's mist. CLOSE on the face of a sleeping child: a boy, LHAMO DHONDRUP, age two and one-half years. He is dreaming. He is about to wake up. Today, his life will change. We stay on the boy's face until, slowly, his eyes open - beautiful, dark, eyes. INT. TIBETAN PEASANT HOME, KITCHEN DAWN (1937) The MOTHER walks past the boy, her woolen skirt swaying in the rosy light. A seven year-old brother - LOBSANG SAMTEN - and a teenage sister - TSERING DOLMA - share Lhamo's kitchen mattress. Lhamo looks at them, and then he turns to see the heavy felt boots of his FATHER, as the man walks through the room and out the door. Lhamo finds the kind face of his MOTHER. She is looking at him. EXT. COURTYARD DAWN The boy walks across the stone courtyard as we hear the sounds of this country morning: the snorting of horses, clucking of hens, a command from the Father as the man feeds the animals. The boy scratches, he pees. He sees his Mother on the roof. She is a silhouette against the dawn, as she feeds cedar and yak chips into the incense burner - sending white, curly smoke up, to circle the prayer flag and its clusters of printed mantras. We pull back as the spotted dog begins to bark. Lhamo's house is the house in the vision. INT. KITCHEN MORNING It is a good day. There is cheese for breakfast. Lhamo's Father sits on a cushion at the head of a low table. Fresh bread appears, yogurt, roasted barley (tsampa). Lhamo pushes at his Father. LHAMO Me. FATHER No. This must stop. LHAMO Me. Here. FATHER I am the father. You sit there. LHAMO Me here. MOTHER What is the harm? FATHER He will grow up all wrong. Only you can serve him, only you can wash his bowl. Too tidy, everything just so. He must know his place. LOBSANG SAMTEN He thinks he is king here. No respect. MOTHER What is the harm? The Father reluctantly gets up and gives his seat to Lhamo. Lhamo settles and waits for his Mother to hand him his bowl of tsampa. He bestows a most beautiful smile on his family. EXT. COURTYARD DAY The Father is leaving the yard with a short string of horses when there is a sudden commotion. The CHINESE GOVERNOR is passing through this little village. He is a ferocious looking man, dressed in ornate brocade, his horse eguipped with tack that looks like armor. He is surrounded by a dozen Chinese soldiers, all on huge horses, ruling the road, kicking up mud. Lhamo's Father stops. He holds still. He looks to the house. The Mother is holding the children against her in the doorway. Quiet. Watching. The Governor and his entourage move on. When they are out of sight, Lhamo's Father makes his departure. EXT. COURTYARD DAY Lhamo straddles the window sill, slapping his bottom as if he were a horse, shouting: LHAMO I go away. Look, mama, I go away. Far, far, far. His Mother is making bread in the kitchen. MOTHER Oh, no. Where will he go? LHAMO Far, far away. INT. KITCHEN DUSK Lhamo is playing a game with pebbles on the raised, wooden platform in the kitchen. The fire is lit. He is alone. The dog begins to bark. MOTHER (OC) Good day. MAN (OC) Good day. MOTHER (OC) Please, come in, so cold. MAN (OC) We are traveling to Lhasa. May we...? MOTHER (OC) Of course, please, this way. Your servant may use the kitchen. MAN (OC) Thank you. A middle-aged man, the SERVANT, wearing heavy, ragged clothes and wrapped boots, enters the kitchen. Lhamo slides over so that the man can sit on the platform beside him. The man picks up a few pebbles and drops them - he knows the game. We recognize this servant. His name is KEUSTANG RINPOCHE. He is one of the monks we saw at the Oracle lake, the one with the mesmerizing eyes. Keustang Rinpoche is the Lama of Sera Monastery. Lhamo sees a dark brown rosary around the Servant's neck and immediately pulls at the string of beads. LHAMO Mine. The Servant takes the rosary off and gives it to the boy. Lhamo hangs the string of beads around his own neck. The Servant makes a move to take back the rosary, but Lhamo resists. LHAMO Mine. SERVANT Mine. LHAMO Please. SERVANT I will give it to, if you can tell me who I am. Lhamo looks up, into the man's piercing, black eyes. LHAMO The Lama of Sera. You come. The Mother enters and immediately sees the rosary around her son's neck. She gives it back to the Servant. MOTHER Lhamo, no. Lhamo goes back to his game. The Mother hands the tired man a slice of bread and a steaming cup of tea. The man's hands are shaking. He cannot look the woman in the eye. SERVANT Thank you. EXT. COURTYARD DAWN The travelers make their departure at dawn. As the party reaches the gate, Lhamo runs from the house, crying: LHAMO Wait! No! The men stop. Lhamo runs to the Servant. LHAMO Me, too. Me go, too. Lhasa! Lhamo is in tears. MOTHER No, no, no. Lhasa! He always says he will travel far away. He always wants to go. SERVANT We cannot, young master. LHAMO You come back? A pause. SERVANT We will. The travelers head down the road. Mother and child return to their home, the Mother carrying the boy on her hip as he swings himself around to take a last look at the strangers. EXT. COURTYARD DAWN The Father readies a pack train of horses. Lobsang and Lhamo pull on the cinche straps. EXT. FARMLAND DAY The Mother plows with a heavy yoke attached to a large yak. Lobsang Samten and Tsering Dolma help their mother. Lhamo sleeps under an umbrella. EXT. COURTYARD DAY Lobsang and Lhamo running, carrying a bowl of eggs. INT. KITCHEN NIGHT Lobsang is wrapped in maroon wool, trying to hold still as his Mother pins and stitches. Lhamo sits, sipping tea, watching, woefully. MOTHER Say, Kumbum Monastery. LOBSANG Kumbum. It is not far away. MOTHER It is not far at all, and it is a beautiful place. And your big brother is abbott there. You will not be alone. LOBSANG I will be very smart. MOTHER You will be fine. You will be a fine monk. INT. ALTAR ROOM DAWN Lobsang pours water from one small, copper bowl into six others, seven in all, placed on an altar before a statue of Buddha. As the rest of the family watches, the Mother lights the butter lamps, whispering: MOTHER Om mani padme hum. Om mani padme hum. EXT. COURTYARD DAY Lobsang is perched on the back of a horse - in front of his Father. The two leave home, goodbyes having already been said. Mother, sister and little brother remain behind. EXT. PARENT'S ROOM NIGHT Mother lies down with Lhamo, holding him. MOTHER Your father had been very sick. He had been sick from the time you began growing in me. We thought he would die. LHAMO Cow. MOTHER Yes. A cow had died. One night, you stopped all your moving, and I said to your sister, "His time has come." LHAMO Me. First break of day. MOTHER At dawn, you were born. One eye was closed, and your sister opened it with her thumb. We gave you the sweet drink. LHAMO I pooped. His Mother laughs. MOTHER You did. We washed you and wrapped you in sheepskin and took you to your father. That day he father got better And that day, a pair of crows came to nest in our roof. I just remembered. LHAMO I miss my brother. MOTHER I miss him too. CLOSE on the Mother as she holds Lhamo, now her only son at home. A view of Kyeri mountain turning from a pre-dawn purple to light pink in the sunlight. EXT. COURTYARD DAWN The multi-colored prayer flags flap in the wind as the cock crows and the animals come awake. Father exits the house and begins his day. EXT. SIDE OF THE HOUSE DAY Lhamo is watching two bugs fighting when he hears the dog bark. He climbs the low, stone wall and looks out at the road. Six TRAVELERS approach. Four of the men are dressed as nobility, wearing red and gold silk. Two men are monks. The Mother meets the men in the courtyard. A monk steps forward. He bows. LAMA I am the Lama of Sera. MOTHER Sera Monastery? From Lhasa? LAMA Yes. We have business here. Lhamo jumps off the wall. He carefully lifts the smaller beetle from the path of the larger beetle. He places the rescued bug safely in a clump of grass. INT. PARENT'S ROOM DAY CLOSE on the faces of the six men. CLOSE on the small face of Lhamo as he looks down at the bed. Lying on a piece of yellow silk are many objects. There are three of each type of object: three walking sticks, three drums, three silver pens, three eating bowls, three bells, three rosaries, three pairs of spectacles. The Lama of Sera - Keustang Rinpoche - hands Lhamo the rosary he had so coveted when the man first visited. KEUSTANG RINPOCHE This is yours, you say. What else belongs to you? Lhamo considers the request, then climbs onto the bed to study the objects. The drum and the bell he chooses quickly. Keustang Rinpoche watches the boy gather the items. He looks at the yellow silk and the boy's small, fine hands. He dares not look directly at the boy. Lhamo picks up one walking stick - a lovely, bronze-handled one. He swings it around, but he finally rejects it in favor of a plain, iron-handled stick. He makes his own pile of these things, then looks at the Lama of Sera. KEUSTANG RINPOCHE Yes, those are yours. Keustang Rinpoche takes the boy's hands in his own. He turns them over, examines them. KEUSTANG RINPOCHE With permission? The Lama carefully pulls back the boy's overalls. There is a little birthmark, like a conch shell, on his shoulder. Keustang Rinpoche pulls up the boy's pants legs. There is a funny skin marking on the legs, like tiger stripes. The Lama rearranges the boy's clothing, then one more time, takes the beautiful, little hands in his own and whispers: KEUSTANG RINPOCHE "Kundun" He says to the others, in a soft, secretive voice: KEUSTANG RINPOCHE He is the Presence. In the background, by an open curtain, we see Lhamo's Mother. She says, softly: MOTHER My oldest boy is an incarnation. KEUSTANG RINPOCHE So is your youngest. Keustang releases the boy's hands and brings his own closed palms up to his forehead. KEUSTANG RINPOCHE I wish you long life. The Mother begins to cry. INT. ALTAR ROOM DAY Little Lhamo, now dressed in yellow, fills the copper water bowls with difficulty. His parents stand beside him. They share one, frightened curious look. CLOSE on the statue of Buddha. It is an image of Chenrezig, the Buddha of Compassion. He has eleven heads and four, outstretched arms. EXT. COUNTRYSIDE DAY Lhamo sits in the saddle in front of his Mother. His Father and Sister ride beside them, through an incredible, empty, Tibetan landscape. A Monk rides lead. EXT. EST. SHOT / KUMBUM MONASTERY DAY Turquoise-roof, golden-pagoda, a beautiful, white-washed monastery built against a terraced, green hillside of Amdo. INT. PRIVATE ROOM, MONASTERY DAY Mother pats her son Lhamo's unruly hair and makes a soft, comforting sound. Lobsang is there beside his brother. Lobsang is already dressed as a tiny monk - in a maroon robe, with short, clipped hair An older brother, TAKSTER, age 17, a lama, is there. The Mother lies: MOTHER I will be back in a few days. LHAMO How many? MOTHER Two. Lhamo holds up two fingers. LHAMO This many? MOTHER Yes, yes. Your brothers are here. Takster moves closer. She places the sad youngster in Takster's arms. MOTHER One more kiss. Lhamo kisses her, as does Lobsang and even Takster falls into her arms for a moment. Then, she turns and goes, quickly. A Monk appears. He produces a concertina and begins to play for the little boy. But, Lhamo begins to cry, through the music, through the hugs of his brothers. As a result of Lhamo's tears, Lobsang begins to cry. Takster holds them both. The music continues. The older, wiser, Takster begins to cry, too. The three brothers hold one another. Three brothers, three monks, crying for their mother. The music continues, echoing in this stone monastery. The young "Kundun" is gently rocked by his older brother. He begins to fall asleep. DREAM SEQUENCE The sound of the concertina becomes chanting and we see row after row of monks, in a temple, their voices mingling in the empty room. View of a courtyard, with young novices, reciting. Lobsang is among them. BOYS'S VOICES (VO) "May I be the doctor and the medicine, And may I be the nurse, For all sick beings in the world, until everyone is healed." A TEACHER, a very stern-looking monk, carrying a thick, flat board, menacingly, behind his back, walks among the students. A golden head of a Buddha - a huge head - appears to be bursting through an archway at the end of a dark hallway. The Chinese Governor stands, like a giant, against the blue sky. Omnipotent. Frightening. CHINESE GOVERNOR I want him accompanied by my Chinese soldiers. Keustang Rinpoche, also a head against blue sky, argues: KEUSTANG RINPOCHE This is Tibet. We are not under your authority. CLOSE on the Chinese Governor. CHINESE GOVERNOR I want one hundred thousand Chinese dollars, if you want the boy. CLOSE on Keustang Rinpoche. Slowly, he nods. An image of the Father and the Mother, standing in their courtyard, staring at the departing search party. The Mother asks over and over: MOTHER But why? Who is Lhamo? Who do they say he is? Her husband does not know. View of the Mother, on the roof, feeding cedar and yak chips into the incense burner. We hear: BOYS (reciting) "May I be protector for those without one." DRAAM SEQUENCE ENDS Lhamo wakes up. He is in a brilliant, green room. INT. STUDY ROOM, KUMBUM MONASTERY DAY The stern-looking Teacher from his dream is there, reading scripture, reciting: TEACHER "May I be a bridge, a boat, a ship For all who wish to cross the water." Lhamo looks down at the complicated words. TEACHER Can you recite? The boy just waits, sad, lonely. The Teacher offers Lhamo an apricot. Lhamo takes the fruit. The Monk pats the boy's head, gently, and Lhamo takes shelter in the kind man's massive robes. The view becomes sunlight through deep, maroon wool. INT. DRELJAM DAY thamo and Lobsang sit inside a ïdreljam" - a rough palanquin, which is attached to two poles and carried between two mules. The vehicle rises and falls, pitches and twists as it is carried along the roadless, Tibetan plains. Lhamo reaches forward and pulls back a curtain. EXT. TIBETAN PLATEAU DAY The boy is traveling with a caravan. It is not, in fact, an enormous caravan, maybe fifty people, including: Lhamo's family, members of the search party, monks, Muslim traders. The dreljam DRIVER looks over at Lhamo and signals that the boy should close the curtain. Lhamo does so, only to lean across his brother to look out the other side of his tiny carriage. The other side opens to a view of the great, empty land. A herd of deer grazes beside the travelers. Mountains rise in the distance. A flock of geese flies overhead. Lhamo closes the curtain. INT. DRELJAM DAY Lhamo elbows his brother. Lobsang elbows him back. The two begin to squabble. LHAMO You have all the room. LOBSANG Don't be a baby, move over. LHAMO You move. LOBSANG You! You think you are so big! They hit and pinch until finally the movement of the carriage stops. The Driver reaches in through the open curtains and separates the boys, each to his own side of the dreljam. Inside his tiny carriage, young Lhamo now sits quiet and composed. EXT. CAMPSITE NIGHT A cluster of fantastic, Tibetan tents are set up; white cotton tents, with sharp corners, peaked ceilings and elaborate, appliqued designs. Campfires glow, animals bed down, stars shine overhead. INT. TIBETAN TENT NIGHT CLOSE on a group of ancient, stern-faced MONKS. CLOSE on the baby-faced, Lhamo Dhondrup. One Monk pulls a huge pair of scissors from his robes. Lhamo makes a dive for the tent's door. EXT. TENT NIGHT Standing outside the tent is a BODYGUARD - a huge, burly man, wearing monk's robes. He turns to the boy. In one hand he holds a big stick. His face is distorted and deformed by a large tumor under one eye. It is a frightening sight. He looks like a monster to the child. Lhamo jumps back inside the tent. The Bodyguard closes the appliqued flap. INT. DRELJAM DAY Lhamo has had a haircut. His Mother walks beside the carriage, holding his hand. LHAMO Who am I? MOTHER We do not know. EXT. PLAINS OF TIBET NIGHT By candlelight, Lhamo is transferred from the rugged, simple carriage, to one of exquisite, yellow silk. INT. PALANQUIN JUST BEFORE DAWN Lhamo peeks out of the silk curtain as he hears the arrival of many horses, many men. SOLDIERS - hundreds of Tibetan soldiers - surround the palanquin. EXT. PLAINS, OUTSIDE LHASA DAWN The yellow palanquin is carried across a human border of Tibetan noblemen. These fantastic-looking men and women part, and drop to the ground in prostration, as the palanquin moves through their welcoming committee. INT. PEACOCK TENT DAWN Lhamo walks along a long, patterned carpet, looking up, at this lofty tent's stunning, blue silk, ceiling. He is led to a tall, wooden throne, and he is lifted, and then he climbs to the top. Lhamo settles in a cross-legged position on the brocade cushion. He looks down. Hundred of monks, abbots, noblemen, Nepalese, Bhutanese, Chinese, even a red-headed Englishman - they all bow to Lhamo. Reting Rinpoche, the young Regent of Tibet, the man who saw this boy's face in his vision, stands below the throne. He addresses the crowd: RETING RINPOCHE Chenrezi, the Buddha of compassion. The Wish Fulfilling Jewel. The Fourteenth Dalai Lama. And the Regent turns, hikes up his gorgeous robes, and prostrates before the child. RETING RINPOCHE Long life. In the crowd stand Lhamo's Mother and Father and Lobsang Samten. On their faces, we must see that they did not realize who their son, their brother, was believed to be. First the Mother, and then the Father, bow in front of their youngest child. MOTHER Long life. FATHER Long life. Finally, Lobsang. LOBSANG Long life, Lhamo. We hear the sound of a great, Tibetan horn. We hear peels of childish laughter. INT. THE POTALA DAY Lobsang and Lhamo skid, slide, skate down the endless, slippery hallways of this huge, labyrinthine monastery. Three Monks scurry behind the boys, trying to keep up, trying to keep the young incarnate from slipping out of their sight. They shout, in loud stage whispers: MONKS Kundun! Kundun! The monks are no match for the little boys, who are quickly out of sight. INT. DALAI LAMA'S PRIVATE ROOMS THE POTALA DAY Reting Rinpoche sits cross-legged on the floor of this brightly-painted, red room. Across from him sits Lhamo, dressed in fine, yellow silk. These are simple rooms, decorated with statues, deity scrolls and mandalas, an altar to Buddha. Behind a glass case are toys, mixed in with the Buddhist artifacts: dolls, puppets, balls, blocks, trains. Reting Rinpoche is speaking. RETING RINPOCHE Centuries ago, a young boy was born. His name was Gedundrub. The night of his birth, robbers came to his home and his family fled hiding the baby in a cattle pen. When they returned the next day, the baby was safe. They found him guarded by a pair of black crows. He was the first Dalai Lama. The Living Buddha of Compassion. Now, you have chosen to come back to this life once again. Reting blows his nose. RETING RINPOCHE We name you Tenzin Gyatso. CLOSE on Lhamo - Tenzin Gyatso. RETING RINPOCHE Your job is simple. You are to love all living things. Just love them. Care for them. Have compassion for them. "As long as any living thing draws breath, wherever he shall be, there in compassion, shall the Buddha appear, incarnate." At the curtain behind Lhamo, we notice the curly-toed shoes of a monk, a man who must be standing in the next room. INT. DALAI LAMA'S PRIVATE ROOMS DAY In the room immediately adjacent to this bedroom, we now see the three Monks who chased the young boy down the slippery halls. They are the Dalai Lama's personal attendants - the MASTER OF THE RITUAL, the MASTER OF ThE KITCHEN, and the MASTER OF THE ROBE. (It is the Master of the Kitchen who stands directly behind the curtain.) The LORD CHAMBERLAIN is also there. He is a monk. A tall, angular man, with almost nordic features: large, round eyes, a yellowish mustache, sharp nose. All of these men will become quite familiar to us, as will the man standing, listening, behind the attendants. He is a sweeper, a man named NORBU THUNDRUP, age thirty. He is tall, and gangly, with a wispy beard and a pock-marked face. INT. DALAI LAMA'S PRIVATE ROOM DAY RETING RINPOCHE You will be the leader of the Tibetan people when you come of age. Until that time, I will be your teacher, and as your Regent, I will rule in your name. I will tell your Lord Chamberlain you are ready to see him. INT. ADJACENT ROOM DAY The Regent walks through this room on his way out. A passing look from Norbu lets us know that Reting Rinpoche is not well-liked. RETING RINPOCHE He will see you now. The Lord Chamberlain goes to meet with the Dalai Lama. INT. DALAI LAMA'S PRIVATE ROOM DAY The Lord Chamberlain bows to the boy and then unpacks his parcel. He has a rolled, parchment document. He has a beautiful, carved, wooden box. The Lord Chamberlain points to the mural on the wall behind the boy. It is an elaborate, story-painting. LORD CHAMBERLAIN Fifth Dalai Lama. The boy looks. The Lord Chamberlain points to a golden statue of a round man in a peaked hat. LORD CHAMBBERLAIN Seventh Dalai Lama. Tenzin Gyatso nods. The Lord Chamberlain lifts a framed photograph of a bald, charismatic man, with razor sharp eyebrows, pictured sitting on a throne. LORD CHAMBERLAIN Thirteenth Dalai Lama. The boy looks at the photo. The Lord Chamberlain places the state seal in the young boy's hands and indicates that the boy should bring the heavy instrument down hard on the parchment. The boy does. The Lord Chamberlain scribbles a little something on a tab of attached paper, then bows to the boy. LORD CHAMBERLAIN Fourteenth Dalai Lama. VIEW FROM A HIGH WINDOW Outside, up a country path, young herders lead their cattle in from the grazing fields. We can hear the boys singing - a Tibetan street song. TENZIN GYATSO (OC) I am the good one. You be bad. The bad man. INT. DALAI LAMA'S PRIVATE ROOM DUSK The view comes in the window and reveals the young Dalai Lama, sitting on the floor with Norbu Thundrup, the sweeper. Tenzin Gyatso has arranged a battlefield of soldiers - little men, made of colored-dough. NORBU THUNDRUP My name is Norbu, Holiness. I will be good, you be bad. Tenzin Gyatso is ferocious in his strategy, taking Norbu's men. TENZIN GYATSO I'm on a big mountain and hitting at the bad men. And after the game, we're going to trade. You just stay over there, no, there!, Norbu, and I will shoot at you. I want your land. I take it. I am stronger. NORBU THUNDRUP I am braver. Norbu Thundrup plays like a child. It is a fight to the finish. TENZIN GYATSO I have more men. NORBU ThUNDRUP I have smarter men. Tenzin Gyatso has lost; he dissolves into tears. NORBU THUNDRUP Today you lose. Tomorrow you may win. Norbu snaps his fingers. NORBU THUNDRUP Things change, Kundun. TENZIN GYATSO Why is your beard so funny? Let me touch this. Tenzin touches the soft, bald, chin of Norbu. TENZIN GYATSO Soft. And then, Tenzin Gyatso tries to snap his fingers. He cannot. INT. DALAI LAMA'S PRIVATE ROOMS DUSK Tenzin Gyatso stands at the window, watching, listening. His hands knead the colored dough into balls, ready to create the next army, the future battleground, as he recites, softly: TENZIN GYATSO "As long as all living draw breaths, there Buddha is." Norbu Thundrup smiles as he polishes the floor, clearing it of tsampa dough. INT. GREAT HALL, THE POTALA DAY The Great Hall in the Potala is the seat of Tibetan Government. These palace walls are hung with beautiful, old thangkas (silk embroideries or paintings), depicting the life of Buddha. Inside the hall sits the acting government: the YIGSTANG and the TSITANG - four monks, four laymen - all dressed in their appropriate simplicity and elaborateness. These men sit in two rows, facing one another. The senior monk and the senior layman sit a bit forward. They are the speakers. The senior LAYMAN is on his knees, speaking. LAYMAN I believe that the Regent is asking for too high a reward for his part in finding the Dalai Lama. Too much money, too much land. INT. HALLWAY DAY Tenzin Gyatso peeks through a door at the great assembly. The Lord Chamberlian stands behind him. INT. GREAT HALL DAY The Layman continues. LAYMAN Our treasuries are empty. Our army is depleted. He would have us pull the hair from our noses. INT. HALLWAY DAY The Dalai Lama is confused, but continues listening. INT. GREAT HALL DAY The Layman returns to his cross-legged position. The senior MONK speaks. MONK We note this. Now, the Chinese. There is audible expression of tension. MONK The Allies wish to build a supply- road from India, crossing Tibet, as part of their war effort. The road would lead directly to China. The Layman gets to his knees. LAYMAN We cannot allow it. Right now, we have a only a small Chinese mission in Lhasa, the first since the Thirteenth Dalai Lama threw them out in 1912. The road would increase the size of that mission. The Chinese would try to control our trade, as they did once before, control our contact with the outside world. INT. HALLWAY DAY The Lord Chamberlain touches the boy's shoulder and Tenzin Gyatso leaves his hiding place, as the speaker's voice fades away. As the two walk down the hallway, Tenzin Gyatso spots an unusual wooden door. He lets the Lord Chamberlain get a little bit ahead of him, and then the boy tries the door. It is heavy. It almost opens. INT. HALLWAY LATER, DUSK Tenzin Gyatso and his brother Lobsang are pulling at the heavy door. Behind them, in the distance, we hear: MONKS (OC) Kundun! Kundun! The door opens. The boys disappear inside. INT. STORAGE ROOM DUSK A treasure awaits them. It looks like Aladdin's cave - full of odd, European items. There are glittering music boxes, a porcelain sink, a gilded mirror, a lacquered rocking horse. There are hats, umbrellas and even a pair of lace-up, cordovan shoes. Tenzin Gyatso lifts a reel of film. There are piles of magazines and books. There is a stack of tires in the back corner. The boys uncover a train set and a good collection of lead soldiers. The Dalai Lama pockets a gold watch. Just as the monks find their young charges and we hear them at the door, Tenzin sees something truly spectacular. It is a telescope. The monks enter the room as the young Dalai Lama reaches for this miracle. TENZIN GYATSO What is it? THE ATTENDANTS Ah, it is a telescope, Holiness. With this you can see a long way. TENZIN GYATSO And, is it mine? ATTENDANT These are all gifts sent to your predecessors. LOBSANG SAMTEN Yes! Then it is yours! TENZIN GYATSO I need it. INT. DALAI LAMA'S PRIVATE ROOMS NIGHT We are in the adjacent room, listening, as Norbu Thundrup tells a bedtime story. Golden butter lamps burn before a statue of Buddha. NORBU THUNDRUP (OC) One night, not too long ago, an old monk saw a woman in that very same hallway where you ran away. INT. BEDROOM NIGHT The boy is in bed. The Sweeper finishes-off his story as the boy wiggles deeper under the covers. NORBU THUNDRUP She carried a basket in her arms, a big, heavy basket, and the old monk cautiously approached. She opened her basket and showed what she had. Heads. Human heads. Only the heads. TENZIN GYATSO Is that true or pretend? NORBU THUNDRUP It is a story, you decide. TENZIN GYATSO Pretend. NORBU THUNDRUP As you say. The Sweeper tucks the boy in as the Master of the Robe finishes his nightly preparations and with a pat and a smile, the two men leave the room. A mouse steals a bit of tsampa from the offerings placed on the altar before the Buddha. Tenzin Gyatso peeks out from under his covers and looks to see if those curly-toed shoes are visible under the partition. They are. The Master of the Kitchen is still near. Tenzin Gyatso pulls the golden pocket watch from under the covers. He pries and digs at the back of the watch until he succeeds in popping it open, revealing its miraculous insides. Finally, Tenzin Gyatso's eyelids grow heavy. The camera passes over his face, as his eyes close. The boy begins to speak, mumble, as he falls asleep: TENZIN GYATSO "I be an island for those who seek one, a lamp for light." We find two scrolls; the first is PENDEN LHAMO, the special protectress of the Dalai Lama. She rides her wild mule through a sea of blood - between rows of jagged mountains. Pointed fingers and spreading toes, her hair gone crazy, her fangs revealed - the details are incredible. A garland of freshly severed heads hangs around her body, snakes hold up her skirt, five skulls form ber crown. TENZIN GYATSO (VO) "May I be a bed for all who wish to rest, and a slave for all who want a slave." Beside her, on the second scroll is MAHAKALA. He is the fierce representation of the Buddha of Compassion. Crows fly in the clouds to the left of the terrifying, black, six- armed figure. A skull rosary is held in the upper right arm, a Trident is held in the left hand. The deity wears a crown of five skulls. He has three eyes. He tramples an elephant. We might have been in a dream, as the camera finally moves back to find the peaceful1 protected face of the young Dalai Lama. Asleep. The camera moves across the mural devoted to the story of the Fifth Dalai Lama. It is a fantasy of green, with mountains and lakes and deities and monsters. We find the statue of Seventh Dalai Lama, sitting on his golden cushion, and we look, deep into the eyes of the Thirteenth Dalai Lama. Fantastic. Deeper. Deeper. TENZIN GYATSO "May I be wishing jewel, a magic vase... VIEW THROUGH AN EYEPIECE We see the Dalai Lama place his young eye at the viewfinder. EXT. TERRACE, POTALA DAY Norbu Thundrup holds the boy steady. And, a wondorous view of Lhasa is presented. Vendors hawk their goods to elegant ladies, wearing turquoise jewelry and carrying silken parasols. Animals are herded through town by young boys. Children play and squabble. A white wall is covered with cartoons, lampoons - political posters - picturing the Regent, perhaps, as a man holding too much power. TENZIN GYATSO I want to go down there. NORBU THUNDRUP You can only go with attendants and a big ceremony. TENZIN GYATSO I want to run down the street. I want to buy a toy. Eat from the shops. NORBU THUNDRUP You cannot. TENZIN GYATSO I want to be a shepherd, taking those goats and cows out to the hillside. NORBU THUNDRUP But you are not a shepherd, you are the Dalai Lama. TENZIN GYATSO Maybe in the next life, the world will not need a Dalai Lama. NORNU ThUNDRUP I would not know. Maybe. The view travels and we see a prison yard. Shackled men share the yard with hairy, fat dogs. One man looks up and sees that the yard is under surveillance. Of course the men all know that this terrace belongs to the boy Dalai Lama. As the boy watches, first one poor, ragged man, then another prostrates. Tenzin Gyatso pulls away from the telescope. He waves to the prisoners. EXT. VALLEY OUTSIDE LHASA DAY (SUMMER, 1942) The boy rides in his palanquin of yellow silk. He is older now, seven or eight. He peers through the curtain. A grand procession carries the Dalai Lama from the Potala to his summer residence, the Norbulinka. Monks walk in procession, as do members of the aristocracy, wearing their finest gowns and jewelry, holding their finest parasols, and soldiers, wearing ancient uniforms. There are horses, banners and carriages. Bodyguards carry the Dalai Lama's possessions - wrapped in yellow silk. A band plays, "God Save the King." It is a magnificent display, and along the side of the road, Tibetans prostrate in the presence of the boy, not daring to look at him. EXT. THE NORBULINKA DAY Establishing shot of this lovely park. Zt looks like a sweet, summer home compared to the looming expansiveness of the Potala. It is filled with deer and antelope, peacocks and nesting birds. An eccentric collection of trees grow here - some indigenous, some gifts - bearing flowers and fruit. There are fish ponds and even a Kyichu river tributary nearby. We find the young Dalai Lama standing by this tributary daring to put one foot on a slippery, stepping stone. An Attendant gently pulls him back. Beyond the river, a herder leads a small group of braying sheep towards town. The boy watches. He listens to the herder's song. EXT. GARDENS, NORBULINKA DAY The Dalai Lama drops bits of food into a fish pond. He calls the huge, lazy fish to come eat. TENZIN GYATSO Little ones first, only little ones. The boy pushes the bigger ones away with a stick. EXT. YELLOW WALL, NORBULINKA DAY Tenzin Gyatso runs through an open gate in a mustard yellow wall (which separates the Dalai Lama's residence from the rest of the Norbulinka), and up the steps leading to a white, one story, home - his parent's. INT. PARENT'S HOME, NORBULINKA DAY A startling, blue room. The young Dalai Lama leans on the table where is Father sits eating pork rinds. Lobsang is there, practicing his writing on a chalk board. Tenzin Gyatso grabs one pork rind, then another, then a third. LOBSANG SAMTEN The Dalai Lama is not supposed to eat pork. It is not good for your brain. The Father uses the grease from the roasted lamb on the table to caress his long mustache and twirl each side into a point. The Dalai Lama takes another, and then, suddenly, the boy reaches up and for no reason, he pulls on his Father's mustache, obviously hurting the man. The Father slaps the boy's hand, hard. The boy sits back, and begins drawing imaginary letters on the tabletop with his slapped hand. His Father reaches out and takes the hurt hand. He pulls the boy into his arms. FATHER I am sorry, Lhamo. TENZIN GYATSO It is alright, Father. The Master of the Robe knocks at the door. Father and son look up. MASTER OF THE ROBE Kundun, you must come back now. The young boy sits straight up on his Father's lap and says, defiantly: TENZIN GYATSO Go away. The surprised Monk backs away from the door. FATHER Not the way to talk to people. TENZIN GYATSO Can I do anything I want? FATHER No. TENZIN GYATSO But, I am in charge. FATHER Are you? Of whom? The boy thinks. TENZIN GYATSO Can I save the sheep from going to the market? So they don't die. LOBSANG You could buy them. TENZIN GYATSO Do I have money? LOBSANG What do you think? TENZIN GYATSO Do you have money? FATHER I do, now. TENZIN GYATSO And you have horses? You love horses. FATHER I do, beautiful horses. Thank you, Holiness. TENZIN GYATSO Will you buy the sheep for me? FATHER Where will you keep them? TENZIN GYATSO Here. We'll collect them. FATHER I will buy them for you. TENZIN GYATSO Can I free the prisoners? FATHER Hmmm. LOBSANG You can't do anything real until you are Dalai Lama. TENZIN GYATSO I am him. LOBSANG Not until you are eighteen. MOTHER (OC) You have escaped once more. The Mother has been in the doorway, listening. Tenzin Gyatso disengages from his Father's arms and goes to his Mother. Tenzin reaches into one of her large, apron pockets and finds nothing. Another. Nothing. He reaches into her sash and pulls out a special-looking sweet. She takes the boy's hand and leads him from the house. LOBSANG Go study. I get in trouble if you do not study. Lobsang looks at his Father. LOBSANG I do. FATHER Sometimes you strike the goat, to scare the sheep. LOBSANG I am the goat. He is a naughty sheep. FATHER He will not be ours much longer. CLOSE on the Father's face. EXT. GARDENS, NORBULINKA DAY The Mother walks the boy back to his residence, through the gate in the yellow wall. MOTHER I have news. The Regent has resigned his post. TENZIN GYATSO Is he a bad man? Norbu says he is "lavish" and "willful". "How can he give you monk's vows if he has not kept them himself?" MOTHER Well, some say. It's not for you to worry about. Another will be chosen. TENZIN GYATSO He was always nice to me. He found me. He saw me in his dreams. EXT. DALAI LAMA'S RESIDENCE, NORBULINKA DAY They have reached the residence. The boy's Mother caresses his little head. MOTHER I turn you over again, today, Lhamo. One day, you will not be able to come running to us. TENZIN GYATSO But you will always be here? MOTHER Me? TENZIN GYATSO You will always! MOTHER I have one more piece of news. A baby is coming. Tenzin grabs at her stomach and shrieks with laughter. TENZIN GYATSO Oh, Mama! Who will it be? The Mother places her hands on Tenzin Gyatso's. MOTHER Oh, no! Who can it be? A string of old monks, stand, waiting for the naughty boy. INT. ENTRANCE HALL, DALAI LAMA'S RESIDENCE, NORBULINKA, DAY The boy runs up the stairs and towards the old men, but he stops and looks at a small cabinet standing, unobtrusively, in a corner. Tenzin Gyatso goes to the cabinet and rattles the locked door. TENZIN GYATSO My teeth! My teeth are in here! A monk takes the boy by the hand and leads him down a hallway. TENZIN GYATSO My old teeth! INT. DALAI LAMA'S PRIVATE ROOMS, EVENING A bell and a dorge are laid out on a small table. Tenzin Gyatso sits in front of this table. A monk is chanting in low, deep tones, in the background. The Dalai Lama's teacher, TAKTRA RINPOCHE, sits on the floor. (Being the teacher, Taktra Rinpoche sits slightly higher than the Dalai Lama.) Taktra is an older man, in his sixties. He is stern, solid, no-nonsense. Taktra Rinpoche begins a prayer. TAKTRA RINPOCHE "I take refuge in the three jewels, The Buddha, the Dharma and the Sangra." But the boy leaps up from his table and goes to Taktra and hangs around his neck, shouting: TENZIN GYATSO You recite! You recite! Taktra gives the boy just the slightest of looks. TAKTRA RINPOCHE "I take refuge in the three jewels, The Buddha, the Dharma and the Sangra." Tenzin Gyatso releases the Lama and goes back to his own table. TAKTRA RINPOCHE "Until I attain enlightenment." Taktra Rinpoche has a small table with the same hand instruments in front of him. The teacher lifts the dorge, in a particular fashion, and rotates it. Tenzin Gyatso lifts his dorge. Taktra's hands move to the boy's and show him the correct movement. It is tried again. Now, the bell is lifted and rung. TENZIN GYATSO I would like you to be my new Regent. Taktra stops. He nods to the boy. As the chanting continues, Taktra Rinpoche begins a weaving motion with his hands, delicate, beautiful, hypnotic. Tenzin Gyatso copies the elder. We are CLOSE on the boy's moving hands. The chanting becomes the voices of a hundred men, as we FADE OUT. FADE IN: on the boy's hands, but they are a little larger - they are the hands of an eleven or twelve year-old boy - and the motion they carry out is on the verge of becoming extraordinarily beautiful. INT. DARK ROOM, POTALA EVENING (1944) Tenzin Gyatso sits alone, in a small, dark green, room. He is older. His robes have changed slightly, his manner is more refined, more dignified. He is on a retreat. There is a soft knock at the door. The door is opened and food is placed inside the small room by bodiless hands. Tenzin Gyatso collects his food. He sips his tea and eats his tsampa, while reading from a long, narrow stack of scriptures. Thangkas of MILERAPA - the great Tibetan poet and teacher - hang on the walls. We notice the curly-toed shoes of the Master of the Kitchen, just visible beneath the wooden door. EXT. COURTYARD, THE POTALA NIGHT The boy walks alone, moving to the rhythm of a memorization. His breath consolidates in the cold night air. The sky is brilliant with stars. TENZIN GYATSO (reciting) "As long as any living thing draws breath, wherever he shall be, there, in compassion, shall the Buddha appear, incarnate." INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY School is in session. LING RINPOCHE is teaching. Ling is a young, shy, brilliant monk, with a very round face. He is now senior tutor. LING RINPOCHE The Four Noble Truths. Tenzin Gyatso, sitting cross legged on a cushion, responds. TENZIN GYATSO The Four Noble Truths, as taught by the Lord Sakyamuni Buddha are: The Truth of Suffering The Truth of the Cause of Suffering, The Truth of the Cessation of Suffering, the Truth of the Way which leads to the cessation of Suffering. LING RINPOCHE I accept it. What is suffering? TENZIN GYATSO True suffering arises from contaminated actions and afflictions. Birth, illness, grief, old age, poverty, pain, death - these are surferings. LING RINPOCHE I accept it. What are the causes of suffering? TENZIN GYATSO The causes of suffering arise from true sources. Attachment, desire, envy, hatred, greed, unkindness, wrong view and so forth - these are some causes of suffering. Now we CUT BACK to Ling Rinpoche, but he is standing, outside, in a courtyard. He asks another question, but he raises his right hand as he speaks, and lowers his left, completing the question with a clap of the hands. EXT. COURTYARD, THE POTALA DAY It is a beautiful, blue-sky day. The Dalai Lama is learning "debate". High Lamas sit on tapestry pillows, under appliqued canopies, observing. Young monks can be seen, watching, from a greater distance. The Lord Chamberlain sits to one side. Taktra Rinpoche, now Regent, is beside him. The Dalai Lama sits on the ground at Ling's feet. LING RINPOCHE How does one progress from the realization of one Noble Truth to another? (clap) A long silence from His Holiness. The Lamas wait on tender hooks. Finally, the boy says: TENZIN GYATSO We will have to think about that. There is laughter. Even Ling Rinpoche laughs and the boy erupts into his beautiful, free, easy laugh. TENZIN GYATSO I need to squeeze this brain. LING RINPOCHE Answer. (clap) A pause, and then: TENZIN GYATSO When one understands that he causes some of his own suffering, needlessly, then he looks for the causes in his own life. And when and he looks for those causes, when he investigates, then he is putting confidence in his own ability to eliminate the sources and end the suffering. A wish to find a path to peace arises. For all beings desire happiness. All wish to find their purest selves. Ling nods in approval. He looks to the elders. LING RINPOCHE I accept it. Taktra Rinpoche and the Lord Chamberlain are proud. EXT. SAME COURTYARD DUSK Tenzin Gyatso runs up a slant board and leaps off the edge - a big jump, a flying leap. He falls to the ground, then gets up, laughing, and runs up the board again. The same old monks who watched him debate, watch him play. The Lord Chamberlain and Taktra Rinpoche are among them. The Lord Chamberlain obviously loves watching his young charge play. The Regent is not so sure. TAKTRA RINPOCHE Careful! Careful! Tenzin Gyatso shouts: TENZIN GYATSO I need to jump! I love to jump! INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA NIGHT The Nechung Oracle is the protective deity of Tibet. Tonight, he is in full trance. It is an amazing sight. The monk who is his medium spins and twirls, he wags his heavy headdress about. A round mirror glitters on his chest. Sweat pours from his brow, over his wildly grimacing face. The Oracle spits at the government officials in the room. Horns blow, cymbals crash, incense burns. The Oracle nears the Dalai Lama and retreats from him. Finally, he whispers in the boy's ear. ORACLE Heed the warning of your predecessor. Or the war will end here. And then, the Oracle gently straightens Tenzin Gyatso's yellow robes, before the trance ends and the Oracle falls into the arms of his attendants. INT. DALAI LAMA'S PRIVATE ROOMS NIGHT Wind whistles through the Potala's hallways and porticos. The Master of the Kitchen is clearing away the dinner dishes. The view of the floor reveals that a "toy" war is being waged. With a "Meccano" set, the young Dalai Lama has created what looks like an airplane, and a tank. These vehicles are manned by beautifully detailed lead soldiers - British World War One Field soldiers, French Legionaries and American Artillery men. Norbu Thundrup, is flying low with a tsampa~dough airplane. He drops little tsampa-dough bombs from his hand. He hits a tank and knocks down a few lead soldiers. TENZIN GYATSO Oh, nicely done, Norbu. I will get you. The Lord Chamberlain enters. LORD CHAMBERLAIN May I listen to the news with you, Holiness? TENZIN GYATSO Please. A large, old-fashioned, short-wave radio broadcasts that there is still a real war in progress. The BBC report is of the Pacific front. TENZIN GYATSO How big is Tibet's army? LORD CPIAMBERLAIN Roughly five thousand men. TENZIN GYATSO Is that big? LORD CHAMBERLAIN No. Not very big. TENZIN GYATSO The Regent is adding men. And he bought rifles and ammunition from India. Mountain guns, too. The broadcast reports news of the civil war in China. TENZIN GYATSO Will we be in this war? LORD CHAMBERLAIN No. This war is almost over. TENZIN GYATSO Will we ever be in war? The Lord Chamberlain is silent. Norbu answers. NORBU THUNDRUP We have enemies. TENZIN GYATSO The Chinese. NORBU THUNDRUP Yes. TENZIN GYATSO But, surely, we are safe in Tibet. We don't believe in killing. LORD CHAMBERLAIN No, we don't. Tenzin Gyatso gets to his feet and takes an atlas from his table. He lays the book open on the floor. TENZIN GYATSO This is Britain. NORBU THUNDRUP Ahh. TENZIN GYATSO Where is Poland? The Lord chamberlain sits on the floor. He points to Poland. TENZIN GYATSO Where is Pearl Harbor? The Master of the Kitchen comes to look at the atlas. LORD CHAMBERLAIN In the Pacific Ocean. It is an island. American territory. TENZIN GYATSO Where is Alsace? LORD CHAMBERLAIN I do not know, Holiness. Tenzin Gyatso turns to a well thumbed page: Tibet. TENZIN GYATSO This is Tibet. And this is China. NORBU THUNDRUP Ahh. They all look at huge China. TENZIN GYATSO Certainly, we are safe in Tibet. No one answers. Finally, as Norbu Thundrup begins to gather up the tsampa- dough: NORBU THUNDRUP We hope, Kundun. Tenzin Gyatso turns to the Lord Chamberlain. TENZIN GYATSO What was the warning of the Thirteenth Dalai Lama? LORD CHAMBERLAIN He warned about the future of Tibet. TENZIN GYATSO Tell me. LORD CHAMBERLAIN When it is time. INT. GARDENS, NORBULINKA DAY His Holiness works on an old movie projector. A white- haired, CHINESE MONK works with him. The old Monk has very little patience. He bangs his hand on the table, and huffs and puffs as the two try again to fiddle with this and that. Tenzin Gyatso works diligently and calmly. TENZIN GYATSO Patience is the first of the Six Perfections. The old Monk mutters something in Chinese. They thread a roll of dusty film into the reel and spin the wheel. The film breaks. The old monk bangs the table again. The work continues. TENZIN GYATSO One day, we will get that automobile running. The monks slaps his head in horrid anticipation. INT. DARK ROOM, NORBULINKA NIGHT A movie begins, shown on a piece of cloth tacked to a wall. It is a newsreel - footage from World War One. The trenches. The boy goes up to the cloth screen and touches it gently, playing with his own shadow as men dash from foxholes across a muddy, body strewn field. The boy steps back and stares at the horror of real war; men sleeping in the muddy foxholes, make-shift hospitals tend the dying. Youths - not much older than His Holiness - weep into their filthy, bloody hands. The Old Monk keeps his trembling hand on the noisy, hand- operated, projector. Tenzin Gyatso slowly sits, cross-legged, on the bare floor. War does not look good on film. INT. DALAI LAMA'S PRIVATE ROOMS, NORBULINKA NIGHT The boy sits alone, in front of his altar, praying. Meditating. INT. ALTAR ROOM, THE NORBULINKA DAY A black room, lit by butter lamps. Taktra Rinpoche and Tenzin Gyatso sit opposite one another, cross-legged on the floor. Taktra is the teacher, he sits a bit higher. The room is a shrine to Mahakala, the Dalai Lama's personal deity. Mahakala is present, in the form of a huge, golden statue. The boy has his head bent low to catch the Rinpoche's words. There is much gesturing, much murmuring. We might catch only a word or two. An oral teaching is being passed on, a lineage teaching. It is sacred and secret. EXT. UPPER COURTYARD, THE POTALA DAY CLOSE on a thangka of Penden Lhamo. We hear monks debating. It is Ling Rinpoche answering, playing the student. LING RINPOCHE "To be born in a time when the Buddha has appeared. To be born in a time when the Buddha has taught. To be born when the teaching of Buddha is alive." We find His Holiness, sitting, listening to the debate. LING RINPOCHE "To be born where the dharma is practiced. To be born in a time when people have compassion for other people." The view widens now and we are under a softly billowing, appliqued canopy. Maybe fifty monks and lamas are present. This is an informal group. QUESTIONER How is human life precious? LING RINPOCHE As a result of previous karma, you have obtained this human life. By means of this rebirth, through work and study, you can attain all everlasting happiness. In the words of Shantideva: "With the boat of this precious life, You can cross the waters of Samsara. How rare to find this boat!" "Oh, ignorant one, do not fall asleep now!" Shots ring out. The men jump to their feet, and rush out from under the canopy. The Dalai Lama is right in front. More shots as the men stare out across the countryside. We hear murmurs of: VOICES Sera, Sera Monastery. Reting. Under arrest. The army is taking him right past Sera! Monastery! Those crazy monks! Have been threatening trouble. Reting tried to assassinate Taktra Rinpoche. We hear these snippets as the Dalai Lama runs from the group. INT. HALLWAYS, POTALA DAY It is almost black inside this old building. The panting boy runs up and up and up several staircases. INT. HALLWAY DAY Tenzin Gyatso runs down the hall and enters his red rooms. INT. DALAI LAMA'S PRIVATE ROOMS DAY Norbu Thundrup is in the room and he moves ahead of the boy - out to the terrace. EXT. DALAI LAMA'S TERRACE DAY Tenzin Gyatso climbs up on a small, wooden platform, and mans his telescope. TENZIN GYATSO It's the army, firing on Sera Monastery! Oh, no! Oh, no! The shooting continues. TENZIN GYATSO Why is this? What is happening? Tell me! NORBU THUNDRUP Reting Rinpoche has been arrested. He tried to overthrow Regent Taktra. Today, he is brought back to Lhasa by government officials. The monks at Sera Monastery have been on his side. Now, there is trouble between them and the army. The Lord Chamberlain arrives on the terrace. LORD CHAMBERLAIN I am sorry for you to have to witness this, Kundun. TENZIN GYATSO Look here! The Lord Chamberlain peers through the telescope as the shooting continues. LORD CHAMBERLAIN Tragic. Unnecessary. The Lord Chamberlain steps away from the telescope and the boy takes his place. The shooting slowly stops. LORD CHAMBERLAIN Holiness? I have a letter. The boy looks up. LORD CHAMBERLAIN The Thirteenth Dalai Lama's warning. He wrote to you, the year before he died. The year before you were born. The Lord Chamberlain walks to a far, sheltered end of the terrace. Tenzin Gyatso slowly turns the telescope to see the prison yard. View through the telescope; the yard is full of prisoners, listening to the shooting. One man sees the telescope aimed at the prison and prostrates. Then another, and another. Tenzin Gyatso steps away from the telescope and turns to follow his Lord Chamberlain. EXT. OTHER SIDE OF TERRACE DAY The Lord Chamberlain opens a yellowing letter and begins to read. Tenzin Gyatso sits down beside him. LORD CHAMBERLAIN "It may happen, that here in Tibet, religion and government will be attacked both from without and within. Unless we guard our own country..." CLOSE on the Lord Chamberlain. Today, he appears tired; the whites of his eyes appear enormous. His voice is quite beautiful. LORD CHAMBERLAIN "...it will now happen that the Dalai and Panchen Lamas, the Father and the Son, and all the revered holders of the faith, will disappear and become nameless." Tenzin Gyatso unwinds the rosary from his wrist and begins thumbing the brown beads. LORD CHAMBERLAIN "Monks and their monasteries will be destroyed. The rule of law will be weakened. The lands and properties will be seized. They themselves will be forced to serve their enemies or wander the country like beggars." "All beings will be sunk in great hardship and overwhelming fear; the days and nights will drag on slowly in suffering." He is finished. TENZIN GYATSO What can I do? I am only a boy. LORD CHAMBERLAIN You are the man who wrote this letter. You are the man who has come back to lead us. You will soon have great responsibilities. You must know what to do. INT. DALAI LAMA'S PRIVATE ROOMS, ADJACENT ROOM, DAY The Regent and the Lord Chamberlain are present. Also present is the KASHAG - a council of four men: one monk, three laymen. They are the Dalai Lama's advisory cabinet. INT. DALAI LAMA'S PRIVATE ROOM DAY The boy rises from his desk. Norbu says: NORBU THUNDRUP You remember who you are. You called for them. Tenzin Gyatso enters the adjacent room. INT. ADJACENT ROOM DAY The boy climbs onto a cushion and sits - a head above his officials. He is tentative, unsure of form and procedure. There is an awkward, formal silence. Then: TENZIN GYATSO Taktra Rinpoche, I understand there was an attempt on your life. TAKTRA RINPOCHE It is possible, Holiness. TENZIN GYATSO You are unharmed? TAKTRA RINPOCHE Completely. TENZIN GYATSO Good. Where is Reting Rinpoche now? KASHAG MEMBER He has been imprisoned, here in the Potala, Holiness. TENZIN GYATSO The Sera monks have surrendered? KASHAG MEMBER It is calm. The boy motions to the table. TENZIN GYATSO Please, have tea. The tea is poured. TENZIN GYATSO I need to know what you know. I am no longer a child. LORD CHAMBERLAIN Ask whatever you will. TENZIN GYATSO What is the danger from the Chinese, now? KASHAG MEMBER Very complicated, Holiness. Let me tell you current news. The Chinese have launched a deceptive campaign aimed at convincing the world that Tibet belongs to China. We sent a mission to the Chinese National Conference. Our attendance was a grave mistake. The Tibetans were introduced as delegates from the "Chinese region of Tibet". We protested this reference and demanded a letter rebutting it. TENZIN GYATSO Did you receive the letter? KASHAG MEMBER We did not. LORD CHAMBERLAIN The war is over. This is a time in when nations are redefining themselves. TENZIN GYATSO So, Tibet, too, needs to define itself. LORD CHAMBERLAIN Yes. As a free country. But our attempts have proven futile. We continue to be badly outmaneuvered by the Chinese. TENZIN GYATSO Can India help us? LORD CHAMBERLAIN India is a newly independent nation. They are struggling. India is in no position to help us. TENZIN GYATSO Britain? LORD CHAMBERLAIN Britain chooses not to. TENZIN GYATSO And, America? LORD CHAMBERLAIN America, we shall see. TENZIN GYATSO Ask the Chinese mission to leave our country. Immediately. A shocking suggestion. LORD CHAMBERLAIN Quite simple. Yes. Good. TENZIN GYATSO I shall send a letter to America, to the President, informing him of our problem. The men agree to this. TENZIN GYATSO I want Reting Rinpoche well cared for. He is my teacher. He found me. INT. DALAI LAMA'S PRIVATE ROOM NIGHT The Dalai Lama sits at his desk, writing a letter. The radio is on. It is the BBC - with news of a Communist advantage in Kuomintang China. Norbu Thundrup enters. The boy looks up. TENZIN GYATSO Listen to this, Norbu. (he reads): To Mr Truman The President of the United States of America I am glad that you are enjoying the best of health and doing good service to uplift the happiness and prosperity of the whole world. Here, I am well and doing my best for the religion of Lord Buddha and welfare of all beings. This is all, so far. NORBU THUNDRUP Reting Rinpoche has died in prison. Tenzin Gyatso lays down his pen. EXT. DALAI LAMA'S TERRACE NIGHT Tenzin Gyatso is alone. He has a little smelting arrangement built out on the terrace. He lays a lead soldier on the hot bottom of a heavy, metal bowl. CLOSE on the soldier. It begins to melt. The boy has a pile of the soldiers. He drops a second one in the bowl. We bear the sounds of Lhasa - laughter, street songs - and we see the stars, hanging, it seems, just above the young boy's head. EXT. NORBULINKA DAY The young Tenzin Gyatso bursts through the gate in the Yellow Wall and runs across the beautiful garden to his parents's home. INT. PARENTS'S HOME, NORBULINKA DAY A family gathering meets the boy's eye when he enters. There is his Mother, his oldest sister, Tsering Dolma, Lobsang Samten, a younger sister, Pema, baby brother Tendzin Chuta, and his oldest brother, Takster. We don't recognize these faces, of course, but the gathering is obviously familial. Only the boy's Father is missing. Tenzin Gyatso goes to his Mother and lays his head in her lap. On an altar behind her, is a silver frame. In the frame is a picture of her husband. DREAM SEQUENCE EXT. HILLTOP DAWN The body of the Dalai Lama's Father lays on a flat boulder. Incense smoke curls into the air. Prayer wheels are turned, hand drums are played - the burial men stand off to one side, their hatchets and knives in view. Tenzin Gyatso is present. He is the boy we know, but beside him stands the four year-old boy, Lhamo, from the beginning of the movie, and on the other side of him stands the boy who will play the Dalai Lama in the next section of the film - a boy about fifteen or sixteen. Tenzin Gyatso wraps his brown rosary around his left wrist. The beads catch the brilliant afternoon light. The sixteen year-old Dalai Lama wears the same colored rosary around his left wrist. The cutters move in to the corpse, and as we hear them begin the work of dismembering the body, the view pans up to reveal the vultures circling overhead. The last person leaving the hilltop with is the Dalai Lama as an older man - not a character from this movie - but a man of about fifty years, wearing glasses, wearing the same robes, the same rosary. Little Lhamo walks beside him. END DREAM SEQUENCE EXT. SKY OVER TIBET NIGHT We hear a loud explosion, and then another and another and another. The sound begins to fade, but the blue-black, peaceful, star-filled sky is shattered by bright bursts of red and yellow and pink light. It is a frightening sight. EXT. GARDEN, NORBULINKA DAWN (1950) The still waters of the fish pond begin to move. The fish swim in nervous circles; the water laps over its stone banks. EXT. DALAI LAMA'S RESIDENCE DAWN The whole building shakes. Earthquake. One monk runs down the stairs, another monk runs up, both staring at a second floor window - a black-rimmed, glass window. A red cloth is pulled back and the window is opened. The fifteen year-old Tenzin Gyatso looks out. There is a terrible rumbling: the rumbling that accompanies an earthquake. Finally, slowly, the sound, and the movement subsides. CLOSE on Tenzin Gyatso. He lets the curtain fall. INT. GREAT HALL, THE POTALA DAY The General Assembly is in session. Once again, the Yigstang and the Tsitang - four monks and four laymen - sit facing one another. But the room is crowded today - this is a full session. The Lord chamberlain sits in. Regent Taktra is there. The senior Layman is on his knees. LAYMAN The Communist have control of China. In the back of the room we notice an open door. INT. HALLWAY DAY The Dalai Lama is listening. He stands taller than the first time we caught him eavesdropping. He still is not a part of this assembly, but he doesn't seem to care if he is spotted. INT. GREAT HALL DAY The Layman continues. LAYMAN Now, as his great army, stands idle on our borders, Chairman Mao has presented Tibet with three demands: One, Tibet must accept that it is part of China. A murmuring in the room. INT. HALLWAY DAY Shock on the face of His Holiness. LAYMAN (OC) Two, Tibet's defenses must be handled by China. Three, all political and trade matters concerning foreign countries must be conducted through China. A voice shouts out: VOICE IN BACK OF ROOM (OC) Give the Dalai Lama his majority! INT. GREAT HALL DAY The senior Monk is on his knees. MONK We can concede that Tibet is a part of China if we can guarantee that the Dalai Lama's name and authority will remain... LAYMAN And do you believe that the Tibetan government will be allowed to continue to function as it is? Do you believe that our religion will be protected? VOICES Give the Dalai Lama his majority! MONK We have dealt with this Chinese obsession for hundreds of years. We can deal with it now. LAYMAN These are not the Chinese we know. These are Communists. VOICES Make him Dalai Lama now! We see the Lord Chamberlain look toward the open door. INT. HALLWAY DAY Tenzin Gyatso looks at his advisor, and then, he closes the door as the demand for his enthronement continues. He walks down the hall, past the door leading to the treasure room, alone now - an adult. He is wearing those European, lace-up shoes found in the treasure room so long ago. They are still too big for him. EXT. TRIBUTARY OF THE KYICHU RIVER, NORBULINKA DAY Tenzin Gyatso and Taktra Rinpoche walk side by side along the waterway. TENZIN GYATSO If we agree that we are part of China, nothing else will matter. Not trade, not defense. We will be lost. TAKTRA RINPOCHE What would you do, Holiness? The boy looks out over the water. Shepherds are leading their flock of sheep back toward town on the far side of the tributary. The two men stand side by side, one so young, one seeming so old. TENZIN GYATSO What should I do about my doubt, Teacher? TAKTRA RINPOCHE It is a difficult situation. TENZIN GYATSO I mean, my doubt. Why me? Am I Him? TAKTRA RINPOCHE Doubt is an affliction. Reliquish it. Accept. Pause. TENZIN GYATSO I believe we must make no concesions to the Chinese. But, I am one voice. The Dalai Lama has always trusted in the forces of Buddha. Let us consult the protective deities. Taktra Rinpoche bows and leaves him. Tenzin Gyatso stands alone by the river. The boy watches the herders, and before the young shepherds disappear from sight, the Dalai Lama turns and waves a hand behind him. Two Bodyguards approach. We can not hear, but as the Dalai Lama walks away from us, down the river, one Bodyguard runs up river, shouting: BODYGUARD (shouting) We will buy them! We will buy them! INT. ALTAR ROOM, NORBULINKA DAY In this black room, under the protective view of the statue of Mahakala, a divine lottery is performed. Tenzin Gyatso, the Regent Taktra Rinpoche, The Lord chamberlain, the Kashag, the Yigstang and the Tsitang are all present. Tsampa-dough balls are made, three of them, each containing a strip of parchment, bearing writing. The dough is shaped and weighed to see that each ball is equal. Then, the three balls are placed in a silver bowl and the bowl is spun. The balls whirl, race, and finally one leaps from the bowl. This ball is taken to the Dalai Lama and he makes a mark on it. The ball is returned to the bowl, the procedure is repeated, and a ball leaps again, almost immediately. This ball is presented and the Dalai Lama places his mark - next to the mark he just made. It is the same ball. Tenzin Gyatso makes the twelfth mark on the same ball, and the spinning begins again and then the thirteenth mark, and then the ball is broken open and the strip of parchment handed to the Regent. TAKTRA RINPOCHE We should not accept any conditions from the Chinese. EXT. GARDENS, NORBULINKA DAY In a paved area, adjacent to the Yellow Wall which marks the Dalai Lama's private grounds, the Opera Festival has begun. This festival involves performances by Tibetan singers, dancers and actors. It looks to be a joyous occasion; officials and their wives are dressed in their finest and sit before beautifully laid picnics. Children run here and there, amidst the monks and nomads, the swashbuckling Khambas from eastern Tibet (large people, with heavy braids wrapped in red cloth on top of their heads). There are westerners, Nepalese and Sikimese. Dancers - dressed in wild, colorful outfits - spin and leap in time to the eerie, Tibetan music. Atop a low building on the Yellow Wall, stands an elaborate enclosure - draped in yellow silk. The Dalai Lama sits inside it. INT. ENCLOSURE DAY Tenzin Gyatso is alone in this little room; his arms rest on a window ledge as he stares down at the festival taking place below him. EXT. GARDENS DAY A bit more of the dancers and the people enjoying themselves - all from the isolated point of view of the Dalai Lama. We recognize a few characters: Keustang Rinpoche. His Holiness's Mother with her younger children, the favorite sweeper, Norbu Thundrup - dressed in a fine hat. But a distant figure becomes apparent - he is a MESSENGER - he is running, through the crowds, toward the Yellow Wall. We stay on this desperate little figure as he draws closer. INT. ENCLOSURE DAY The boy is watching the Messenger. EXT. GARDENS DAY Back to that messenger as he works his way, ever closer to the building which holds the Dalai Lama aloft, and then we lose sight of him. INT. ENCLOSURE DAY Tenzin Gyatso leans back in his seat. The yellow silk curtain that his elbows have held open now fall closed and we hear the heavy footsteps of the runner. A knock. TAKTRA RINPOCHE (OC) Enter. The Regent is next door. The boy climbs up on a chest and peeks through a tiny window in the wall which separates this enclosure from the Regent's. Taktra Rinpoche reads a telegram. His aging face becomes quite grave. The Regent leaves his side of the enclosure. REGENT (OC) Summon the Lord Chamberlain and the Kashag. And then, there is a knock on the Dalai Lama's door. TENZIN GYATSO Enter. It is the Regent. REGENT TAKTRA Holiness. TENZIN GYATSO Yes. REGENT TAKTRA The Chinese have invaded. EXT. GARDENS, NORBULINKA DAY Back to a new group of performers - satirists, dressed as high lamas and monks - even as the Nechung Oracle - lampooning the rulers. The crowd roars with laughter. INT. DALAI LAMA'S PRIVATE ROOMS, NORBULINKA DUSK The Lord Chamberlain stands with the teenage Dalai Lama. The room is a violent red in the sunset. Tenzin Gyatso has cleared off his table, he is creating a three-dimensional battlefield as his Lord Chamberlain explains the situation. Tenzin Gyatso uses papers, books, little statues to bring a physical life to the words we hear. LORD CHAMBERLAIN They crossed the river, Holiness. They have invaded in six locations, Chando Province, Kham, eastern Tibet. TENZIN GYATSO What is the size of our army, now? LORD CHAMBERLAIN Eight thousand, five hundred, soldiers and officers. We have recently requested mortars, anti-aircraft guns and ammunition from India. We have several hundred in the area. Little statues are placed facing what stands-in for the river. The Lord Chamberlain helps the boy to create this panorama. TENZIN GYATSO Has anyone died? LORD CHMBERLAIN The radio contact said one officer had died. Then he said, "The Chinese soldiers - they are coming." And then, the radio went dead. Tenzin Gyatso lifts one statue, a small, golden Buddha, from the display. He cradles the Buddha in his hands. TENZIN GYATSO One man. A man has died. One man is too many. INT. DALAI LAMA'S PRIVATE ROOMS, NORBULINKA DAY In beautiful sunlight, the painted cabinets of this room glisten. Rainbows of color play on the glass windows. The Dalai Lama sits at a low table, a pack of colored pencils, or pastels, spread out around him. He is teaching his little brother to draw. Together, little hand in bigger hand, they draw. The Dalai Lama's Mother sits in a side chair, watching her sons. The little boy screams with laughter as the brothers draw a yak. EXT. GARDENS, NORBULINKA NIGHT A movie is being shown - outside - on a makeshift screen. It is "Henry the Fourth". This is a treat for the sweepers, and gardeners and servants. children sit on the grass, mesmerized by this incredible vision. Tenzin Gyatso sits beside Heinrich Harrer. The boy rubs his eyes wearily. He appears distracted. This line is spoken by an actor: ACTOR IN MOVIE "Heavy lies the head, that wears the crown." CLOSE on Tenzin Gyatso. EXT. ROAD BEHIND NORBULINKA DAY The Dalai Lama sits behind the wheel of a 1927 Austin. He is a lousy driver - a boy who never commanded a wheeled vehicle in all of his young life. The Attendants sit in the back seat, holding on for dear life. We hear Tenzin Gyatso's wonderful, deep laugh. INT. DALAI LAMA'S PRIVATE ROOM, THE POTALA NIGHT Tenzin Gyatso is listening to Peking Radio. Norbu Thundrup is with him. The boy tinkers with a clock as he listens - he is swiftly becoming a master tinkerer. RADIO "This week, the People's Liberation Army crossed the Drichu River east of Chamdo and began the peaceful liberation of Tibet. Tibet is in the hands of imperialist enemies of the people. The Dalai Lama, a foolish reminder of an illiterate past, is the figure head of this autonomous region of China. Accept our help, Tibet! The people shall be free!" TENZIN GYATSO What do the people say, Norbu? Norbu is not shy in his report. NORBU THUNDRUP Tibetan officials have retreated from Chamdo. They are scared and running. The Chinese strategy has destroyed the heart of our defense forces. Chamdo falls, several other villages are lost. You know what happens. The road to Lhasa will be wide open. Tenzin Gyatso listens carefully to the man. NORBU THUNDRUP The people want you made Dalai Lama. TENZIN GYATSO Then, I am lucky. I am still too young. NORBU THUNDRUP These are dangerous times. They want the Dalai Lama to lead them. TENZIN GYATSO But, I have no experience. NORBU THUNDRUP Oh, but you do, Kundun. Who else would be here? INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA NIGHT The Nechung Oracle spins in his trance. Horns blow, cymbals clash, the Oracle spurts sounds as lamas chant. Finally, the Oracle approaches the boy, stands beside him, like a lieutenant, a comrade, and says: ORACLE "His time has come." EXT. TERRACE, THE POTALA DAY The Dalai Lama is reading - Tibet's appeal to the United Nations. TENZIN GYATSO "To the members of the United Nations: The attention of the world is riveted on Korea where aggression is being resisted by an international force. Similar happenings in remote Tibet are passing without notice. The problem is not of Tibet's own making but is largely the outcome of unthwarted Chinese ambition to bring weaker nations on her periphery within her active domination." This is very good. Quite strong. The Lord Chamberlain and the four members of the Kashag agree. The boy continues: TENZIN GYATSO "Tibetans have for long lived a cloistered life in their mountain fastness, remote and aloof..." In the background, we see monks on top of a wall, long horns in front of them. The blowing begins. In a courtyard below, a debating session is in progress. We hear the shouts and the claps and watch the beautiful body movements of the questioners. Laughter fills the air. Below that, the small capital of Tibet - the mysterious city, the forbidden city of Lhasa - carries on, for now. INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA NIGHT A monk - an abbot, in fact - sits beside Tenzin Gyatso. It is Takster Rinpoche, the Dalai Lama's oldest brother. TAKSTER RINPOCHE I was never alone. Two Chinese were with me every minute of the day. Tenzin Gyatso plays with a box of those special sweets which comes from his mother. TAKSTER RINPOCHE Their talk is always of liberation and helpfulness. They put their words like honey on a knife, but if you lick the honey, you will bleed. Takster Rinpoche begins to say something, but holds back. TENZIN GYATSO Tell me. TAKSTER RINPOCHE They think they have convinced me. They think I am on their side. They have allowed me to leave Kumbum and come to Lhasa believing that I will try to turn you to their ways. If I do not succeed, I am to eliminate you. TENZIN GYATSO You, kill me? TAKSTER RINPOCHE Eliminate you. The tension is great, the idea profound. TARSTER RINPOCHE I can be Governor of Lhasa, they say. The brothers try to resist, but cannot. They laugh like crazy. TAKSTER RINPOCHE Don't eat all those sweets. You'll get sick. TENZIN GYATSO Do you remember the day I came to your monastery, when I was a baby? And you comforted me? TAKSTER RINPOCHE I do. TENZIN GYATSO I remember, too, actually. I was frightened then. I am frightened now. TAKSTER RINPOCHE The Chinese have one goal. The complete dissolution of our nation. The destruction of our culture. There is no room for Buddha in their world. Our only hope is to fight. TENZIN GYATSO We cannot. TAKSTER RINPOCHE This is not a fight to put bread just in one's own mouth. This is a fight for Tibet. TENZIN GYATSO Buddha teaches that we must learn from our enemy. We have compassion for all people. TAKSTER RINPOCHE These are not human beings. They are worse than ghosts. Silence. TAKSTER RINPOCHE You are in great danger. The Dalai Lama cannot fall into Chinese hands. You must flee. TENZIN GYATSO How could I ever leave? TAKSTER RINPOCHE It may not be your decision to make. INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY In the adjacent room, the four members of the Kashag and the Lord Chamberlain are waiting. The Dalai Lama enters the room. The boy goes to a small table where a document is unrolled before him. Tenzin Gyatso lifts the gold seal of power and affixes it to the document. TENZIN GYATSO I accept it. He makes his mark on a small piece of parchment that is attached to the document. He has accepted the request to be enthroned. INT. DALAI LAMA'S PRIVATE ROOMS HOUR BEFORE DAWN The Master of the Robe is helping Tenzin Gyatso to dress. He ties a piece of green cloth around his waist and helps him on with his maroon robes. Norbu is there, watching. INT. HALLS OF THE POTALA PRE-DAWN Tenzin Gyatso walks down this dark hall. The three attendants are with him. INT. TEMPLE DAWN It is very dark green. Butter lamps highlight certain faces - members of the Kashag, noblemen, the tutors, an Englishman, Nepalese, Bhutanese, Tibetan Muslims - but the darkness conceals the great number of people present. We hear the unmistakable Tibetan horns and cymbals. We hear the chanting of monks. The boy is handed a Golden Wheel, symbolizing the assumption of temporal power. At one moment, the Lamas all put on their yellow hats - a color that peeks at us out of this dark room. And we hear a voice: TENZIN GYATSO (VO) We shall send delegations to America, India, Nepal and Great Britain, in hope that these countries will intervene on our behalf. INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY The Dalai Lama addresses the Yistang, the Tsitang. Two new faces are present. TENZIN GYATSO We have telegraphed our appeal to the United Nations and await its reply. I am sending a delegation to China to negotiate the Chinese withdrawal. He looks around these rooms. TENZIN GYATSO It seems that I must depart Lhasa. The majority wills it. Lukhangwa and Lobsang Tashi? The two men rise to their knees - LUKHANGWA, an incredible looking layman, with a long white beard, and LOBSANG TASHI, a monk. TENZIN GYATSO I am making you my Prime Ministers. You will stay here. You must always keep me informed, no matter how bad the news. I want plain information. The men bow to His Holiness. TENZIN GYATSO Today, I declare a general amnesty. I have always wanted to free the prisoners. INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DUSK Tenzin Gyatso is packing. We hear whispers in the adjacent room as the Masters of the Robe and the Ritual organize belongings into piles: rolled thangkas, precious manuscripts, maroon robes, a few english books, the radio. The boy finds a few golden coins in a drawer and slips them into his robes. Tenzin Gyatso adds a package of tools, an atlas, the photo of the Thirteenth Dalai Lama, the European shoes. Then, he goes to the terrace. EXT. TERRACE, THE POTALA DUSK The boy does not need a footstool anymore. He glides the telescope across the countryside, catching sight of the young herders leading their sheep back into town. He picks up a corner of the market place and the hub- bub of the end of the day. Wall posters show Tibetan soldiers fleeing the Red Army. And then, he aims his view-finder at the prison yard. It is empty. The prisoners are gone. NORBU THUNDRUP (OC) It's time to take this down. Tenzin Gyatso lets go of the eyepiece and turns to see Norbu. TENZIN GYATSO You will not come? NORBU THUNDRUP No, Holiness. TENZIN GYATSO Am I running away? NORBU THUNDRUP The people will cry when they learn you are gone. But they would all want you safe. Together, the friends break-down the telescope. NORBU THUNDRUP Let me take this. Norbu folds up the tripod. NORBU THUNDRUP You must study very hard, do not neglect the holy things during this time. TENZIN GYATSO I will miss you. NORBU THUNDRUP We have had fun, you and I. Fun for a little boy in an old palace. TENZIN GYATSO We have. NORBU THUNDRUP You have grown up very good. TENZIN GYATSO And you have grown older and your chin has grown balder. Norbu laughs. The telescope is wrapped. NORBU THUNDRUP Tonight, Kundun, you see the world. You place your feet on the shepherd boy's path. Norbu Thundrup ties a tight knot in a cord. NORBU THUNDRUP "The Gods will be avenged." CLOSE on the gold seal of state as it is packed in a silk- lined box. EXT. POTALA WALLS NIGHT Tenzin Gyatso - dressed in the warm, woolen chuba of a layman - keeps his back against the wall. Norbu is beside him, carrying a flashlight. A Bodyguard comes for them, and then, the Dalai Lama is outside the Potala walls. EXT. POTALA NIGHT The small group walks down a rocky path. A grey horse is waiting. Tenzin Gyatso is helped onto the horse. Norbu sees that he is comfortable, and then, the flashlight goes out. Norbu fiddles with it. Tenzin Gyatso takes the torch and tries get it working again. The Guard mounts his horse. It is time to go. The horses snort, their breath consolidating the cold night air. Tenzin Gyatso cannot speak. He tries, but he cannot. Norbu takes the flashlight. NORBU THUNDRUP I will send it to you. It will work. The horse is turned and the Dalai Lama is led away to join the soldiers at the foot of the path. Tenzin Gyatso turns once, to see his friend. The night is dark. Norbu has become invisible. EXT. COUNTRYSIDE NIGHT A cold and moonless night, lit only by the millions of stars that shine over Tibet. The caravan - made up of noblemen, monks, family mambers and over two hundred soldiers (armed with rifles, machine guns and field artillery) - journeys out of Lhasa. CLOSE on the Dalai Lama: riding the shepherd's path. EXT. YELLOW WALL, NORBULINKA NIGHT Tenzin Gyatso rides his grey horse through a gate in the yellow wall. EXT. DALAI LAMA'S RESIDENCE NIGHT The boy climbs the stairs to his summer residence. INT. ALTAR ROOM NIGHT The shrine of Mahakala. Butter lamps cast their eerie glow on the black walls as the boy presents a white, silk scarf, a kata - a traditional token of leaving and return. INT ENTRANCE WAY, NORBULINKA NIGHT Tenzin Gyatso is about to leave the residence when he stops, and looks at the small cabinet in the corner. He goes to it. The door is still locked. CLOSE on the boy. Suddenly, he knows. He reaches a hand behind the cabinet. The hand comes back to him with a key. Tenzin Gyatso opens the cabinet doors. Several drawers are revealed. The boy opens one. Empty. Another. Empty. A Bodyguard says, from the stairs: BODYGUARD We must go, Holiness. TENZIN GYATSO A moment. Another drawer. Empty. And then, success. In a small drawer, there is something, wrapped in red velvet. The boy opens it, with shaking hands. Teeth. False teeth. Tenzin Gyatso releases a sharp laugh, he has been holding his breath. He wraps up the teeth and puts them back, but behind the teeth is something more. A rolled, white silk scarf, a kata. Tenzin Gyatso takes the scarf. He unrolls it. Something falls on the floor. A tiny, lead soldier. Tenzin Gyatso lifts the soldier. It is a Ghurka. An Indian soldier. BODYGUARD Please, come, Holiness. TENZIN GYATSO Yes. I am ready. The boy places the scarf around his own shoulders. TENZIN GYATSO Safe journey. Safe return. I am him. CLOSE on the golden statue of Mahakala, wearing his white scarf. We hear the roar of the Kyichu river. EXT. KYICHU RIVER NIGHT Coracles - skin boats - are loaded with bundles and people and pushed off the banks and into the water. Horses, donkeys and yaks must swim across. Tenzin Gyatso is helped into a boat. The rowers, wrapped in heavy wool and sheepskin, their arms bare, push off. The boy is sprayed with water. He is bumped about. He is freezing cold. He floats away from Lhasa. EXT. COUNTRYSIDE DAY The caravan journeys through a narrow mountain pass. The flags of Tibet and of the Dalai Lama are carried by mounted soldiers. Suddenly, monks come running from the surrounding mountain trails, shrieking, wailing. They run to lamas, grabbing at their robes, clutching, crying out: MONKS Do not let him go! We beg of you, do not take him from us! One monk clutches for an instant at the layman's wrapping on Tenzin Gyatso - but he does not recognize him as the Dalai Lama The boy tenderly embraces this distraught figure, but the monk drops away from him and clings to the shy, sweet presence of Ling Rinpoche. The Dalai Lama is quickly and quietly surrounded by soldiers - discreetly, so as not to give away his identity. Ling Rinpoche speaks to a group. LING RINPOCHE He goes for a short time, until the danger can be determined. He will not leave Tibet. He will return. The pain on these monks's faces, in their voices, is tragic. Tenzin Gyatso is overwhelmed. He sees before him a line of prostrate monks - but they are not bowing to him, they are laying down in the pass, trying to block the way of the caravan. Ling Rinpoche goes to these men and gently helps them to their feet. LING RINPOCHE He will return. The Precious One will not abandon you. INT. TENT NIGHT The Dalai Lama lies awake in his camp bed. He cannot sleep. He rises and walks to the tent flap. He opens it. EXT. TENT NIGHT A Bodyguard is posted. He turns to the Dalai Lama. We recognize him. He is the Bodyguard from that first caravan trip so long ago: a huge monk with a big stick - the guard who stood outside the old monks's tent. The man with the deformed face. The boy is not frightened this time. TENZIN GYATSO All quiet? BODYGUARD Yes, Holiness. TENZIN GYATSO Where are you from? BODYGUARD Kham, Holiness. TENZIN GYATSO Your people are very brave. They are fighting the Chinese. No one can stop them. Not even me. BODYGUARD Khambas are wild men. There is silence as the two men look out at the cold night. TENZIN GYATSO I worry about them. BODYGUARD Do not worry, Holiness. They fight for you. They are under your protection. The boy steps back inside. INT. TENT NIGHT We hear the approach of a horse, and then the Bodyguard enters the tent. BODYGUARD Holiness, this has come for you. The Bodyguard hands the boy a parcel. Tenzin Gyatso unwraps it. His flashlight. It works. A pause, and then Tenzin Gyatso sits in front of the thangka of Penden Lhamo. He reads from the scripture pages laid out on the low table. He reads by flashlight. INT. COUNTRYSIDE DAY The Dalai Lama walks along a beaten, caravan path. He is still in disguise, and obviously, enjoying it. An OLD MUSLIM MAN is beside him - an incredible looking creature. MUSLIM MAN Eighteen children. TENZIN GYATSO Eighteen, wonderful. MUSLIM MAN And not a monk among them. The Dalai Lama laughs. MUSLIM MAN No, no son of mine will sit and read books and eat up the poor people's butter while my people have to butcher the cows and sheep because these holy men can't kill an animal. They can eat it, can't they? The boy laughs again. EXT. COUNTRYSIDE - LATER DAY Still walking, with two companions. A Tibetan peasant WOMAN, and his own mother. TENZIN GYATSO Did you love your husband, before you married? TIBETAN WOMAN I did not know him before I married him. I loved his brother, but then, I married his brother, too. He is dead now. TENZIN GYATSO Hmm. TIBETAN WOMAN The land has stayed in the family. We work together. The nobleman is not too bad. TENZIN GYATSO Does he treat you fairly? A laugh from her. TIBETAN WOMAN Not too bad. Rich is rich, poor is poor. We are different. Are you married? Tenzin Gyatso laughs. The Attendants walk behind the boy, eavesdropping. Tenzin Gyatso's Mother plays along. TENZIN GYATSO No. TIBETAN WOMAN Too young? TENZIN GYATSO Much too young. TIBETAN WOMAN Look for a strong woman, not too occupied with her beauty. Look for a woinan who keeps her hands busy. Look for a kind heart. TENZIN GYATSO Like my mother. TIBETAN WOMAN I see that. EXT. COUNTRYSIDE, STILL LATER DAY The Dalai Lama walks beside two boys: his older brother, Lobsang, and a YOUNG NOBLE BOY. TENZIN GYATSO This little brother was terribly sweet. When he died, my mother was so sad. A lama said to her, before the little brother was laid out for burial, take a bit of butter and rub a spot on his skin. He will come back to you, you will see. So, my mother did this, and a few years later, a new boy was born. NOBLE BOY Does he have the spot? TENZIN GYATSO He does, a little spot where the butter had been. NOBLE BOY Is that a true story, or pretend? TENZIN GYATSO What do you think? NOBLE BOY True. TENZIN GYATSO You decide. They walk. NOBLE BOY What does the butter spot feel like? TENZIN GYATSO Soft. Nice. I have a good friend back in Lhasa. He has a very poor beard, with a little spot on his chin where no hair grows. It feels like that. EXT. EST. SHOT, DUNGKHAR MONASTERY - ON A HILL, OVERLOOKING DROMO VALLEY DAY It is raining as we see the Dalai Lama on horseback, climbing the dirt path leading to this beautiful, small monastery. The caravan has arrived at its destination. We hear the chanting of monks. INT. THE DALAI LAMA'S PRIVATE ROOMS, DUNGKAAR MONASTERY DAY A home has been made: books on the shelf, screwdrivers all in a row, European shoes under the bed. An old Bush radio receiver, running off a six-volt battery, sits on the floor. The telescope stands on the terrace. Two members of the Kashag can be seen in the adjacent room. The rooms are stark white. KASHAG MEMBER Of the Tibetan delegations sent abroad, all have been turned away. TENZIN GYATSO (OC) All? INT. ADJACENT ROOM DAY Tenzin Gyatso, dressed informally, looking peaceful, sits with his advisors on the floor. The Lord Chamberlain is with them. KASHAG MEMBER Britain, Nepal, America, India. All of those governments have refused to meet with our representatives. Silence. TENZIN GYATSO And the United Nations? Surely? KASHAG MEMBER The United Nations voted not to hear our appeal. LORD CHAMBERLAIN One country did sponsor the resolution. A land called "El Salvador". TENZIN GYATSO Where is that? LORD CHAMBERLAIN In the Americas. Silence. TENZIN GYATSO So, we must face China and all her might alone. KASHAG MEMBER Yes. Most of the Chamdo region is now in Chinese hands. There is a report from Chamdo which makes quite clear that, unless some settlement can soon be reached, Communist troops will soon be marching on Lhasa. TENZIN GYATSO With much bloodshed. KASHAG MEMBER I am afraid. TENZIN GYATSO I want at all costs to avoid this. Do we have news from the delegation in China? KASHAG MEMBERR Not yet, but the Governor of Chamdo, Ngabo Jigme, suggests we must negotiate and offers to go to Peking. TENZIN GYATSO He is a capable man. LORD CHAMBERLAIN Your prime minsters would argue that such negotiations should take place in Lhasa. TENZIN GYATSO And then they would concede that the times are desperate and we must go to Peking. Agreed. Send Ngabo. Is that all? KASHAG MEMBER Yes. TENZIN GYATSO Time to study. The boy gets up. The prostrations begin. TENZIN GYATSO Wait. Tenzin Gyatso waves a hand. The men get up, awkwardly. TENZIN GYATSO We are in the last outposts of Tibet. Let's do away with some of this formality. The Dalai Lama leaves the room. One man still goes down to his knees. LORD CHAMBERLAIN He is a modern man. Just like he was the last time. INT. DALAI LAMA'S PRIVATE ROOMS DUSK Ling Rinpoche and Tenzin Gyatso sit together. TENZIN GYATSO "I will liberate those not liberated." I will release those not released. I will relieve those not relieved. May I deliver them to the state of enlightenment." The lead soldier of the Indian Ghurka sits on the low table, beside Buddha and the tantric instruments. EXT. COUNTRYSIDE DAY Tenzin Gyatso walks alone in the mountains. We see his Bodyguards in the distance. He comes to a chorten (a stupa - a small, pagoda-like chapel). He steps inside. INT. CHORTEN DAY This is where the Tibetan peasants come to make their offerings to Buddha. It is a small space, whitewashed, quiet. A painting of Buddha adorns one wall and flowers, butter lamps, nuts and dried fruit sit before it. The boy looks closer. There is a photograph pinned to the wall. It is a picture of him, as a young boy. The Incarnate. The Precious One. EXT. CHORTEN DAY The Dalai Lama ties his piece of colored cloth, his mantra, to this public prayer flag. The beautiful valley lies at his feet, the bodyguards keep a polite distance. INT. DALAI LAMA'S PRIVATE ROOMS NIGHT The boy is tinkering, as he listens to the radio. It is Peking Radio he is picking up. We hear a crackly voice begin a very important announcement. RADIO VOICE (VO) "Today in Peking, a Seventeen Point Agreement for the peaceful Liberation of Tibet has been signed by Representatives of the Government of the People's Republic of China and the Local Government of Tibet." Tenzin Gyatso drops his work. He turns to face the offending radio. RADIO VOICE (VO) "Over the last hundred years or more aggressive, imperialist forces have penetrated into Tibet and carried out all manner of deceptions and provocations. Under such conditions the Tibetan nationality was plunged into the depths of enslavement and suffering." The boy moves closer to the radio, he appears physically ill. RADIO VOICE (VO) "Today, this enslavement ends. Point One: The Tibetan people shall unite and drive out imperialist aggressive forces from Tibet. The Tibetan people shall return to the big family of the Motherland - the People's Republic of China." Point Two: The Local Government of Tibet will actively assist the People's Liberation Army to enter Tibet and consolidate the national defense." Tenzin Gyatso is stunned. Frozen. LORD CHAMBERLAIN (OC) It means we have lost our status as an independent nation. INT. PARLOR, DUNGKHAR MONASTERY DAY Tenzin Gyatso, the two members of the Kashag and the Lord Chamberlain stand around a clicking telegraph machine. A long message curls along the floor. KASHAG MEMBER Ngabo did not have the state seal. He could not sign. TENZIN GYATSO Yes, but they say he did. A Kashag Member is reading along as the message comes in. KASHAG MEMBER Holiness? TENZIN GYATSO Yes. KASHAG MEMBER General Chiang Chin-wu, the Chinese representative, is en route to Dromo. He is coming to meet you. TENZIN GYATSO Then, we shall meet. EXT. TERRACE, MONASTERY DAY View through the telescope: the Chinese are coming. A group of officials are headed in the direction of the monastery. Within the group of Tibetan noblemen - dressed in their traditional red and gold silk robes - are three men, wearing drab, grey suits. The Chinese men closer and we see that one of them is smoking a cigarette. CLOSE on Tenzin Gyatso's face. INT. PARLOR, MONASTERY DAY The Chinese Delegation, led by GENERAL CHIANG CHIN-WU, stands waiting in a dimly-lit, yellow room. A table holds tea and refreshments. The Dalai Lama and his cabinet members are in the room. Chairs are provided. GENERAL CHIANG CHIN-WU Dalai Lama. TENZIN GYATSO General Chiang. GENERAL CHIANG CHIN-WU We bring greetings from Chairman Mao. TENZIN GYATSO Thank you. Please sit. The General does. So does the Dalai Lama. The other two Chinese remain standing. Tenzin Gyatso is quiet, reserved. Awkward. GENERAL CHIANG CHIN-WU Have you heard the terms of the Seventeen Point Agreement? TENZIN GYATSO I have. GENERAL CHIANG CHIN-WU I have a copy for you. A document is produced. We notice that the General is wearing a gold rolex watch. The Dalai Lama notices, too. A member of the Kashag takes the document. GENERAL CHIANG CHIN-WU We come in genuine friendship. CLOSE on the Dalai Lama. He makes no response. GENERAL CHIANG CHIN-WU I am certain you wish to return to Lhasa. Tenzin Gyatso remains silent. GENERAL CHIANG CHIN-WU Do you have plans to return soon, Dalai Lama? TENZIN GYATSO Soon. GENERAL CHIANG CHIN-WU Good. Our first request is that you allow us to build a road. You have no roads in Tibet. We can discuss the plans in Lhasa. When you return. No response. GENERAL CHIANG-WU Thank you. We leave now. The General rises as the boy remains seated. With a moment of awkward silence, the Chinese depart. TENZIN GYATSO Let me see the agreement. It is handed to him. He opens to the last page and looks at the impression made by the state seal. TENZIN GYATSO Counterfeit. He closes the document and hands it back to the official. EXT. TERRACE DAY The boy watches the delegation leave the hilltop station. Taktra Rinpoche and the Lord Chamberlain are with him. TENZIN GYATSO I thought he would be some kind of monster, even with horns growing out of his head. But, he is only a man, just an ordinary human being, like myself. Life is always a lesson. EXT. DALAI LAMA'S PRIVATE ROOMS DAY Again, an informal meeting is in session. KASHAG MEMBER Your Prime Ministers, support the proposal that you return to Lhasa. On the opposite hand, some officials urge you not to return. They believe you should leave now, for India. TENZIN GYATSO If I were to go into exile, could we expect any serious assistance, from India, suppose? LORD CHANBERLAIN It is unlikely. America, perhaps. There is great anti-communist feeling in America. TENZIN GYATSO At this point, the most likely result of a foreign pact is war. LORD CHAABERLAIN The Chinese would see such a pact as an open declaration of war. TENZIN GYATSO Tibet, at war? No. China is close, America is far away. After countless people die, China would still, always, be close. We will work with what we have. KASHAG MEMBER And as for your own safety, Holiness? A pause. TENZIN GYATSO I am scared. LORD CHAMBERLAIN Shall we consult the protective deities, Holiness? TENZIN GYATSO My first and foremost duty is to protect my people. I feel sure of this. And, things change. Maybe not right away, maybe not soon. But I believe this - things will change. The boy snaps his fingers. TENZIN GYATSO Impermanence. Our own short lifetimes are not the only valid consideration. I shall return. INT. DALAI LAMA'S PRIVATE ROOMS NIGHT Tenzin Gyatso is asleep. We have not seen him this still, this peaceful, in a long time. He sleeps in the "Buddha~ pose" - on his right side9 his head resting in his right hand. The wall behind him is white. We begin to hear the unique Tibetan music. DREAM SEQUENCE Tenzin Gyatso rides a grey mule across the empty, mysterious landscape of Tibet. The boy is back in his own home in Amdo province. But, he is not the baby he was when he left there, he is sixteen. His family is together, but they are all the sizes and ages they were at the beginning of the story. Tenzin Gyatso is very happy, sitting on the raised platform in the kitchen, playing a game with pebbles. Taktra Rinpoche - the aged Taktra - enters and sits down beside him. TAKTRA RINPOCHE I hope you will not feel badly about all the things of childhood you missed. The boy does not speak, just looks, kindly, at the man. TAKTRA RINPOCHE You lost so much. I am sorry. The boy shakes his head "no". TAKTRA RINPOCHE Goodbye, Kundun. Suddenly, another man speaks; NORBU THUNDRUP (OC) Goodbye, Kundun. Tenzin Gyatso turns his head to see his best friend. TENZIN GYATSO (he only mouths it) No! And now, the Dalai Lama's Father is seen in a corner of the kitchen. FATHER Goodbye, Kundun. TENZIN GYATSO (silent) No! The boy turns to the sweeper once more, holds out his hand, and mouths: TENZIN GYATSO No, Norbu! Reverse on Norbu, fading away. DREAM SEQUENCE ENDS Tenzin Gyatso eyes burst open. He is awake. He is older. Twenty. But, there is something ageless about him, now. INT. DALAI LAMA'S ROOM, THE POTALA PRE-DAWN The boy begins this day. He is in his old room at the Potala, in Lhasa. The green mural of the Fifth Dalai Lama is behind him. He has risen. from the red-curtained bed. The Masters of the Kitchen and the Robe arrive and begin their preparations for the day. A NEW SWEEPER works in the adjacent room. The sun rises. EXT. THE POTALA DAY Like a painting, the beautiful monastery fills the screen with its white walls and red roof. Shouting is heard. GENERAL CHIANG (OC) I hate meeting here, this tribute to the past! I demand a less formal meeting place. CLOSE on the red, bulging face of General Chiang. INT. GREAT HALL, THE POTALA DAY Behind the General hang fantastic thangkas of the Fifth Dalai Lama. GENERAL CHIANG I am not a foreigner! I refuse to be treated like one. The Dalai Lama is shaken by this violent behavior. He adjusts his new eye glasses. TENZIN GYATSO You see here thangkas of the Fifth Dalai Lama, the founder of our government. It is tradition at formal meetings for these thangkas to be hung. GENERAL CHIANG Superstitions. Tibet is part of a modern nation. The General sits. GENERAL CHIANG I want the songs stopped. TENZIN GYATSO Songs? What songs? A slight smile. PRIME MINISTER LUKHANGWA Street songs about the General. Reference to his gold watch. He is right, they are quite insulting. TENZIN GYATSO I have no authority to ban singing in my country. GENERAL CHIANG You must also do something about the public meetings. I see this, memorandum circulating, with Tibetan grievances. LUKHANGWA You have cracked a man's skull and that crack has not healed. It is too soon to expect him to be your friend. GENERAL CHIANG We are simply respecting the terms of the Seventeen Point Agreement. LUKHANGWA Are you, General? GENERAL CHIANG We want 2,000 more tons of barley distributed. LUKHANGWA Impossible! You will bring famine down on the people of Tibet with these insatiable demands! More food, the best land for your soldiers to camp. GENERAL CHIANG The People's Liberation Army pays for all food and lodging. LUKHANGWA So far, they do. But, the quantity, it does not exist. You will have to re- evaluate your needs. The men glare at one another. GENERAL CHIANG How much tea do you drink, Prime Minister? LUKHANGWA It depends on the quality. And, that it be Indian. The General leaps to his feet and is about to strike the Prime Minister. The Dalai Lama runs between then. He holds the General back. LUKHANGWA Why is it necessary for the Chinese to keep so many soldiers in Lhasa? GENERAL CHIANG To protect. To serve you. Chairman Mao wants you to feel that China belongs to you now. LUKHANGWA Chairman Mao can keep China. Just give us back Tibet. The General backs away and brings himself under control. GENERAL CHIANG Plans for absorbing the Tibetan army into the People's Army will soon be finalized. LUKHANGWA I will not approve it. GENERAL CHIANG Then, we will begin with replacing the Tibetan flag with the flag of the Motherland. LUKHANGWA And we will begin with tearing it down. Tenzin Gyatso stands between these furious men. He raises a hand, silently requesting peace. EXT. TERRACE DAY We hear the sound of martial drums and trumpets and tubas. The Dalai Lama is at his telescope. Three thousand PLA soldiers march along the shepherds's trail. They march behind huge, red banners of Mao Tse-tung and Chu-te. This time, the soldiers do look like monsters. Their faces are grey - coated with Tibetan dust. Their peaked hats look vaguely like horns, their tattered, khaki uniforms like rough hide. Monks line the trail, whipping at the soldiers with their long, maroon robes. Women and children spit at the Chinese, clap at them, hoping to chase this evil away. INT. DALAI LAMA'S PRIVATE ROOMS, THE POTALA DAY The Prime Ministers, Lukhangwa and Lobsang Tashi, submit their resignations to His Holiness. The boy takes the roll of parchment from them. TENZIN GYATSO I am so sorry. LUKHANGWA It must be done. We can no longer meet with the Chinese, they refuse us. We hear the sounds of those Chinese tubas and trumpets. We hear trucks. TENZIN GYATSO I accept your resignations. LOBSANG TASHI Have you chosen your new Prime Ministers, Holiness? TENZIN GYATSO There will be no new Prime Ministers. LUKHANGWA You will face great difficulties, Holiness. The boy affixes his small piece of parchment to the document and makes a mark on it. TENZIN GYATSO They have taken away our silence. EXT. KYICHU RIVER DAY The Dalai Lama, with much pomp and ceremony, walks down a white carpet and steps into a coracle. The entourage includes: the Lord Chamberlain, the Kashag, His Holiness's Mother and youngest Brother, tutors and attendants. A hundred monks stand, chanting, on the far bank. EXT. PLAINS OF TIBET DAY The Fourteenth Dalai Lama rides in a Chinese jeep. Dust surrounds him. A yellow silk umbrella shades him. We see that a road is under construction - a road into Lhasa. The first road in Tibet. The Dalai Llama is travelling in the opposite direction. He is leaving his country, traveling on rugged, flattened earth. EXT. BARREN COUNTRYSIDE DAY The way is tougher here - the Dalai Lama is on mule back. EXT. CHINESE BORDER TOWN, SHINGANG DAY This is a different land. There are rice paddies and water buffalo. The altitude and barrenness of Tibet have been replaced by greener pastures, jagged mountaintops and Chinese natives. INT. AIRPLANE NIGHT Tenzin Gyatso gets his ride in an airplane - an antique. It is bumpy and noisy. He sits on an un-upholstered, steel frame. INT. TRAIN DAY The Dalai Lama travels by train. INT. TRAIN STATION DAY The train pulls into the station. There are hundreds of people awaiting the arrival of the Dalai Lama - hundreds of "China pictorial", red-cheeked, Chinese communists; men, women and children, waving little red flags. Tenzin Gyatso steps off the train and there is a roar of approval. Song breaks out - the People's Republic National Anthem. The young man is overwhelmed. We begin to sense that something is wrong, something is artificial. The people's presence is demanded here today. This is a forced display of regard. INT. GREAT HALL OF THE PEOPLE DAY The Dalai Lama, and his retinue sit in this Great Hall, decorated with a portrait of Chairman Mao. The Great Helmsman himself is speaking. Mao Tse Tung's presence is charismatic. His delivery is powerful - simple, yet firm. He is spellbinding. MAO TSE TUNG The mission of China is to bring progress to Tibet. Develop its natural resources. Help its people develop democracy. We welcome you, Tibet, back to the Motherland! INT. DALAI LAMA'S ROOM, CHINESE GUEST HOUSE NIGHT Tenzin Gyatso snoops around this room. He opens drawers, cabinets, just as a child would. He finds odd little pieces of ceramics, pens, paper. He moves to the bathroom, runs a bath. Hot water. Electricity. This is the modern world. INT. MAO'S OFFICE DAY The Dalai Lama sits beside Chairman Mao as a horde of photographers flash bulbs in their faces. Mao offers His Holiness a plate of Chinese delicacies. We notice that Mao's clothes are shabby and old. (His suit is always a shade lighter than everyone else's grey-drab). His cuffs are frayed, his collar is worn. But, his shoes, are beautifully polished. He has exquisite, delicate hands and his skin is shinny. Later, Chairman Mao and the Dalai Lama sit across from one another. Tenzin Gyatso takes notes as Mao speaks. MAO TSE TUNG I am so glad that Tibet has come back to the Motherland. Tenzin Gyatso quietly sips his tea. MAO TSE TUNG You must inform me at once if any of our people abuse the Tibetans trust and good nature. TENZIN GYATSO I have great hopes for the future of our co-operation. MAO TSE TUNG It is too early to implement all the clauses of the Seventeen Point Agreement. We will establish a Preparatory Committee for the Autonomous Region of Tibet. The pace of reform must meet with the desires of the Tibetan people. Changes must be made slowly, as you, yourself, judge necessary. Mao speaks and moves very slowly. He pants and wheezes. He appears to be sick. Tenzin Gyatso takes notes. TENZIN GYATSO I am happy to hear you say this, Chairman Mao. I have created a reform committee to investigate grievances and we have abolished Inherited Tax, and forgiven all money owed the Government by people who are unable to pay. MAO TSE TUNG Good. Very good. Tibet is a great country. A a wonderful history. Long ago, you even conquered part of China. But now you have fallen behind and we want to help you. In twenty years time you could be ahead of us. Then it will be your turn to help China. Tenzin Gyatso writes in his notebook. MAO TSE TUNG You know, I have great respect for your Lord Buddha. He was anti-caste. Anti-corruption. Anti-exploitation. For some, politics and religion can mix. TENZIN GYATSO For me, I think such a mix is crucial. MAO TSE TUNG Have a sweet. Made in my home province. The kind my mother used to make. The Dalai Lama accepts. EXT. GARDEN, GUEST HOUSE DAY Tenzin Gyatso does physical exercise with a few Chinese Bodyguards. EXT. GARDEN, GUEST HOUSE DAY Tenzin Gyatso studies with Ling Rinpoche. The Lord Chamberlain sits with them. TENZIN GYATSO "If moral discipline is learned from the beginning, one possesses the root for achieving higher rebirth. A staircase for achieving liberation. An antidote eliminating misery and sorrow. Without discipline there is no method." Pause. TENZIN GYATSO I am thinking of becoming a Communist Party Member. I like what I see of Marxism. It is based on equality and justice for all. I believe Chairman Mao wishes the best for our people. Our path must be non-violence. Co-operation. The Lord Chamberlain simply looks at the young man. He has nothing to say. INT. MAO'S OFFICE NIGHT There is a knock and Tenzin Gyatso is led into the room. Mao is at his desk, working late, smoking heavily. MAO TSE TUNG Ah, Dalai Lama, thank you for coming so late. TENZIN GYATSO I leave tomorrow. MAO TSE TUNG Yes, I am aware. How has your time in China been? Tenzin Gyatso sits. He takes out his book and pen, ready to take notes. TENZIN GYATSO I have been greatly impressed by your accomplishments. Industrial progress. Great efficiency. Your people are capable and courteous. MAO TSE TUNG You have a lot to learn about organization. How to draw out people's opinions. How to make key decisions. Train your young Tibetans. When I make contact with you, I want to reach you through a Tibetan. DALAI LAMA Always. Tenzin Gyatso records Mao's words. MAO TSE TUNG Your attitude is good, you know. I understand you well. But you need to learn this: religion is poison. It undermines the race and it retards the progress of the people. Tibet has been poisoned by religion. The boy cannot look up. He is in shock. We see the last words he writes: "Religion is poison." MAO TSE TUNG Well, let me walk you to your car. Tenzin Gyatso slowly gets to his feet. We must see on his face that he realizes it has all been lies. All the kind words and promises, it must all be lies. He is unable to raise his face to Mao's. All he sees before him are those shinny shoes, those exquisitely shaped, glistening hands. EXT. MAO'S OFFICE NIGHT Outside this building, a black car is waiting. It is bitterly cold. Mao - wearing no hat, no coat, and coughing - opens the door for the boy. The Dalai Lama shakes the man's hand. MAO TSE TUNG Take care of your health. Tenzin Gyatso gets into the car and Mao slams the door. INT. CAR NIGHT As the car drives away, Tenzin Gyatso turns to see the Chairman, still standing in the cold, still waving goodbye. Then, Tenzin Gyatso looks straight ahead and says: TENZIN GYATSO He will betray us. The view pulls back. The Lord Chamberlain sits beside the young man. LORD CHAMBEPIAIN Did you ever doubt it? TENZIN GYATSO I had relinquished doubt. EXT. TENZIN GYATSO'S HOUSE IN AMDO DAY The Dalai Lama and members of his retinue stand in front of his old house in the village of Taktser, Amdo Province. The young man smiles as he enters the courtyard. He pauses to look at the prayer flag, flapping in the breeze. He opens the front door. INT. HOUSE DAY A family of relatives inhabits the house. They bow to His Holiness as the young man makes his way to the kitchen. INT. KITCHEN DAY Tenzin Gyatso steps into the kitchen - he might have to bend his head under the low ceiling. He laughs his wonderful laugh. Immediately, a woman approaches with a cup of tea. But the hand of a Chinese official reaches out, takes the tea and returns it to her. It is not permitted. The woman looks confused. Tenzin Gyatso is humiliated. EXT. HOUSE DAY A group has gathered outside the house. Tenzin Gyatso goes toward them as they prostrate. When they have finished, he reaches out his hands to take theirs. He says to one old woman: TENZIN GYATSO Are you happy? The OLD WOMAN says, with tears in her eyes: OLD WOMAN I am very happy and prosperous under the guidance of the Chinese Communist Party and chairman Mao Tse Tung. It is a horrifying announcement. The Dalai Lama touches her head. She weeps and clutches his hands. The young man looks up, over her head, to Kyeri, the protectress mountain of this small village. We hear loudspeakers, blaring, in the background - trumpeting propaganda about Chairman Mao and the People's Liberation Army. Tibetan horns blow. It sounds like a warning. CLOSE on a newspaper. It is a Chinese newspaper and the picture on the front page shows a row of severed, Tibetan heads. INT. DALAI LAMA'S PRIVATE ROOMS DAY Tenzin Gyatso puts the paper down. He removes his glasses and turns to his advisor - the grand Lord Chamberlain. TENZIN GYATSO I ask them to stop, to lay down their guns. LORD CHAMBERLAIN The Khamba's gun is his most prized possession. I admire them so. They face a modern, well equipped army, and still, they fight. The Dalai Lama rubs his face with his hands. LORD CHAMBERLAIN Land reform is underway in Amdo. The large estates are being confiscated and redistributed. Landlords are being punished. TENZIN GYATSO A beggar can be called a landlord if he disapproves of the Chinese. The men are silent. We hear the constant sound of trucks and cars. The Lord Chamberlain is notably pausing. TENZIN GYATSO I have always asked for plain information. Just the truth. LORD CHAMBERLAIN The Communists put their guns in the hands of the Khamba children and force the child to kill the parent. They have dropped bombs on the monastery of Lithang in Kham. It has been destroyed. Women and children, trying to escape from the fighting, have been shot with machine guns, fired from airplanes. Again, silence. TENZIN GYATSO The pursuit of non-violence. Very difficult. LORD CHAMBERLAIN Non-violence means co-operation when it is possible. Resistance, when it is not. EXT. TERRACE DAY His Holiness walks to the terrace. He aims the telescope. Below him he sees a new Lhasa - a Lhasa full of trucks and Chinese soldiers. A traffic island stands in the center of an intersection. The town walls are white-washed. The political posters are gone. INT. DALAI LAMA'S PRIVATE ROOMS, THE NORBULINKA DAY A small group sits waiting on red velvet chairs: the Dalai Lama, the Lord Chamberlain and the Kashag. General Chiang enters the room. He finds a chair and pours himself a cup of tea. We cannot help but notice - he is armed. GENERAL CHIANG We have decided that no drastic changes will take place in Tibet for six years. This should make you happy. Silence. GENERAL CHIANG It seems a revolt has broken out in the east. We have decided that the Tibetan army must be used against the Khamba guerrillas. The General sips. The Dalai Lama answers. TENZIN GYATSO I will not approve it. The General looks up, surprised. It took a great deal of courage for the young man to answer back, so determinedly. TENZIN GYATSO You have bombed on peaceful people. GENERAL CHIANG We must deal with these reactionaries! TENZIN GYATSO No. We are peace loving people. I am afraid we cannot trust you. The General sputters: GENERAL CHIANG We are here to heal the people of Tibet. You need reform. You have no sense of what is good for your people. We are here to liberate you! Now, the boy finds his voice. TENZIN GYATSO I burn here, but I am not suppose to let the smoke show. Yes, we need reform. The monasteries. Communications. Schools. But we want change for Tibet, as Tibet needs it, not for China. The General starts to speak but Tenzin Gyatso keeps talking. TENZIN GYATSO Buddha is our physician, General, he will heal us. Comapssion and enlightnement will set us free. You can not liberate me I can only liberate myself. The General leaves the room. LORD CHAMBERLAIN They will take Lhasa next. TENZIN GYATSO The people will not allow it. INT. PRAYER ROOM, NORBULINKA NIGHT The Nechung Oracle is in full swing. It is an especially vivid and violent spin he is in. The headdress whips this way and that, and finally he says: NECHUNG ORACLE Where there is no crossing a big river, no fords, no shallows, where the only hope is a boat, and there is no boat... I will put a boat, Kundun. The wish-Fulfilling Jewel will shine from the West. It is a strange and confusing prophecy. EXT./ INT. NORBULINKA DAY A few random views of the Norbulinka: The wandering deer and peacocks. The fish pond and its inhabitants. Over these pictures we hear words: TENZIN GYATSO (OC) "I rejoice in the Awakening of the Buddhas, and also in the spiritual levels of their Sons." The projection room. The full sheep pen. The parents's home. TENZIN GYATSO (OC) "And with gladness I rejoice in the ocean of virtue from developing an awakening mind that wishes all beings to be happy..." The Yellow Wall. The Dalai Lama's red room. TENZIN GYATSO (OC) "As well as in the deeds that bring them benefit. And now, we hear the voices of a great many people, reciting: TENZIN GYATSO AND OTHERS (OC) "With folded hands I beseech the Buddhas of all directions. To shine the lamp of Dharma For all bewildered in the gloom of misery." EXT. GARDENS, NORBULINKA DAY In the midst of war, there is beauty. The Dalai Lama performs the Kalachakra ceremony. It is a beautiful, ornate, colorful ceremony. A prayer for world peace. Tenzin Gyatso sits on a platform of cushions, above the heads of the abbots and lamas and tutors, above the heads of the Tibetan noblemen, and nomads and Khambas and pesants from all corners of the land who attend the ceremony. TENZIN GYATSO AND OTHERS "With folded hands I beseech the Conquerors who wish to pass away, to please remain for countless aeons And not to leave the world in darkness." The Dalai Lama proceeds with the ceremony. He handles and blesses sacred objects, he lifts his bell and dorge. Rice is passed among the people. Rice is thrown. A Tibetan chant is sung. Beside His Holiness is a large, yellow silk pagoda. The view moves inside the pagoda as the chanting continues. INT. PAGODA DAY We see a mandala - a beautiful, intricate, sand-painting. The home of Kalachakra. TENZIN GYATSO (OC) "Thus by the virtue collected Through all that I have done, May the pain of every living creature be completely cleared away." The whole screen becomes this mandala as the chanting an cymbals and deep resonating sounds of the song continue and then, a hand comes into the mandala and begins to sweep it up. Pull back to see that the hand belongs to Tenzin Gyatso. Tenzin Gyatso collects the ground particles of Tibetan quartz and rock. He destroys the painstakingly lovely sand painting. The chanting becomes louder and louder and it mixes with the sound of the river. EXT. KYICHU RIVER DUSK Tenzin Gyatso pours the sand into the river. We watch the river take color and the mandala floats away. This view is overlapped by one of extreme horror. DREAM SEQUENCE The lovely Norbulinka garden, the park where opera pageants and Kalachakra ceremonies take place, is now, a killing field. Hundreds of dead, slaughtered monks, lie on the blood- drenched ground, under the peach and pear trees. Chinese soldiers move amongst the monks, turning over the dead bodies, searching those silent faces. The Solder we see is carrying a photo of His Holiness. They are searching for the Dalai Lama. It is a nightmare. We hear crying. DREAM SEQUENCE ENDS. Tenzin Gyatso wakes up. Shaking, crying, he is alone, in the dark. He can barely catch his breath. The screen goes black. CLOSE on an invitation: His Holiness, the Dalai Lama of Tibet, is invited to attend a Dance Recital at the newly erected, Great Hall of the Liberation Army. 10 March, 1959. EXT. THE POTALA DAWN A last view of the great monastery. We hear the sound of thousands of Tibetan women shouting; WOMEN (OC) Chinese, GO! Chinese, GO! Chinese, GO! EXT. DALAI LAMA'S RESIDENCE, NORBULINKA DAY Tenzin Gyatso steps outside. The shouting grows louder: WOMEN AND MEN (OC) Chinese, GO! Chinese, GO! Chinese, GO! The young man looks around at the peaceful premises. People we know - uembers of the Kashag, attendants, tutors, the Dalai Lama's Mother, sweepers - appear in the garden, one by one, all listening to the sounds of a uob gathering outside the walls of the Norbulinka. WOMEN AND HEN (OC) Chinese, GO! Chinese, GO! Chinese, GO! INT. DALAI LAMA'S PRIVATE ROOMS, NORBULINKA DAY A meeting is in progress. LORD CHAMBERLAIN The crowd will not disperse until you give your assurance that you will not attend the Chinese festivities. Many who have been invited to dine with the Chinese do not return home. TENZIN GYATSO I will not go. LORD CHAMBERLAIN I will alert the Chinese delegation. You know, I would never have let you go alone, Kundun. INT. PARENTS'S HOME, NORBULINKA DAY The Dalai Lama enters his Mother's home. It is very guiet here. The young man looks at the family photographs on the blue walls, the needlework on the table, the seven copper bowls in front of the statue of Buddha. MOTHER (OC) Did you come to tell me we are leaving Lhasa? The boy fills the seven bowls with water. His Mother lights the butter lamps. TENZIN GYATSO Do you think I must? MOTHER You decide. He says, softly: TENZIN GYATSO Tibet has never been part of China. We are different races. We are different cultures. We need change, we know that. But we could do it alone. We were just about to do it alone. The young man fills the last bowl with water. TENZIN GYATSO I am afraid I will go. Far, far away. EXT. GARDENS, NORBULINKA DUSK The Lord Chamberlain approaches the Dalai Lama as he leaves his Mother's house. LORD CHAMBERLAIN We are now accused of aiding the rebels. The Chinese said we can expect drastic measures to be taken to crush this revolt. TENZIN GYATSO Arrange for me to speak to the people's leaders. The Lord Chamberlain hurries away. INT. DALAI LAMA'S PRIVATE ROOMS DUSK A last meeting in session. The Kashag is present, as are fifty leaders of the opposition - rough, tired men. TENZIN GYATSO I fear that there will be great bloodshed if you cannot convince the people to disperse and go home. I am safe. FIRST LEADER Holiness, the Chinese tried to entice you to their garrison with out protection of bodyguard. Even now, they urge you to come to them for safety. They are bringing more troops and guns and artillery into Lhasa. There are three airplanes waiting outside Lhasa. What do they wait for? They are planning to kill the Dalai Lama. Don't you see? INT. DALAI LAMA'S PRIVATE ROOMS NIGHT The Dalai Lama consults the Nechung Oracle. Alone. The Oracle whispers: NECHUNG ORACLE Stay. INT. DALAI LAMA'S PRIVATE ROOMS NIGHT It is late at night. The boy is alone. He sits in front of his altar - meditating. INT. DALAI LAMA'S PRIVATE ROOMS NIGHT The Nechung Oracle is brought in. The monk quiets himself and readies himself for the trance. The Dalai Lama waits. Again, alone. Slowly, the trance comes on, the heavy headdress is placed on the monk's head, the attendants leave the room and then, the Oracle speaks. NECHUNG ORACLE Stay. I tell you to stay. EXT. DALAI LAMA'S RESIDENCE DAY The Lord Chamberlain hurries up the stairs. Tenzin Gyatso steps forward, out of the shadows. LORD CHAMBERLAIN The Chinese are planning to attack the crowd and shell the Norbulinka. You are asked to indicate on a map where you will be so that the artillery men will not mistakenly aim at you. The Dalai Lama walks down the outdoor stairs. TENZIN GYATSO Tell them I will be here. With my people. Right here. INT. DALAI LAMA'S PRIVATE ROOMS DAY The young man is studying with Ling Rinpoche. Books of scripture are stacked in front of him. Suddenly, there is a tremendous, loud explosion, and then, another. Tenzin Gyatso gets up and runs to the window he looked out of the day of the earthquake. EXT. GARDENS, NORBULINKA DAY There is shouting and chaos. The Chinese have begun shelling the Norbulinka. The north wall and the grounds directly in front of it are on fire. INT. DALAI LAMA'S ROOM DAY This time the Oracle is in the room first. He is surrounded by his attendants and the members of the Kashag, the Lord Chamberlain, Ling Rinpoche and various tutors and lamas. The tension is thick. Finally, the Dalai Lama enters. Tenzin Gyatso sits. He waits. The trance begins, the headdress is set upon the medium's head and the Oracle begins to dance, and then, he begins to shout: ORACLE Go! Go! Tonight! The Oracle staggers forward, snatches up some paper and a pen and begins to draw a map, a route, out of Lhasa. He keeps repeating: ORACLE Go! Tonight! Go! CLOSE on the map - drawn with a shaking, sweating hand. We see mountains, and a pass, and the names of towns along the way. Tenzin Gyatso rises and goes to the Oracle. He looks down at the map. The Oracle hands the Dalai Lama the map and faints as his frightened attendants rush to loosen the strap of the headdress before the poor man chokes. INT. DALAI LAMA'S PRIVATE ROOMS DUSK The boy sits at the table, writing. We can hear the crowd, shouting, outside the Norbulinka walls. We see just a few words of the letter: Please do not resist. Take refuge on the far side of the river. Attendants pack, quietly and quickly. INT. ALTAR ROOM NIGHT The chapel of Mahakala. We are reminded of secret, sacred moments, from long ago. Tenzin Gyatso opens the heavy, creaking door. The Dalai Lama is in disguise. He is wearing the clothes of a Khamba guerrilla - dark, woolen chuba and tall black boots. Monks sit on the floor, chanting. One monk stands by a large urn, ladling out butter for the lamps. Tenzin Gyatso goes to the front of the room. A monk begins to play the cymbals. Another puts the Tibetan horn to his lips and blows a long, mournful note. The Dalai Lama lays a white silk scarf - a kata - over the shoulders of this imposing statue. Then, he sits for a moment. In the weak light, in the black room, Tenzin Gyatso is lost among the other praying monks. EXT. HALLWAY OF RESIDENCE NIGHT The Dalai Lama walks down the hall. He says to a sweeper: TENZIN GYATSO Dim the lights. and then he bow bends down, to pat a dog. INT. DALAI LAMA'S PRIVATE ROOMS NIGHT Tenzin Gyatso rolls the thangka of Penden Lhamo and slides it into its ancient container. The young man places the scroll over one shoulder. INT. ENTRANCE OF RESIDENCE, NORBULINKA NIGHT CLOSE on the little cabinet in the corner of the entrance hall. Tenzin Gyatso's hands open the doors. The young man pulls open the drawer which contains the false teeth. Tenzin Gyatso pulls a rolled kata from his coat. He tucks the lead soldier of an Indian Ghurka into the center of the scarf. He places the bundle in the drawer. Then, he adds something. A sweet. The kind his Mother makes. He closes the drawer, and locks it. He hides the key, again, behind the small, unobtrusive cabinet. EXT. RESIDENCE, STAIRS NIGHT With a soldier on either side of him, the Dalai Lama descends the staircase. The Soldiers start to lead him away, but he pauses. TENZIN GYATSO Wait. The young man leaves them. EXT. RESIDENCE NIGHT He walks to the far side of this white building. TENZIN GYATSO I see a safe journey. The boy returns to the front steps. TENZIN GYATSO I see a safe return. The soldiers wait. TENZIN GYATSO Now. I am ready. Tenzin Gyatso places the scroll over one shoulder. A soldier lays a rifle over the other one. EXT. GARDENS, NORBULINKA NIGHT The three men walk quietly through the empty gardens. We hear the sounds of the crowd grow louder. EXT. WALL NIGHT The soldiers pause, look to His Holiness. Tenzin Gyatso removes his glasses, puts them in his bag, then nods - and the soldiers open the gate. SOLDIER Move aside, tour of inspection, move aside. Of course, we see only a fraction of the crowd - angry men and women. A man steps beside His Holiness. Tenzin Gyatso looks up - face to face. It is the Khamba bodyguard, the monk who guarded him so many times. The man with the horrible face. KHAMBA BODYGUARD Move aside, let us through. Move aside! The Dalai Lama is between the soldiers, shouldering his own gun. The Bodyguard falls in behind. The little group makes its way through the crowd. EXT. TRIBUTARY OF ThE KYICHU RIVER NIGHT In the same place where the little Tenzin Gyatso tentatively tested one rock, the escape party crosses on the slippery, stepping stones. EXT. COUNTRYSIDE NIGHT The small party makes its way across a bit of countryside. People are camped here - Khambas, farmers, nomads. The Dalai Lama crosses to safety - unnoticed. EXT. KYICHU RIVER NIGHT Coracles await. The Dalai Lama climbs in, the Lord Chmaberlian sits beside him. The soldiers push off. The Khamba Bodyguard stands on the bank, alone. Every splash of the oars sounds like it could wake the dead. Tenzin Gyatso looks back. He puts on his glasses. He sees camp fires and the glow of torches. He hears echoed voices. He looks up. He sees the stars and the moon and that incomparable Tibetan sky. He looks forward. He sees mountains. TENZIN GYATSO I have always loved mountains. He is handed a steaming cup of tea. And then, a cloud passes over the moon. EXT. COUNTRYSIDE NIGHT On horse back, the party makes its way up a mountain pass. There are more members now - Tenzin Gyatso has joined those who left ahead of him - members of the Kashag, tutors, his Mother, his Brother. It is tough going. The ground seems like quick sand with every step a struggle. When the horses have disappeared from sight, a sand storm arises, wiping away their tracks. EXT. COUNTRYSIDE NIGHT The party passes above an encampment of Chinese soldiers. They are not seen. EXT. COUNTRYSIDE DAY The party travels through the emptiness. EXT. MOUNTAIN PASS DUSK His Holiness walks beside his horse. He joins other members of the group standing on a ridge. Tenzin Gyatso picks up a rock and throws it over the side. TENZIN GYATSO "Right will be victorious." And now, the others do the same. The Lord Chamberlain says: LORD CHAMBERLAIN "The Gods will be avenged!" EXT. OUTSKIRTS OF TIBET DAY The Dalai Lama sits before a low table set up on this desolate border. A document is before him. TENZIN GYATSO I repudiate the Seventeen Point Agreement With a slap of the State Seal of Tibet, this is done. The Lord Chamberlain removes this document and replaces it with another. TENZIN GYATSO I constitute the Government of Tibet, the only legal authority in the land. The seal comes down hard once more. It is done. EXT. BORDER DAY A sick and tired Tenzin Gyatso makes the last leg of his trip on the back of a black yak. Before him, through the light rain, we see a small bamboo arch erected in the middle of nowhere. Six Indian GHURKAS, wearing floppy, jungle hats and heavy, British boots, stand at attention. The Dalai Lama, on his black yak, passes under this babboo gateway as the Indian Soldiers raise their guns in salute. An Indian soldier goes to the yak and helps the sick man from his mount. Tenzin Gyatso stands, barely able to hold himself on his feet. His hand rests on the yak's back. The Indian soldier steps closer and, knowing he is breaking protocol, he whispers: SOLDIER With all respect, may I ask? Who are you? The young man smiles at the Soldier - a man who looks like the lead soldier come alive. TENZIN GYATSO What you see before you is a man. A simple monk. SOLDIER Are you the Lord Buddha? Pause. TENZIN GYATSO I think I am a reflection, like the moon, on water. When you see me, and I try to be a good man, see yourself INT. A ROOM IN INDIA, FOOT OF THE HIMALAYAS DAY Tenzin Gyatso unpacks. He is dressed in maroon robes, his arms bare. He places some books on a table next to his tinkering equipment. He lifts a heavy parcel. EXT. TERRACE DAY CLOSE on the young man's beautiful hands as he sets up his telescope. The tripod is erect. The body is attached. The eyepiece is adjusted. And then, this boy, this man, this simple monk, aims, to takes a look, at a bigger world. On a black screen, a card reads: The Dalai Lama has not yet returned to Tibet. He hopes one day to make the journey. \ No newline at end of file diff --git a/unformated_scripts/Script_Kung Fu Panda.txt b/unformated_scripts/Script_Kung Fu Panda.txt new file mode 100644 index 0000000000000000000000000000000000000000..8ac959ea54c76454aab1dfebbf573d33cc74a5d3 --- /dev/null +++ b/unformated_scripts/Script_Kung Fu Panda.txt @@ -0,0 +1 @@ + KUNG FU PANDA Written By Jonathan Aibel & Glenn Berger FINAL DRAFT June 3, 2008 1. EXT. VALLEY -- DAY A MYSTERIOUS WARRIOR treks across the rugged landscape. NARRATOR (V.O.) Legend tells of a legendary warrior whose Kung Fu skills were the stuff of legend. The warrior, his identity hidden beneath his flowing robe and wide-brimmed hat, gnaws on a staff of bamboo. NARRATOR (V.O.) (CONT'D) He traveled the land in search of worthy foes. CUT TO: INT. BAR The warrior sits at a table drinking tea and gnawing on his bamboo. The door BLASTS open. The MANCHU GANG rushes in and surrounds him. GANG BOSS (to warrior) I see you like to CHEW! (beat) Maybe you should chew on my FIST!! The Boss punches the table. NARRATOR (V.O.) The warrior said nothing for his mouth was full. Then, he swallowed. He swallows. NARRATOR (V.O.) (CONT'D) And then, he spoke. WARRIOR (dubbed hero voice) Enough talk. Let's FIGHT! SHASHABOOEY! WHAM! The warrior delivers a punch and the whole gang goes flying. NARRATOR (V.O.) He was so deadly in fact that his enemies would go blind from overexposure to pure awesomeness. 2. The gang members blindly flail about. NINJA CAT MY EYES! GATOR HE'S TOO AWESOME! ONLOOKERS swoon. SMITTEN BUNNY And ATTRACTIVE! GRATEFUL BUNNY How can we repay you?? WARRIOR There is no charge for awesomeness, or attractiveness. ONE HUNDRED ASSASSINS appear and surround the warrior. CUT TO: EXT. BAR - CONTINUOUS The entire bar swells, packed to the rafters with ninjas. WARRIOR KABLOOEY! CUT TO: EXT. BAR - CONTINUOUS The roof EXPLODES and a cloud of ninjas erupts into the sky. Like a tornado, the warrior spins and knocks them all down. NARRATOR (V.O.) It mattered not how many foes he faced. They were no match for his bodacity. The warrior beats up a thousand ninjas, delivering his final blow while doing a split between two trees. The warrior stands amongst a field of vanquished foes as god- rays shine down upon him. NARRATOR (V.O.) (CONT'D) Never before had a panda been so feared... and so loved. (MORE) 3. NARRATOR (V.O.) (CONT'D) Even the most heroic heroes in all of China, the Furious Five, bowed in respect to this great master. MONKEY We should hang out. WARRIOR Agreed. As the Five salute the warrior, he turns to see more bandits approaching. The Five strike an attack pose. The warrior brandishes a shiny green sword and leaps off the mountain into the sea of bandits. NARRATOR (V.O.) But hanging out would have to wait. `Cause when you're facing the ten thousand demons of Demon Mountain, there's only one thing that matters. And that's-- In mid air, the Five talk to the warrior in a strange voice. MONKEY Po! Get up! TIGRESS You'll be late for work! PO Whu? INT. PO'S ROOM - DAY Po lands hard on the floor. He tries to clear his head and wake up. PO'S DAD (O.S.) Po! Get up! We see his room is filled with various kung fu posters (including a poster featuring all of the Five) and souvenirs, and a wooden version of the Sword of Heroes (the green sword). Po SIGHS. He attempts to kick himself to his feet but alas, his belly is too worthy a foe. PO'S DAD (O.S.) (CONT'D) Po! What are you doing up there? 4. PO Uh, nothing! Po hops to his feet, imitating his Kung Fu action figures. PO (CONT'D) Monkey! Mantis! Crane! Viper! Tigress! Rowrrrr... OUTSIDE on the balcony of the neighboring house, a pig watering flowers stares at Po. Po tries to play it cool and then quickly ducks out of sight. PO'S DAD (O.S.) Po! Let's go! You're late for work! PO Coming! He takes a ninja star from his floor and chucks it at the wall. It bounces off. He throws the star again, but it bounces off again. He picks it up and heads downstairs. He trips and falls the rest of the way. INT. KITCHEN - DAY Po falls flat on his face on the kitchen floor. A panda- shaped shadow looms over Po. PO Sorry, Dad. PO'S DAD Sorry doesn't make the noodles. Reveal that the shadow is actually caused by a basket being carried by a small DUCK. This is PO'S DAD. Po gets to work, which is not easy since the kitchen's not really made for a panda his size. PO'S DAD (CONT'D) What were you doing up there? All that noise. PO Oh, nothing. Just had a crazy dream. He gets back to work. 5. PO'S DAD About what? PO Huh? PO'S DAD The dream. What were you dreaming about? PO What was I... eh, I was dreaming about uh... heh... Push in on Po -- is he going to admit his dream? He hides his throwing star behind his back. PO (CONT'D) Noodles. THOK. Dad stops chopping vegetables. PO'S DAD Noodles. You were really dreaming about noodles? PO Uh, yeah. What else would I be dreaming about? Po hands a noodle bowl to a customer, then realizes his throwing star is sitting in it. PO (CONT'D) (to customer) Careful, that soup is... sharp! PO'S DAD Oh, happy day! My son, finally having the noodle dream! He throws his arms around Po. PO'S DAD (CONT'D) You don't know how long I have been waiting for this moment. When Dad pulls out of the hug, Po is now wearing a noodle apron. PO'S DAD (CONT'D) This is a sign, Po! 6. Po looks at the apron nervously -- what has he gotten himself into? PO Uh...a sign of what? PO'S DAD You are almost ready to be entrusted with the secret ingredient of my "Secret Ingredient Soup." And then you will fulfill your destiny and take over the restaurant, just as I took it over from my father, who took it over from his father, who won it from a friend in a game of mahjong. PO Dad Dad Dad, it was just a dream. PO'S DAD No, it was the dream. We are noodle folk. Broth runs through our veins. PO But Dad, didn't you ever, I dunno, want to do something else? Something besides noodles? PO'S DAD Actually... Po looks surprised. PO'S DAD (CONT'D) When I was young and crazy... Dad gets a wistful look in his eyes. PO'S DAD (CONT'D) I thought about running away and learning how to make tofu. PO So why didn't you?! PO'S DAD Oh, because it was a stupid dream. Can you imagine, me making tofu? (laughs at the thought) No. We all have our place in this world. Mine is here. And yours is-- 7. PO I know. Is here. PO'S DAD No, it's at tables two, five, seven, and twelve. He loads Po's arms with bowls of soup. PO'S DAD (CONT'D) Service with a smile! A GONG sounds in the distance. Po looks out the window at the distant JADE PALACE. EXT. JADE PALACE - DAY SLAM ZOOM in towards Palace. End next to palace on an old red panda (SHIFU) playing a FLUTE. He is surrounded by the bushes and trees that nestle between the Palace buildings. Wider: We dolly around from behind the bushes. Stealthy dark shapes move in the foreground. Back on Shifu, still playing. He seems oblivious. Five figures explode from the undergrowth simultaneously, diving on Shifu. Shifu moves like lightning - the flute now wielded like a staff - he deflects, blocks, dodges, parries - the attackers go flying - They roll and pick themselves up, turning to face Shifu, who is now standing - poised - ready for their next move. SHIFU Well done, students... if you were trying to disappoint me. He uses his flute to correct the Five's technique. SHIFU (CONT'D) Tigress, you need more ferocity. Monkey, greater speed. Each of the Five bows respectfully as their name is mentioned. 8. SHIFU (CONT'D) Crane - height. Viper - subtlety. Mantis-- Shifu suddenly points the flute at a scared PALACE GOOSE. ZENG Master Shifu! SHIFU (impatiently) What?! ZENG (startled) Aah! It's Master Oogway. He wants to see you. Shifu looks up, concerned. INT. HALLWAY Shifu strides purposefully down the hallway, which is lined with palace geese. INT. SCROLL ROOM - DAY Candles, incense, and smoke fill the room. The door bursts open, the candles flicker. Shifu enters. SHIFU Master Oogway? You summoned me. He bows. Then looks up without unbowing. SHIFU (CONT'D) Is something wrong? Reveal Master Oogway... a wise, old tortoise. OOGWAY Why must something be wrong for me to want to see my old friend? SHIFU So... nothing's wrong? OOGWAY Well, I didn't say that. Shifu looks up, concerned. Oogway opens his mouth... and blows out a candle. And another candle. And another. 9. Finally, Shifu uses his Kung Fu to blow them all out. Oogway smiles knowingly. SHIFU You were saying? OOGWAY I have had a vision... Tai Lung will return. Shifu looks stricken. FLASHBACK - INT. SCROLL ROOM Quick, impressionistic images of Shifu battling a large, shadowy figure (Tai Lung). PRESENT - INT. SCROLL ROOM Shifu is rattled. He looks at the claw marks that still scar the wall and quickly looks away. But he regains his composure. SHIFU That is impossible. He is in prison. OOGWAY Nothing is impossible. Shifu makes a split decision. SHIFU Zeng! He comes flying in. Shifu gets in his face. SHIFU (CONT'D) Fly to Chogun Prison and tell them to double the guards, double their weapons. Double everything! Tai Lung does not leave that prison! ZENG Yes, Master Shifu. The goose flies off, but... SMACK! He hits a column. Then he is off. Back on Oogway, as he walks toward camera, away from Shifu. 10. OOGWAY One often meets his destiny on the road he takes to avoid it. SHIFU We have to do something. We can't just let him march on the valley, and take his revenge! He'll, he'll-- Oogway looks into the water of the moon pool. OOGWAY Your mind is like this water, my friend. When it is agitated, it becomes difficult to see. But if you allow it to settle, the answer becomes clear. Shifu and Oogway stare into the pool. Oogway settles the water, revealing the reflection of an intricately carved dragon clutching a SCROLL in its mouth. SHIFU The Dragon Scroll... OOGWAY It is time. SHIFU But who? Who is worthy to be trusted with the secret to limitless power? To become...the Dragon Warrior?! Dramatic music as we push in on Oogway's face. Then... OOGWAY I don't know. INT. NOODLE SHOP - DAY Po is serving customers, but has trouble squeezing between tables. PO Oop...sorry. ANGRY PATRON Hey! Watch it, Po! PO Sorry. Suck it up. 11. He sucks his belly in, but this causes his butt to interfere with a bunny family's meal. DISGUSTED PATRON Ugh! PO Oop! Sorry! A thousand pardons. A couple palace geese put up a poster on the wall and a palace pig hits a tiny gong. This gets Po's attention. He rushes up to the poster. PO (CONT'D) What?! Master Oogway's choosing the Dragon Warrior! Today! Customers jump up excitedly. PO (CONT'D) Everyone! Everyone! Go! Get to the Jade Palace! Po urges the villagers out the restaurant. PO (CONT'D) One of the Five is gonna get the Dragon Scroll! Customers rush to finish their food. PO (CONT'D) We've been waiting a thousand years for this! Just take the bowl! Other customers are finishing their soup. One old lady customer slowly counts out coins and puts them on the table. PO (CONT'D) This is the greatest day in Kung Fu history! Don't worry about it, just go! He starts to run. PO'S DAD Po! Where are you going? Po stops dead in his tracks, busted. PO To the...Jade Palace? 12. PO'S DAD But you're forgetting your noodle cart! The whole valley will be there, and you'll sell noodles to all of them. PO Selling noodles? But Dad, you know, I was kinda thinking maybe I... PO'S DAD Yeah? PO I was kinda thinking maybe I... PO'S DAD Uh huh? Po wants to say something to his dad, but he loses his nerve. PO ...Could also sell the bean buns. They are about to go bad. PO'S DAD That's my boy! I told you that dream was a sign! PO Yeah, ha ha, glad I had it. EXT. VALLEY SQUARE - DAY Throngs of Villagers are streaming into the arena. A couple BUNNY KIDS run by. BUNNY FAN #1 Yippee! BUNNY FAN #2 I'm a Kung Fu warrior! BUNNY FAN #1 Me too! Where's Po? PAN DOWN a long, long, long, long flight of stairs. Po stands at the bottom with his noodle cart, looking up at the daunting task before him. Po struggles to pull his noodle cart up the stairs. 13. The sun beats down on Po, but he presses forward. Climbing. Climbing. DISSOLVE TO: EXT. VALLEY SQUARE - LATER Po is still struggling up the stairs. PO Come on! Come on, ya-- Almost there... He stops, flopping onto his back to catch his breath. WIDEN TO REVEAL he's only made it up seven steps. PO (CONT'D) What? No! Oh No! Two Pigs pass by. KG SHAW Sorry, Po. JR SHAW We'll bring you back a souvenir. Po watches as they run up the stairs. His eyes narrow. This is his heroic moment. PO No. I'll bring me back a souvenir. Po tosses off his hat and apron and begins his ascent up the stairs. EXT. JADE PALACE - ARENA PLATFORM Oogway reaches the bottom of the palace stairs and a Palace Pig bangs a gong. SHIFU It is an historic day, isn't it, Master Oogway? OOGWAY Yes, and one I feared I would not live to see. Are your students ready? 14. SHIFU Yes, Master Oogway. OOGWAY Now know this, old friend. Whomever I choose will not only bring peace to the Valley, but also to you. As Shifu contemplates what this could mean, Oogway starts walking off. Shifu quickly joins Oogway as they head towards the roaring crowd below. The pig bangs the gong. ANNOUNCER Let the tournament begin! EXT. VALLEY SQUARE - DAY Throngs of Villagers are streaming into the arena. EXT. TOP OF STAIRS - DAY Po gasps for air as he hoists himself over the last step, laughing victoriously. PO (out of breath) Yeah! The doors to the palace arena begin to close. PO (CONT'D) Oh no! No no no! Wait! I'm coming! Po runs to the entrance and proceeds to bang on the door. PO (CONT'D) Hey! Open the door! DRUMS inside drown out Po's pounding. He yells. PO (CONT'D) Let me in! Inside, spectators' screams drown out Po's yelling. Po panics for a beat and then finds a window. He jumps and weakly struggles to pull himself up. Po struggles to peek through the window. 15. INT. PALACE ARENA - CONTINUOUS SHIFU Citizens of the Valley of Peace! It is my great honor to present to you... Tigress! Viper! Crane! Monkey! Mantis! The Furious Five! The Five jump into the middle of the ring. PO The Furious Five! Po manages a brief glimpse of the Five before a gust of wind knocks Po to the ground and shuts the window. SHIFU Warriors prepare! Po runs over to a crack in the wall. PO Peeky-hole! SHIFU Ready for battle! Inside the arena, Po catches a glimpse of Crane as he spreads his wings. PO Yeah! Woo! The Thousand Tongues of Fire! One of the spectators walks in front of Po, cutting off his view. PIG FAN Whoa! Look at that. PO Hey, get out of the way! Po backs up to get a better look at Crane in the sky and accidentally falls down the stairs. Po climbs back up and drops his head -- he missed it. MONTAGE: Po tries karate chopping the door open...to no avail. He slumps to the ground. 16. PO (CONT'D) Ow... Po attempts a pole vault, but falls on his back. The pole whips around and hits him into the arena wall. Po rigs a catapult, only to get clobbered by it. The crowd CHEERS. Po sits atop the stairs. Alone. SHIFU And finally...Master Tigress! Po snaps to attention. Po pulls on a rope tied to a tree. SHIFU (O.S.) (CONT'D) And believe me citizens, you have not seen anything yet! PO I KNOW!! SHIFU (O.S.) Master Tigress! Face Iron Ox and his Blades of Death! Tigress sets up to deliver her move. Po launches himself up above the fence, gets a peek at Tigress, then falls out of view just as she does her move. Po lands outside the arena in a fireworks tent. INT. TOURNAMENT RING - DAY Oogway senses something. He raises his hand and the crowd hushes. OOGWAY I sense the Dragon Warrior is among us. Shifu motions for the Five to gather in the center of the ring. SHIFU Citizens of the Valley of Peace! Master Oogway will now choose... the Dragon Warrior! 17. EXT. TOURNAMENT RING - DAY Po comes to. PO Huh? Oh no! Wait! He sees the fireworks and has an idea. PO (CONT'D) Yeah! INT. TOURNAMENT RING - DAY Oogway closes his eyes and raises his hand as ceremonial DRUMS start to play. EXT. TOURNAMENT RING - DAY Po struggles with something, his back turned to us. Reveal he has tied a load of fireworks to a chair. He hops on and lights the fuse. PO'S DAD (O.S.) Po?! Po's Dad rushes over and tries to blow out the fuse. PO'S DAD (CONT'D) What are you doing? PO What does it look like I'm doing? Stop! Stop! I'm going to see the Dragon Warrior! PO'S DAD But I don't understand. You finally had the noodle dream. Po looks uneasy. PO I lied. I don't dream about noodles, Dad! He looks at the fuse... almost all gone... Po holds onto the chair for dear life, closes his eyes, and braces himself for liftoff. PO (CONT'D) I love kung fuuuuuuuuuuuuuuuuu- 18. Po finally opens his eyes... He's still on the ground. The fuse was a dud. Po falls face first into the dirt. He looks away, embarrassed. Po's Dad holds out his apron. PO'S DAD Come on, son. Let's get back to work. PO Okay. Po sighs, starts to reach for the apron, then-- BOOM! The rockets ignite, propelling Po into the stadium wall. PO'S DAD Oh! Come back! Po's rocket chair blasts him into the sky amid a shower of fireworks. CROWD Oooh! Aaahh! Po climbs up and up...until the rockets die out and the chair loses power... PO Uh oh... Oogway's arm sweeps down the line of the expectant Five... Po falls towards the center of the ring... The tension builds as the Five wait to see who will be picked. Then... SMASH! Po lands and kicks up a huge dirt cloud, obscuring the ring. INT. ARENA PO POV: He sees the Five looking down at him, appalled. Po comes round slowly, getting his bearings. He looks around and sees Oogway. Strangely, the old turtle is smiling. PO What's going on? Where...uh? What are you pointing--? He looks up. An awful realization starts to dawn. Po GULPS. He is desperately embarrassed. 19. PO (CONT'D) Oh. Okay. Sorry. I just wanted to see who the Dragon Warrior was. He tries to shuffle his butt out of there, mumbling apologies. OOGWAY How interesting. TIGRESS Master, are you pointing at...me? OOGWAY Him. PO Who--? Po tries moving out of the way of Oogway's finger, but it keeps following him. OOGWAY You. PO Me? Oogway grabs Po's hand and holds it up for all to see. OOGWAY The universe has brought us the Dragon Warrior! QUICK CUTS: PO What? FURIOUS FIVE What?? SHIFU What??? PO'S DAD WHAT???? The pig bangs the gong. The crowd goes wild! They cheer! They scream! Confetti falls! A palanquin is carried past Shifu. 20. SHIFU Stop! Wait! Who told you to--? Po stands there, utterly stunned, his mouth hanging open. He is abruptly lifted up out of shot. Cut to the Palace Geese straining. Po is being lifted with great effort on the palanquin. He is carried off. Shifu elbows his way urgently through the thronging crowd to get to Oogway. SHIFU (CONT'D) Master Oogway, wait! That flabby panda can't possibly be the answer to... our problem. You were about to point at Tigress. That thing fell in front of her. That was just an accident! OOGWAY There are no accidents. Oogway smiles benignly as we hear an off-screen CRASH! The camera adjusts to reveal the palanquin has collapsed under Po. Shifu looks at Oogway. Oogway just smiles. A squad of burly pigs rushes in and hoists Po, the palanquin, and the Geese onto their shoulders, and they head off for the Jade Palace. Stunned, Shifu watches them go. Behind him, the Five approach and bow. TIGRESS Forgive us, Master. We have failed you. Shifu spins around. SHIFU No. If the panda has not quit by morning, then I will have failed you. Confetti flutters through the air as the celebration continues around them. CUT TO: 21. EXT. PRISON -- NIGHT A huge prison is carved into the side of a frozen mountain. Fifteen stories of iron and rock. No windows. One door -- locked, bolted and sealed tight. Rhinoceros guards in armor patrol the perimeter. Zeng, the palace goose, flies into frame and a Rhino Sentry spots him in the distance. He lands, sliding on the ice and crashing into the gate. The rhinos point their spears at him. ZENG Wait wait wait! I bring a message from Master Shifu. CLANG! The doors creak open. The terrified goose peers in. CUT TO: INT. PRISON -- A MOMENT LATER COMMANDER What?!?! (reading) "Double the guard?! Extra precautions?! Your prison may not be adequate!" The Goose is quaking in fear. Stern Rhinos surround him, staring daggers at him. The Commander snaps the scroll shut. COMMANDER (CONT'D) You doubt my prison's security? ZENG Absolutely not. (then) Shifu does. I'm just the messenger. COMMANDER I'll give you a message for your Master Shifu. ON A BRIDGE COMMANDER Escape from Chogun Prison is impossible! The Goose is awed by the cavernous prison. 22. ZENG Whoa. The goose looks over the bridge's edge. The prison goes down a long ways. The commander hits the goose on the back. COMMANDER Impressive, isn't it? A feather from the goose drifts down the prison. ZENG Yes, very impressive. It's VERY impressive. COMMANDER One way in, one way out, one thousand guards, and one prisoner. ZENG Yes, except that prisoner is Tai Lung... AT THE ELEVATOR COMMANDER Take us down. Several guard rhinos winch the goose and the commander down. The commander grabs the chain and shakes the elevator, trying to scare the goose. ZENG What are you doing?! The commander just laughs. The elevator finally lands, sending an echo throughout the prison. AT DOORS - A number of doors unlock, one after the other. Finally, a drawbridge is lowered out onto an island. ZENG (CONT'D) Oh my... COMMANDER Behold, Tai Lung. ZENG I'll um...I'm just gonna wait right here. 23. COMMANDER It's nothing to worry about. It's perfectly safe. He shoves the goose out ahead of him. ZENG Oof! COMMANDER Crossbows! At the ready! ZENG Crossbows?! They approach TAI LUNG, a giant, muscular snow leopard bound in a giant piece of tortoise shell armor and chains. He barely registers signs of life. The commander walks right up to him. COMMANDER Hey, tough guy, did you hear? Oogway's finally gonna give someone the Dragon Scroll and it's not gonna be you! The goose can't believe it. ZENG What are you doing?! Don't get him mad. COMMANDER What's he gonna do about it? I've got him completely immobilized. The Commander stomps on Tai Lung's tail. We hear a crunch. The goose flinches. But Tai Lung does not react. COMMANDER (CONT'D) Awww. Did I step on the witty kitty's tail? Awww. Tai Lung doesn't move. His eyes stare coldly straight ahead. ZENG I'm good. I've seen enough. I'm gonna tell Shifu he's got nothing to worry about. COMMANDER No, he doesn't. 24. ZENG Okay, I'll tell him that. Can we please go now? The Commander starts to walk back to the elevator. The goose hurries after him. The goose's feather flutters into frame. We follow the feather as it lands right in front of Tai Lung. HIS EYES OPEN. Tai Lung grabs the feather with his tail. INT. JADE PALACE - HALLWAY The palace doors open to reveal Po on the palanquin, hundreds of villagers behind him. CROWD (chanting) Dragon Warrior! Dragon Warrior! Po is ushered in and the doors close. He is alone. He runs back to the closed palace doors. PO Wait a second! Hello? Uh...I think there's been a slight mistake. Everyone seems to think that I'm, uh... Po finally realizes where he is. PO (CONT'D) Whoa. The Sacred Hall of Warriors. No way! Would you look at this place! He rushes up to a display of armor. PO (CONT'D) (GASP) Master Flying Rhino's Armor! With authentic battle damage! He rushes up to a green sword, making sure not to touch it. PO (CONT'D) (GASP) The Sword of Heroes! Said to be so sharp you can cut yourself just by looking-- OW! He stares at a black sopt on the wall. 25. PO (CONT'D) (GASP) The Invisible Trident of Destiny!? He admires a painting. PO (CONT'D) (GASP) I've only seen paintings of that painting... Po runs around the room, amazed by all the ancient kung fu artifacts. Something special catches Po's eye. PO (CONT'D) (loudly) Nooo! Ohhhh! He runs over to it. PO (CONT'D) The legendary Urn of Whispering Warriors! Said to contain the souls of the entire Tenshu army. (calling into vase) Hellooo? SHIFU Have you finished sight-seeing? Po GASPS. PO (to vase) Sorry. I should've come to see you first. SHIFU My patience is wearing thin. PO (to vase) Oh. Well, I mean, it's not like you were going anywhere. SHIFU Would you turn around? PO Sure. Po turns and sees Shifu. 26. PO (CONT'D) Hey, how's it going? Po turns back to the vase. PO (CONT'D) (to vase) Now how do you get five thousand-- (cutting himself off) Master Shifu! Po bumps the vase which falls and BREAKS. PO (CONT'D) Someone...broke that. But I'm gonna fix it. Do you have some glue? The vase debris screams as Po tries to pick up the pieces. PO (CONT'D) Ow! Ooh. Splinter. Po fumbles around. Shifu looks irked. SHIFU So you're the legendary Dragon Warrior. Hmmm? PO Uh...I guess so? Shifu smiles and shakes his head. SHIFU Wrong! You are not the Dragon Warrior. You will never be the Dragon Warrior until you have learned the secret of the Dragon Scroll. He points to a dragon on the ceiling with a single scroll in its mouth. PO (in awe) Whoa. (then) So how does this work? You have a ladder or trampoline or...? SHIFU You think it's that easy? That I am just going to hand you the secret to limitless power? 27. PO No, I... SHIFU One must first master the highest level of kung fu. And that is clearly impossible if that one is someone like you. PO Someone like me? Shifu walks around Po - pointing out his weaknesses. SHIFU Yes. Look at you...this fat butt. Shifu HITS Po on the butt with his staff. SHIFU (CONT'D) Flabby arms... PO Those are sensitive in the flabby parts. Shifu SWATS Po on the arm with his staff. SHIFU And this ridiculous belly. Shifu HITS Po in the belly with his staff. PO Hey... SHIFU --and utter disregard for personal hygiene. PO (pointing at Shifu) Now wait a minute. That's a little uncalled-for. SHIFU Don't stand that close...I can smell your breath. PO Listen...Oogway said that I was the- Shifu pinches Po's outstretched digit. 28. PO (CONT'D) (gasp) The Wuxi Finger Hold?! Not the Wuxi Finger Hold! SHIFU (sly) Oh, you know this hold? PO DevelopedbyMasterWuxiInTheThirdDyna sty-- YES. SHIFU Oh, then you must know what happens when I flex my pinky. Po nervously eyes his finger locked in Shifu's grip and nods quickly. PO No no no! SHIFU You know the hardest part of this? The hardest part is cleaning up afterwards... PO Okay! Okay! Take it easy... SHIFU Now listen closely, panda. Oogway may have picked you, but when I'm through with you, I promise you, you're going to wish he hadn't. Are we clear? PO Yeah, we're clear. We're clear. We are so clear. SHIFU Good. I can't wait to get started. INT. TRAINING HALL The doors open, revealing Po nursing his wounded finger. Shifu steps out of the way and Po's face goes into shock. The Five are performing death-defying kung fu moves in the training hall. Tigress smashes a swinging, spiked ball of wood. ANGLE ON AN AWESTRUCK PO, as shards of wood blast into his face. Po is intimidated and overwhelmed. 29. Shifu scowls at Po. SHIFU Let's begin. He gestures to the gauntlet. Po's eyes go wide. PO Wait wait wait...What? Now? SHIFU Yes...now. Unless you think the great Oogway was wrong, and you are not the Dragon Warrior. PO Oh, okay. Well-- I don't know if I can do all of those moves. Shifu walks away and Po half-heartedly follows. SHIFU Well, if we don't try, we'll never know will we? PO Uh, yeah. It's just, maybe we can find something more suited to my level. SHIFU And what level is that? PO Well, ya know...I'm not a master, but uh, let's just start at zero, level zero. SHIFU There is no such thing as level zero. PO Hey! Maybe I can start with that. Po points at a rather friendly-looking dummy. SHIFU That? We use that for training children. And for propping the door open when it's hot. But if you insist... Relieved, Po turns to the dummy. The Five gather around him. 30. PO Whoa. The Furious Five. You're so much bigger than your action figures -- except for you, Mantis. You're about the same. Mantis gives him a look. SHIFU Go ahead, panda. Show us what you can do. PO Um, are they gonna watch? Or should I just wait until they get back to work or something... SHIFU Hit it. PO Ok. I mean, I just ate. So I'm still digesting... So my kung fu might not be as good as later on. SHIFU Just hit it. Po psyches himself up, doing some Jack Fu. PO Alright. Whatcha got? You got nothing cause I got it right here. You picking on my friends? Get ready to feel the thunder. I'm comin' at him with the crazy feet. Whatcha gonna do about my crazy feet? I'm a blur. I'm a blur. You never seen bear style, you only seen praying Mantis! OR... I could come at you Monkey style. OR... I'm comin' at ya snikity-snake. Shifu and the Five stare at Po, perplexed. SHIFU Would you hit it! PO Alright...alright. Po lightly hits the dummy and it rocks back into place. 31. SHIFU Why don't you try again? A little harder... Po punches it again, knocking it all the way backwards. He turns to Shifu, smug. PO How's tha-- WHAP! The dummy rights itself and smacks Po. Totally dazed, Po trips and stumbles his way through the obstacle course. The Five instinctively step forward to help Po, but Shifu holds up his hand to stop them. BACK ON PO PO (CONT'D) Ow, that hurts. A spiky tethered ball sends Po flying into the jade turtle exercise, where it rattles him around. SHIFU (to the Five) This'll be easier than I thought. Back to Po in the turtle bowl. PO Feeling a little nauseous. The turtle spills him out and he stumbles into the army of wooden dummies. PO (CONT'D) Ow, those are hard! Ooh! I think I... The last dummy whaps him in the crotch and everything becomes still. PO (CONT'D) Oooohoohoo...my tenders. He struggles to get on his feet, takes one step and reaches out to a dummy arm...and immediately gets pummeled all over again. Po comes out the other side battered and bruised and finds he is standing on the floor that shoots out bursts of flame. We see reflections of fire on the Five and Shifu as Po gets singed. He comes crawling into frame. 32. PO (CONT'D) How did I do? SHIFU There is now a level zero. CUT TO: EXT. BUNKHOUSE - NIGHT The Five are walking to the bunkhouse, which sits high on a hill. MANTIS There's no words. CRANE No denying that. VIPER I don't understand what Master Oogway was thinking. The poor guy's just gonna get himself killed. CRANE (mocking) He is so mighty! The Dragon Warrior fell out of the sky on a ball of fire. MANTIS When he walks, the very ground shakes! TIGRESS One would think that Master Oogway would choose someone who actually knew Kung Fu. CRANE Yeah, or could at least touch his toes. MONKEY Or even see his toes. As the others walk off, we reveal Po, who unbeknownst to them has been walking behind them this whole time, hearing everything. He attempts to look at his toes but just sees gut. He lifts up his stomach, leans forward... leans... leans... and falls over. 33. He gets up and watches them go inside. He sighs. INT. BUNKHOUSE Po peeks around the corner. PO Okay. He tip-toes into the hall. SQUEAK. The floorboards strain beneath him. SQUEAK. PO (CONT'D) (whispering) Great. Po takes a gentle step. CRE-E-E-A-AA--CHUNK! Po's foot goes through the floor. Po tries to recover. SQUEAK-SQUEAK-SQUEAK! THUNK! Po rolls his ankle and stumbles through a bedroom door. Crane is staring back at him. PO (CONT'D) Oh hey...hi. You're up. CRANE Am now. PO I was just uh... Some day huh? That kung fu stuff is hard work, right? Your biceps sore? Crane looks at his wing. CRANE Um...I've had a long and rather disappointing day, so uh...yeah, I should probably get to sleep now. PO Yeah yeah yeah, of course. CRANE (relieved) Okay, thanks. PO It's just...I'm such a big fan. 34. CRANE Oop. PO You guys were totally amazing at the Battle of Weeping River. Outnumbered a thousand to one, but you didn't stop, and then you just... HI-YAH! Po does a spastic series of Kung Fu moves. We hear a RIP, and reveal that he's kicked his foot through the paper wall. PO (CONT'D) Ooo, sorry about that. CRANE Look, you don't belong here. Po looks stung to be hearing this from one of his heroes. PO I know. I know. You're right. I just - my whole life I've dreamed of- Crane stops Po before he embarrasses himself even more. CRANE No no no... I meant you don't belong here. I mean, in this room. This is my room. Property of Crane. Po is mortified, but covers. PO Oh, okay. Right right. Yeah, you want to get to sleep. CRANE Yeah. PO I'm keepin' you up. We got big things tomorrow. Alright. You're awesome. Last thing I'm gonna say. Okay. Bye bye. Po shuts the door. Crane sighs. The door flies open. Po enters with an eager smile. PO (CONT'D) What was that? 35. CRANE I didn't say anything. PO Okay. Alright. Goodnight. Sleep well. Po backs out into the hall and closes the door. PO (CONT'D) Seemed a little bit awkward. Po turns and walks down the hall to find a vacant room. CREAK- CREAK. Tigress opens the door behind him. Po winces. PO (CONT'D) Master Tigress! Didn't mean to wake you. Just uh... TIGRESS You don't belong here. PO Uh, yeah, yeah. Of course. This is your room. TIGRESS I mean...you don't belong in the Jade Palace. You're a disgrace to Kung Fu, and if you have any respect for who we are and what we do, you will be gone by morning. She closes the door on Po, who slumps sadly. PO Big fan... EXT. JADE PALACE - NIGHT A dejected Po stands under a peach tree in the moonlight. Oogway approaches. OOGWAY I see you have found the Sacred Peach Tree of Heavenly Wisdom. Po spins around, his face dripping with peach juice. 36. PO (mouth full) Is that what this is? I am so sorry. I thought it was just a regular peach tree. OOGWAY I understand. You eat when you are upset. PO Upset? I'm not upset. What makes you think I'm upset? OOGWAY So why are you upset? Po sighs, there's no use trying to lie to Oogway. PO I probably sucked more today than anyone in the history of kung fu, in the history of China, in the history of sucking. OOGWAY Probably. PO And the Five... man, you should have seen them, they totally hate me. OOGWAY Totally. PO How's Shifu ever going to turn me into the Dragon Warrior? I mean, I'm not like The Five. I've got no claws, no wings, no venom. Even Mantis has those... (he imitates a mantis' front legs) ...thingies. Maybe I should just quit and go back to making noodles. OOGWAY Quit, don't quit. Noodles, don't noodles. Po looks confused. 37. OOGWAY (CONT'D) You are too concerned with what was and what will be. There is a saying: Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present. Oogway hits the tree with his staff as he walks away and a peach falls into Po's open hand. INT. PRISON -- NIGHT Using the goose's feather to pick the lock, Tai Lung BURSTS free from his armor. An ALARM RINGS OUT! The Commander runs to the ledge, the Goose right behind him. ZENG What's happening?! The Goose looks over the edge and sees Tai Lung at the bottom of the pit. Tai Lung struggles with his shackles. COMMANDER Fire Crossbows! Tai Lung uses the incoming spears to break his shackles and then manages to kick the spears back up into the walls, creating a makeshift staircase. ZENG Tai Lung is free! I must warn Shifu! The Commander shuts the Goose up. COMMANDER You're not going anywhere. And neither is he. ZENG Let go of me! COMMANDER (to guards) Bring it up! 38. The winch turns and the elevator starts to rise. A rhino guard tries to reach it, but just misses. RHINO GUARD #1 Wait! Bring it back! ZENG He's coming this way! COMMANDER He won't get far. (to guards) Archers! Leaping across the spears, Tai Lung catches the elevator as the volley of arrows flies down past him. The guards cut the rope and the elevator crashes back down to the bottom of the pit. Tai Lung swings up from the bottom of the elevator house and catches the guards by surprise. He grabs the chain and jumps over the edge and swings around, launching himself up to the next tier, disappearing into the shadows. Tai Lung lands on a bridge, fights his way through, finally reaching the top tier where the Commander and the rest of the Rhino army await. ZENG We're dead. So very, very dead. The Commander hushes the Goose. COMMANDER (to Goose) Heh heh...not yet we're not! Now! Archers set off charges on the ceiling. Massive stalactites crash down and the bridge begins to crumble. Tai Lung leaps across the crumbling debris and attempts one last huge jump towards the Commander. But he falls short, claws scraping and sparking against the rock wall. The Commander laughs maniacally. On his way down, Tai Lung looks up and sees a fuse burning down to the last group of explosives. He leaps across the raining debris up to the ceiling of the cavern. Grabbing a hold of the dynamite, Tai Lung falls and slings it ahead of him at the guards. ZENG Can we run now? 39. COMMANDER Yes. EXT. PRISON KA-THOOM! The door blasts open and Rhinos go flying everywhere. WHUMP. The Goose hits the ground. The commander's horn prosthetic falls in front of him. ZENG Nuuu... Urggg... Tai Lung picks up the Goose by the throat. ZENG (CONT'D) URRK! TAI LUNG I'm glad Shifu sent you. I was beginning to think I had been forgotten. With a creepy tenderness, Tai Lung smooths the Goose's ruffled feathers. TAI LUNG (CONT'D) Fly back there and tell them...the real Dragon Warrior is coming home. Tai Lung throws the Goose into the air and he flutters off. Lightning strikes. CUT TO: EXT. BUNKHOUSE - MORNING CLOSE-UP of a gong being struck. INT. BUNKHOUSE - CONTINUOUS Shifu enters the hallway of the bunkhouse. The Five burst out of their rooms and land, ready for inspection. FURIOUS FIVE Good morning master! One door remains closed. 40. SHIFU Panda! Panda, wake up! He slides open Po's door. The room is empty. SHIFU (CONT'D) (satisfied) Hmm. He's quit. EXT. TRAINING HALL - MOMENTS LATER Shifu walks with a bit more energy. VIPER What do we do now, Master? With the panda gone, who will be the Dragon Warrior? SHIFU All we can do is resume our training and trust that in time, the true Dragon Warrior will be revealed. INT. JADE PALACE - MOMENTS LATER Shifu enters the training hall, only to find himself face-to- face with Po's butt. Shifu and the Five are taken aback. SHIFU What are you doing here?! Reveal Po is in the middle of the floor, his legs spread wide apart. Po looks back over his shoulder to see Shifu and the Five enter the hall. PO Hey! Huh... Good morning, Master! I thought I'd warm up a little. SHIFU You're stuck. PO Stuck?! Whaa? Pfft... stuck... Yeah, I'm stuck. SHIFU (to Crane) Help him. Crane approaches Po. 41. CRANE Oh dear. Crane gingerly grabs Po's waistband and attempts to pull him up by flapping his wings. PO Maybe on three. One. Two- Crane pulls him up and Po flops onto his back. PO (CONT'D) Threeeee. Thank you. CRANE Don't mention it. PO No really, I appreci-- CRANE --EVER. SHIFU You actually thought you could learn to do a full split in one night? It takes years to develop one's flexibility and years longer to apply it in combat. Shifu flings two boards into the air. Instantly, Tigress leaps up and executes a perfect split kick. Po is awestruck. As Tigress lands, the broken chunks of board land all around Po, knocking him on the head. Po collects a piece of splintered board as a souvenir. Shifu notices and steps forward. SHIFU (CONT'D) Put that down! The only souvenirs we collect here are bloody knuckles and broken bones. PO Yeah, excellent! He laughs excitedly and salutes Shifu. SHIFU Let's get started. CUT TO: 42. MONTAGE Shifu snaps his fingers. Viper and Po face off. VIPER Are you ready? PO I was born ready-- Viper lashes her tail around Po's wrist, wrenches his arm back, flings him into the air and brings him crashing back down on his head. PO (CONT'D) Eaghhh... VIPER I'm sorry, brother! I thought you said you were ready! PO That was awesome! Let's go again. (salutes) Shifu snaps. Monkey twirls a bamboo staff. He lunges at Po who takes a comical beating. Shifu snaps. Po and Crane prepare to spar atop the turtle bowl. CRASH. Po falls in and is tossed around like a sack of soup. Shifu snaps. We see a series of shots of Po falling on his face at the hands of some invisible opponent, who turns out to be... Mantis. Shifu smiles. Flat on his back, Po manages a salute. Shifu has had it. SHIFU I've been taking it easy on you, panda, but no more! Your next opponent... will be me. Po looks excited. PO Alright! Let's go! 43. The Five exchange worried looks. SHIFU (to Po) Step forth. Po doesn't even finish the step as Shifu whirls him around and throws him to the floor pinning his arm behind him. SHIFU (CONT'D) The true path to victory is to find your opponent's weakness and make him suffer for it. PO (delighted) Oh, yeah! Shifu whips Po around again. SHIFU To take his strength and use it against him. Again, this time Shifu holds Po by the nose. SHIFU (CONT'D) --until he finally falls, or quits. Po is totally inspired. PO But a real warrior never quits. Don't worry, Master, I will never quit! At his breaking point, Shifu flings Po into the air and then leaps at him with a flying kick. CUT TO: EXT. TRAINING HALL - CONTINUOUS Po crashes out of the door and tumbles down the steps. The Five watch him fall. TIGRESS If he's smart, he won't come back up those steps. MONKEY But he will. 44. VIPER He's not gonna quit, is he? MANTIS He's not gonna quit bouncin', I'll tell ya that. Cut WIDE as Po continues to tumble. INT. BUNKHOUSE - EVENING Close on Po, who grimaces. PO (O.S.) Aaaoo...whoohoo...EEEee...hee- hee... I thought you said acupuncture would make me feel better. Mantis pops up from behind Po holding a handful of needles and sticks Po again. MANTIS Trust me, it will. It's just not easy finding the right nerve points under all this-- PO Fat? MANTIS Fur, I was gonna say fur. PO Sure you were. MANTIS Who am I to judge a warrior based on his size? I mean -- look at me. Po looks for Mantis... MANTIS (O.C.) (CONT'D) I'm over here. ...But Mantis is now on his other shoulder. He jabs another needle into Po. PO Ow! 45. VIPER Maybe you should take a look at this again. Viper is holding a diagram of acupuncture meridians (onto which someone has overlaid a drawing of a panda.) MANTIS (re: diagram) Oh! Okay. Quick cuts to Monkey meditating in his room and Crane doing calligraphy in his. Po's yelps distract them. PO Ow! Don't... (laughing) Stop it, stop-- Yow! I know Master Shifu's trying to inspire me and all, but if I didn't know any better, I'd say he was trying to get rid of me. Po chuckles. The others look at each other and chuckle awkwardly. MANTIS I know he can seem kind of heartless-- He violently jabs another needle in Po. MANTIS (CONT'D) But, ya know, he wasn't always like that. VIPER According to legend, there was once a time when Master Shifu actually used to smile. PO No. MANTIS Yes. Cut to Tigress out in the hallway. She can hear them talking. VIPER But that was before... PO Before what? 46. Tigress enters. TIGRESS Before Tai Lung. Crane's shadow is silhouetted on the wall. CRANE Uh yeah, we're not really supposed to talk about him. TIGRESS Well, if he's going to stay here, he should know. PO (trying to ease the tension) Guys, guys. I know about Tai Lung. Tigress turns to Po. PO (CONT'D) He was a student, the first ever to master the thousand... Tigress approaches Po and leans in towards him. PO (CONT'D) (nervously trailing off) ...scrolls of... kung fu... and... then he turned bad... and now he's in jail. Tigress shakes her head at the panda's ignorance. TIGRESS He wasn't just a student. DISSOLVE TO: EXT. TRAINING HALL FLASHBACK. Shifu peeks out of the Training Hall and finds a baby leopard cub on the steps. TIGRESS (V.O.) Shifu found him as a cub. And he raised him as a son. Baby Tai Lung pulls on Shifu's whiskers. 47. TIGRESS (V.O.) (CONT'D) ...and when the boy showed talent in Kung Fu... Baby Tai Lung punches the training dummy across the floor. TIGRESS (V.O.) (CONT'D) ...Shifu trained him. Shifu teaches Baby Tai Lung how to punch. TIGRESS (V.O.) (CONT'D) He believed in him. He told him he was destined for greatness. Hard cut to a full-grown Tai Lung demolishing a training dummy. TIGRESS (V.O.) (CONT'D) It was never enough for Tai Lung. He wanted the Dragon Scroll. But Oogway saw darkness in his heart and refused. Outraged, Tai Lung laid waste to the valley. He tried to take the scroll by force. And Shifu had to destroy what he had created. Tai Lung ransacks a village on his way up to the Jade Palace. He crashes through the doors, running towards a waiting Shifu and Oogway. Shifu leaps at Tai Lung to deliver a kick. TIGRESS (V.O.) (CONT'D) But how could he? Seeing only baby Tai Lung running towards him, Shifu pulls his kick short. Tai Lung counters with a devastating strike and Shifu crashes to the ground holding his broken leg. Tai Lung leaps for the scroll, but Oogway stops him with strikes at his pressure points. He falls to the ground in a heap. TIGRESS (V.O.) (CONT'D) Shifu loved Tai Lung like he'd never loved anyone before... Young Tigress in the training hall strikes the dummy in the same manner as Tai Lung. Shifu corrects her form. Nothing more. Young Tigress looks crestfallen. 48. TIGRESS (V.O.) (CONT'D) ...or since. The sad, young Tigress cross-dissolves to adult Tigress. INT. BUNKHOUSE - EVENING Everyone is quiet in the moment. TIGRESS And now he has a chance to make things right, to train the true Dragon Warrior. And he's stuck with you: a big, fat panda who treats it like a joke. Po makes a googly-eyed face. PO Doieeeee... TIGRESS (charging at Po) Oh! That is it! Mantis pops up and halts Tigress. MANTIS Wait! My fault! I accidentally tweaked his facial nerve. Po falls face first to the floor, revealing his back is covered with needles. MANTIS (CONT'D) And may have also stopped his heart. INT. TRAINING HALL - NIGHT Shifu is sitting in meditation, fidgeting incessantly. SHIFU Inner peace. Inner peace. Inner peace. He finally opens one eye. SHIFU (CONT'D) Would whoever is making that flapping sound, quiet down! 49. Satisfied with the silence, Shifu nods and resumes his meditation. SHIFU (CONT'D) Inner... BOOM. Zeng drops in from the ceiling. SHIFU (CONT'D) Oh, Zeng. Excellent. I could use some good news right now. ZENG Uh... CUT TO: EXT. JADE PALACE GROUNDS - EVENING Oogway stands under the peach tree, deep in thought. Shifu rushes in, emerging from the mist, extremely agitated. SHIFU Master! Master! OOGWAY Hmmm? SHIFU (out of breath) I have-- it's-- it's very bad news. OOGWAY Ah, Shifu. There is just news. There is no good or bad. SHIFU Master, your vision...your vision was right. Tai Lung has broken out of prison. He's on his way! OOGWAY That is bad news... He turns to face Shifu and stares at him, eyebrow raised. OOGWAY (CONT'D) ...If you do not believe that the Dragon Warrior can stop him. SHIFU The panda? Master, that panda is not the Dragon Warrior. (MORE) 50. SHIFU (CONT'D) He wasn't even meant to be here -- it was an accident! OOGWAY There are no accidents. SHIFU Yes, I know. You've said that already. Twice. OOGWAY Well, that was no accident either. SHIFU Thrice. OOGWAY My old friend, the panda will never fulfill his destiny, nor you yours, until you let go of the illusion of control. SHIFU Illusion? OOGWAY Yeah. Look at this tree, Shifu. I cannot make it blossom when it suits me, nor make it bear fruit before its time. SHIFU But there are things we can control. Shifu kicks the tree and a peach falls to his feet. SHIFU (CONT'D) I can control when the fruit will fall. A peach falls on his head and Oogway chuckles. Shifu tosses the peach in the air, leaps up, and splits it with a chop. SHIFU (CONT'D) And I can control-- Shifu punches the ground, creating a hole and places the seed in it. SHIFU (CONT'D) --where to plant the seed. That is no illusion, Master. 51. OOGWAY Ah, yes. But no matter what you do, that seed will grow to be a peach tree. You may wish for an apple, or an orange... but you will get a peach. SHIFU But a peach cannot defeat Tai Lung! OOGWAY Maybe it can. If you are willing to guide it, to nurture it. To believe in it. Oogway covers the seed with dirt. SHIFU But how? How? I need your help, Master. OOGWAY No, you just need to believe. Promise me, Shifu. Promise me you will believe. SHIFU I... I will try. Oogway smiles, then glances up at the sky, then back down to Shifu. OOGWAY Good. My time has come. You must continue your journey without me. He hands his staff to a confused Shifu. SHIFU What... what are you..? Oogway backs away into the swirling fog. SHIFU (CONT'D) Master, you can't leave me! The petals surround Oogway as he approaches the cliff's edge. OOGWAY You must believe. SHIFU Master! 52. Shifu runs after him. Oogway is engulfed by peach blossoms. As the winds settle, Shifu is revealed standing at the edge of a cliff. Oogway is gone. We pan across to the bunkhouse. PO (O.S.) ...So I'm like, fine, you may be a wolf, you may be the scariest bandit in Haijin Province... INT. KITCHEN -- NIGHT Reveal Po is cooking for the Five. He chops some veggies mid- air. PO ...but you're a lousy tipper. CRANE (incredulous) Really? So... how'd you get out of there alive? PO I mean, I didn't actually say that, but I thought it... in my mind. Po flips some bowls and expertly lines them up on his arm. He ladles soup into them. PO (CONT'D) (covering) If he... could read my mind, he'd have been like, "What?" (then) Order up! Po looks around expectantly and the Five (minus Tigress) dig in. PO (CONT'D) Hope you like it. MANTIS This is really good. PO (bashful) No, c'mon. (MORE) 53. PO (CONT'D) You should try my dad's secret ingredient soup. He actually knows the secret ingredient. VIPER What are you talking about? This is amazing. CRANE Wow, you're a really good cook. MANTIS I wish my mouth was bigger. The others laugh. But not Tigress. MONKEY Tigress, you gotta try this. Tigress looks up from her meal. TIGRESS It is said that the Dragon Warrior can survive for months at a time on nothing but the dew of a single gingko leaf and the energy of the universe. On the others for a beat. Then Po shrugs. PO I guess my body doesn't know it's the Dragon Warrior yet. I'm gonna need a lot more than dew. And, uh, universe juice. Po laughs. He picks up his bowl and takes a giant gulp. When he lowers the bowl, we see a noodle hanging from his face -- it looks like a moustache. Mantis snickers. PO (CONT'D) What? MANTIS Oh, nothing... Master Shifu! The rest start laughing. Po realizes he's wearing a noodle moustache. He plays it up. 54. PO (imitating Shifu) You will never be the Dragon Warrior, unless you lose five hundred pounds and brush your teeth! The Five LAUGH. PO (CONT'D) (imitating Shifu) What is that noise you're making? Laughter? I never heard of it! The Five keep LAUGHING. Po reaches over and grabs two empty bowls and holds them up like ears. PO (CONT'D) (imitating Shifu) Work hard, Panda. And maybe, someday... you will have ears like mine. As the rest of the Five laugh, Tigress sneaks a moment to smell Po's soup. Leaning towards the bowl, she suddenly looks up and stops. The Five also look up and stop laughing. Reveal Shifu has entered behind Po. He is holding Oogway's staff. PO (CONT'D) (normal) Ears. It's not working for you? I thought they were pretty good. Po looks at the stone-faced Five. Tigress jumps to her feet. MONKEY It's Shifu. PO Of course it's Shifu. What do you think I'm doing? He finally notices Shifu standing there, doing a slow burn. Embarrassed, he places the soup bowls on his chest like a bra. PO (CONT'D) Ooh! Master Shifu! Po slurps up the noodle moustache. Monkey can't help but snicker. 55. SHIFU You think this is funny? Tai Lung has escaped from prison and you're acting like children! PO What? SHIFU He is coming for the Dragon Scroll, and you are the only one who can stop him. The bowls fall off. A beat as this sinks in... then Po starts to laugh. PO And here I am saying you got no sense of humor. I'm gonna stop Tai... Shifu just stares at him, deadly serious. PO (CONT'D) What? You're serious? And I have to-- uh, Master Oogway will stop him! He did it before, he'll do it again. SHIFU Oogway cannot, not anymore. They notice Shifu holding Oogway's staff. They know what this means. They are saddened by the news. SHIFU (CONT'D) Our only hope is the Dragon Warrior. TIGRESS The panda? SHIFU Yes, the panda! TIGRESS Master, please. Let us stop Tai Lung. This is what you've trained us for. SHIFU No! It is not your destiny to defeat Tai Lung. It is his. He dramatically points at Po... but Po is gone. 56. SHIFU (CONT'D) Where'd he go? Shifu throws up his hands in frustration and heads after Po. CUT TO: EXT. BUNKHOUSE ≠ DAY Super wide shot as Po runs away from the compound. Closer as he continues running. He checks over his shoulder, turns back... Shifu lands right in front of him. SHIFU You cannot leave! A real warrior never quits! PO Watch me! He tries to maneuver around Shifu, but is redirected back. PO (CONT'D) Come on! How am I supposed to beat Tai Lung? I can't even beat you to the stairs. SHIFU You will beat him because you are the Dragon Warrior! He pushes Po back with the staff. PO Ow! You don't believe that! You never believed that! From the first moment I got here, you've been trying to get rid of me. Shifu pokes him again, this time causing Po to fall on his back. SHIFU Yes. I was. But now I ask you to trust in your master as I have come to trust in mine. PO You're not my master. And I'm not the Dragon Warrior. Po shoves the staff away and gets up. 57. SHIFU Then why didn't you quit? You knew I was trying to get rid of you, and yet you stayed. PO Yeah, I stayed. I stayed because every time you threw a brick at my head or said I smelled, it hurt. But it could never hurt more than it did every day of my life just being me. Po looks down at the Valley, then turns back to Shifu. PO (CONT'D) I stayed because I thought if anyone could change me, could make me... not me, it was you. The greatest kung fu teacher in all of China. SHIFU But I can change you! I can turn you into the Dragon Warrior! And I will! PO C'mon, Tai Lung is on his way here right now. And even if it takes him a hundred years to get here, how are you gonna change this... (indicate belly) ...into the Dragon Warrior? How? How? How?! In frustration, Shifu yells out the answer. SHIFU I don't know!!! (then, resigned) I don't know. PO That's what I thought. Shifu walks away, leaving the path open to Po. EXT. JADE PALACE - NIGHT Tigress stands in the moonlight outside the palace. She has seen what just transpired between Shifu and Po. 58. She turns away, a look of resolve on her face... and LEAPS. She flies through the air, finally landing on a rooftop in the valley below. She looks back up at the palace. TIGRESS This is what you trained me for. She takes off running. The other four are right behind her. VIPER Tigress! She keeps going and they give chase. TIGRESS Don't try and stop me! The chase continues through the village. VIPER We're not trying to stop you! TIGRESS What? VIPER We're coming with you! Then...the others join her. Tigress smiles. They leap off into the night. EXT. JADE PALACE - EVENING Night dissolves to dawn. Shifu sits under the peach tree. He stirs, hearing KUNG FU NOISES from the training hall. He goes to investigate. CUT TO: INT. TRAINING HALL - DAWN Shifu looks inside -- it's empty. The NOISES continue from somewhere else -- the bunkhouse. CUT TO: 59. INT. KITCHEN - DAWN As Shifu turns the corner he sees Po's shadow as he performs some amazing Kung Fu. Entering the kitchen, Shifu finds Po is stuffing his face with food. Seeing Shifu, he stops mid-munch. In silence they eye each other. Shifu surveys the room -- broken lock, smashed doors, unhinged cabinets. Po belches. PO (mouth full) What? I eat when I'm upset, okay? Shifu gets a glimmer in his eye. He has an idea. SHIFU Oh, no need to explain. I just thought you might be Monkey -- he hides his almond cookies on the top shelf. Shifu calmly exits and hides just outside the doorway, waiting to see if his hunch is correct. KLUMP! KLONK! THUNK! Shifu peeks back inside and finds Po perched atop the high shelves jamming more cookies into his mouth. Po notices Shifu walking back in. PO (mouth full) Don't tell Monkey. He glances back down at Shifu, whose disbelief turns to a wise smile. SHIFU Look at you. PO Yeah, I know. I disgust you. SHIFU No no, I mean... how did you get up there? PO I don't know. I guess I-- I don't know. I was getting a cookie... He looks at the cookie and then can't help but eat it. 60. SHIFU And yet you are ten feet off the ground and have done a perfect split. PO No, this... this is just an accident. He and Po stare at each other for a beat. Then... WHOOMP! Po slips and crashes to the kitchen floor. A cookie rolls over to Shifu. He picks it up. SHIFU There are no accidents. Come with me. EXT. MOUNTAINS - DAWN Shifu leads Po through the mountains. PO I know you're trying to be all mystical and kung fu-y, but could you at least tell me where we're going? Shifu just continues walking. CUT TO: EXT. MOUNTAINS - LATER Shifu is sitting beneath a tree. Winded and wheezing, Po slowly works his way up the hill. Po sets his gear down and looks around. Shifu breathes in the morning mist as Po approaches. PO You dragged me all the way out here for a bath?! Po begins to pat his armpits with water. SHIFU Panda, we do not wash our pits in The Pool of Sacred Tears. Po quickly stops. Realizing. 61. PO (in awe) The pool of... SHIFU This is where Oogway unravelled the mysteries of harmony and focus. This is the birthplace of Kung Fu. The camera cranes up to reveal they are standing on rock shapes that resemble a yin yang symbol. As the camera pulls further out, it pulls back through a vision of Oogway doing Kung Fu moves. FLASH FRAME -- Shifu leaps atop one of the rocks and looks down at Po. SHIFU (CONT'D) Do you want to learn Kung Fu? PO (awestruck) Yeah... SHIFU Then I am your master! PO Okay! Tears of joy well up in Po's eyes. SHIFU Don't cry. PO Okay. Po sniffs the tears back and smiles. EXT. FIELD - LATER Shifu leads Po out into an open field. SHIFU When you focus on Kung Fu, when you concentrate...you stink. Po scowls. 62. SHIFU (CONT'D) But perhaps that is my fault. I cannot train you the way I have trained the Five. I now see that the way to get through to you is with this! Shifu produces a bowl of dumplings. PO Oh great, `cause I'm hungry. SHIFU Good. When you have been trained, you may eat. Let us begin. EXT. FIELD - LATER Po's training unfolds -- deep breathing exercises, balance tests, push ups, sit ups, climbing, etc. Through it all, he never gets to eat, although he does indeed learn kung fu. EXT. CLEARING - A MOMENT LATER Shifu sets a bowl of dumplings on a boulder. SHIFU After you, panda. Po stops short, suspicious. PO Just like that? No situps? No ten mile hike? SHIFU I vowed to train you... and you have been trained. You are free to eat. Po grabs one of the dumplings in his chopsticks. SHIFU (CONT'D) Enjoy. Po raises the dumpling to his mouth. WHOOSH! Shifu snatches the dumpling away and eats it himself. PO Hey! 63. SHIFU I said you are free to eat. Have a dumpling. Po reaches again as Shifu leaps across the table and kicks the dumpling into the air. PO Hey! Shifu eats it and Po scowls. SHIFU You are free to eat! PO (upset) Am I? SHIFU (challenging) Are you?! Po and Shifu ready their chopsticks. Po slams the table and sends the bowl of dumplings airborne. Back and forth, Po and Shifu spar, vying for the dumplings. Until there is only one left. Shifu tries every trick to keep the dumpling away from Po. He hides it underneath one of the bowls. He uses his chopsticks as weapons to smack Po's chopsticks away. He attacks Po with his bamboo staff. But Po skillfully manages to best Shifu for the final dumpling. Shifu smiles. Po has passed the final test. But then Po tosses the dumpling into Shifu's open hand. PO I'm not hungry... master. Master and pupil bow to each other. CUT TO: EXT. MOUNTAIN PASS The Five race toward a rope bridge stretched between mountain peaks. 64. Tai Lung appears at the other end of the bridge. He ROARS and races toward them. TIGRESS Cut it! The others slash at the ropes securing the bridge to the mountain. Tai Lung is almost upon them when Tigress cuts the final rope. But Tai Lung is too close -- Tigress must launch herself into him. The two cats end up in the middle of the bridge just as it starts to tumble into the canyon below. The Five grab support ropes and hold on for dear life. TAI LUNG Where's the Dragon Warrior? TIGRESS How do you know you're not looking at her? Tai Lung laughs. It echoes off the mountain walls. TAI LUNG You think I'm a fool? I know you're not the Dragon Warrior. None of you! The Five exchange quick, worried looks. TAI LUNG (CONT'D) (nodding confidently) I heard how he fell out of the sky on a ball of fire, that he's a warrior unlike anything the world has ever seen. The Five exchange quick, confused looks. MONKEY Po? TAI LUNG So that is his name -- Po. Finally, a worthy opponent. Our battle will be legendary! Tigress charges at him. The battle begins. Tigress punches Tai Lung as he hangs from the bridge. But Tai Lung counters with a maneuver that sends Tigress slamming backwards through the bridge's wooden slats. Then Tigress gets choked by the bridge's ropes. Monkey turns to Crane and Viper. MONKEY We've got this. Help her! 65. Viper grabs Tai Lung, which causes him to let go of the ropes. Tigress plummets down into the gorge... but Crane manages to catch her. Viper punches Tai Lung repeatedly with his own fist. Tai Lung manages to get a paw around Viper's "throat". VIPER Monkey! ANGLE ON MANTIS AND MONKEY. Mantis is straining to hold the rope by himself. MANTIS Go! (then) Ack! What was I thinking?! Monkey leaps into action, kicking Tai Lung in the chest and sending him crashing through the slats of the bridge. He gets back to his feet and starts running back to them on a single strand of rope. TIGRESS Mantis! Mantis whips his end of the rope, sending a sine wave shooting toward Tai Lung. The rope whips Tai Lung in the face and he gets tangled up. The Five see their chance. TIGRESS (CONT'D) Now! Working as a team, the Five kick Tai Lung's butt every which way. Tigress finally slashes the last rope holding up Tai Lung. He plummets down... down... disappearing into the mist. Mantis whips his end of the rope, returning his buddies safely to the mountain. The Five look relieved. But the relief is short-lived... Tigress notices that the other end of the bridge is circling the far mountain peak. Her eyes go wide with dread. The rope whips up. But Tai Lung isn't there. With a crash, he suddenly appears behind the Five. TAI LUNG Shifu taught you well... Tai Lung jabs a finger at Monkey, who instantly freezes. TAI LUNG (CONT'D) But he didn't teach you everything. 66. Tai lung lunges toward the rest. EXT. TRAINING HALL - EVENING Shifu and Po walk through the palace courtyard. Po has an easy spring in his step. SHIFU You have done well, Panda. PO Done well? Done well?! I've done awesome! He swings his belly around and knocks Shifu off balance. Shifu staggers back, regaining his dignity. SHIFU The mark of a true hero is humility! After a moment's thought, though, he leans toward Po - SHIFU (CONT'D) But yes...you have done awesome. And he punches him playfully on the arm. Po smiles at him. As they LAUGH, an indistinct figure appears in the clouds behind them. IT'S CRANE! Crane carries the five to the palace grounds, crashing in a heap. PO Huh? Guys? Guys! Po throws his backpack aside and runs over to them. PO (CONT'D) They're dead? No, they're breathing! They're asleep?! No, their eyes are open. Crane struggles to lift his head. CRANE We were no match for his nerve attack. His head collapses to the ground. 67. SHIFU He has gotten stronger. PO Who? Tai Lung? Stronger? Shifu starts freeing the Five. First Viper, then Mantis, then Monkey releases suddenly from his paralysis - MONKEY He's too fast! He delivers a Kung Fu punch to Po's head and then slowly realizes where he is. MONKEY (CONT'D) Sorry, Po. Shifu kneels before Tigress and works to free her. TIGRESS I thought we could stop him. SHIFU He could have killed you. MANTIS Why didn't he? SHIFU So you could come back here and strike fear into our hearts. But it won't work! PO Uh, it might, I mean, a little. I'm pretty scared. SHIFU You can defeat him, panda. PO Are you kidding? If they can't-- They're five masters. I'm just one me. SHIFU But you will have the one thing that no one else does. 68. INT. SCROLL ROOM - MOMENTS LATER CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then looks up at the Scroll. Then back at Shifu - PO You really believe I'm ready? SHIFU You are, Po. They look at each other. This is a big moment. Oogway's staff hangs in a rack surrounded by candles. As Po and The Five stand by, Shifu carries the staff over to the reflecting pool. Shifu bows his head, then, eyes still closed, he raises the staff up above his head. Po and the others watch, expectantly. The peach blossom petals rise in a flickering, spinning cloud up from the pool. The gentle tornado rises up around the ceiling carving that holds the Dragon Scroll. The petals loosen the scroll from the dragon's mouth and it falls. At the last second, Shifu reaches out with the staff to catch the scroll on the end of it. He turns to Po, holding it out. SHIFU (CONT'D) Behold. The Dragon Scroll... It is yours. PO Wait, what happens when I read it? SHIFU No one knows, but legend says you will be able to hear a butterfly's wing-beat. PO Whoa! Really? That's cool. SHIFU Yes. And see light in the deepest cave. You will feel the universe in motion around you. PO Wow! Can I punch through walls? Can I do a quadruple back flip? Will I have invisibility-- SHIFU Focus. Focus. 69. PO Huh? Oh, yeah... yeah. SHIFU Read it, Po, and fulfill your destiny. Read it and become... the Dragon Warrior! PO Whooaa!!! Po takes a deep breath. Then he grasps the tube and tries to pull the top off it. It doesn't budge. He strains at it. PO (CONT'D) It's impossible to open. He strains again. He tries to bite it off... PO (CONT'D) Come on baby. Come on now... Shifu SIGHS and holds out his hand. Po passes him the tube. Shifu pops the end off effortlessly and passes it back to Po. PO (CONT'D) Thank you. I probably loosened it up for you though... Okay, here goes. He glances at the Five. They look on in awe. Monkey gives him the `thumbs up.' Po starts to unroll the scroll, the golden light bathing his face. Across the scroll we see Shifu, excited that he is witness to history... On Po's face as he finishes opening the scroll. Then - PO (CONT'D) AAAAAAAAAAAAAAAAAAAAAAAAA! Shifu looks concerned. The Five look concerned. Po looks utterly terrified. PO (CONT'D) It's blank! SHIFU What? PO Here! Look! 70. Po tries to show Shifu the scroll. Shifu covers his eyes and turns his head away. SHIFU No! I am forbidden to look upon-- But he can't help himself. He takes a peek. Then he GRABS if off Po. He turns it around, then upside down. He closes it and opens it again, astonished. SHIFU (CONT'D) Blank? I don't...I don't understand. Shifu turns away, contemplative. What can this mean? PO Okay. So like, Oogway was just a crazy old turtle after all? SHIFU No. Oogway was wiser than us all. Po sits heavily on the floor, dejected. PO Oh, come on! Face it. He picked me by accident. Of course I'm not the Dragon Warrior. Who am I kidding? The Five don't argue. TIGRESS But who will stop Tai Lung? CRANE He'll destroy everything...and everyone. Shifu puts the scroll back in its container and seals it. He looks oddly calm as he turns around. SHIFU No, evacuate the Valley. You must protect the villagers from Tai Lung's rage. TIGRESS What about you master? SHIFU I will fight him. 71. PO What? SHIFU I can hold him off long enough for everyone to escape. PO But Shifu, he'll kill you. SHIFU Then I will finally have paid for my mistake. The Five and Po look devastated. SHIFU (CONT'D) Listen to me, all of you. It is time for you to continue your journey without me. I am very proud to have been your master. Shifu salutes them and turns away. Po is heartbroken. Crane steps forward and kindly puts a wing around Po, pulling away. Po resists for a moment, then lets the Five lead him off. CUT TO: EXT. VALLEY The Five arrive at the base of the stairs. TIGRESS We've got to get them out safely. Monkey picks up a small child. MONKEY Come, little one. Let's find your mama. TIGRESS Viper, gather the southern farmers. Mantis, the north. Crane, light the way. They split up and begin helping the villagers evacuate. Po is left by himself. He makes his way through the bustling town. 72. JR SHAW (skeptically) Look, it's the Dragon Warrior. Po approaches the Noodle Shop. PO Hey, Dad. PO'S DAD Po! Seeing Po, Po's Dad hurries over and wraps his arms around his son. Po bends down to reciprocate the hug, as Po's dad pulls away, having fastened an apron around Po's waist. PO'S DAD (CONT'D) Good to have you back, son! PO (listlessly) Good to be back. Po's Dad goes back to packing things up. PO'S DAD Let's go Po. So, for our next shop, it's time to face it -- the future of noodles is dice-cut vegetables, no longer slices. Dad starts to walk off, unaware that Po isn't following. PO'S DAD (CONT'D) Also, I was thinking, maybe this time we'll have a kitchen you can actually stand up in. Hmm? You like that? He turns and notices that Po hasn't moved. He walks to Po sympathetically. PO'S DAD (CONT'D) Po, I'm sorry things didn't work out. It just... wasn't meant to be. Po slumps against the cart. PO'S DAD (CONT'D) Po, forget everything else. Your destiny still awaits. We are noodle folk -- broth runs deep through our veins. 73. PO I don't know, Dad. Honestly, sometimes I can't believe I'm actually your son. Dad is taken aback. PO'S DAD Po, I think it's time I told you something I should have told you a long time ago... PO Okay. Dad pauses dramatically. PO'S DAD The secret ingredient of my secret ingredient soup! Po feigns excitement. PO Oh. PO'S DAD C'mere! The secret ingredient is... nothing! PO Huh? PO'S DAD You heard me. Nothing. There is no secret ingredient! PO Wait wait...it's just plain old noodle soup? You don't add some kind of special sauce or something? PO'S DAD Don't have to. To make something special, you just have to believe it's special. Po looks at his father with dawning realization. He picks up the Scroll. For a moment, Po stares at his reflection on the scroll, then he smiles serenely. He gets it now. 74. PO There is no secret ingredient... Po turns back to look at the palace. CUT TO: EXT. JADE PALACE - DAWN At the top of the stairs, Shifu looks upon the Valley, awaiting his fate. With a gust of wind, Tai Lung appears before him. TAI LUNG I have come home, Master. SHIFU This is no longer your home. And I am no longer your master. TAI LUNG Yes. You have a new favorite. So where is this...Po? Did I scare him off? SHIFU This battle is between you and me. TAI LUNG So. That is how it's going to be? SHIFU That is how it must be. They fight. At last. Tai Lung punches Shifu clean through the doors of the Jade Palace. Tai Lung enters. TAI LUNG I rotted in jail for twenty years because of your weakness! SHIFU Obeying your master is not weakness! TAI LUNG You knew I was the Dragon Warrior! You always knew... Dissolve to FLASHBACK. 75. A young Tai Lung looks expectant. Oogway shakes his head. TAI LUNG (V.O.) (CONT'D) But when Oogway said otherwise, what did you do? What did you do?! Tai Lung looks to Shifu who averts his eyes and the past dissolves into the present. TAI LUNG (CONT'D) NOTHING! Shifu takes a Kung Fu stance. SHIFU You were not meant to be the Dragon Warrior! That was not my fault! TAI LUNG NOT YOUR FAULT?! Enraged, Tai Lung knocks over the Kung Fu artifacts and throws them at Shifu. TAI LUNG (CONT'D) WHO FILLED MY HEAD WITH DREAMS?! WHO DROVE ME TO TRAIN UNTIL MY BONES CRACKED?! WHO DENIED ME MY DESTINY?! Shifu dodges each attack. SHIFU It was never my decision to make! Tai Lung pulls Oogway's staff from the shrine. TAI LUNG It is now. They fight. Tai Lung pins Shifu down with the staff. TAI LUNG (CONT'D) Give me the scroll! SHIFU I would rather die. They struggle for a beat until finally, the staff splinters into a hundred pieces. Shifu looks back at the pieces and a flutter of peach tree petals fly by. Caught off guard, Shifu gets kicked by Tai Lung into a column. 76. Shifu climbs the column to the rafters. Tai Lung follows and sends them both crashing through the roof. Lightning flash. Grappling in mid-air, Tai Lung gets his hands around Shifu's throat as they crash back through the roof. They kick apart. Shifu crashes to the floor and lands hard. Tai Lung bounces off the wall and throws a lantern to the floor. Flames go everywhere. Tai Lung's arms are aflame as he charges at Shifu. TAI LUNG All I ever did, I did to make you proud! Tell me how proud you are, Shifu! Tell me! TELL ME! THOOM! A fiery punch sends Shifu skidding across the floor and crashing against the reflecting pool. The flames extinguish and Tai Lung extends his claws. SHIFU (weakly) I have always been proud of you. From the first moment, I've been proud of you. And it was my pride that blinded me. I loved you too much to see what you were becoming. What I was turning you into. I'm... sorry. Tai Lung stops in his tracks. Shifu waits. Tai Lung's expression goes cold. He grabs Shifu by the throat. TAI LUNG I don't want your apology. I want my scroll! He holds Shifu up to the ceiling. Looking up, Tai Lung bristles when he sees the scroll is missing. TAI LUNG (CONT'D) WHAT? WHERE IS IT?! Tai Lung slams Shifu to the floor. SHIFU (weakly) Dragon Warrior has taken scroll halfway across China by now. You will never see that scroll, Tai Lung. Never. Never... 77. Tai Lung is furious. He roars, ready to strike Shifu. Suddenly... PO (O.S.) Hey! Tai Lung turns around to find Po standing in the doorway. PO (CONT'D) (out of breath) Stairs... Tai Lung casts Shifu aside. TAI LUNG Who are you? PO Buddy, I am the Dragon Warrior. (exhales hard) Huhhh... TAI LUNG You?! Him?! (to Shifu) He's a panda. (back to Po) You're a panda. What are you gonna do, big guy? Sit on me? PO Don't tempt me. Haha. No. I'm gonna use this. You want it? Come and get it. Po shows him the Dragon Scroll. From out of nowhere, Tai Lung appears and punches Po across the room, grabbing the scroll knocked from Po's hands. TAI LUNG Finally! Po bounces off a nearby pillar and slams back into Tai Lung, sending him flying into a column. Po puts on a brave face and strikes a pose as Tai Lung recovers and charges. Po turns to run. Tai Lung quickly catches up and they both sail off the Palace steps. Po clings to the scroll as Tai Lung delivers a kick and sends him crashing onto the theater rooftops below. 78. Po rolls down off a tree and uses the recoil to whip back and smash Tai Lung. He briefly skids across the rooftop and comes right back at Po. TAI LUNG (CONT'D) That scroll is mine! Down the Theater steps, Po and Tai Lung grapple for the scroll. Po is oblivious to the effects of crashing down stairs and in slow motion, his voluminous butt presses down on Tai Lung's head. As they crash through the Gateway the scroll is knocked loose. Tai Lung goes for the scroll but Po snatches it away using a noodle lasso. The scroll flies towards him and bounces off his head. Tai Lung leaps for it, but Po grabs his tail and pulls him back down onto a cart which see-saws Po into the air. In mid-air, Po slurps the noodle. Up and over the rooftops, Po lands in a grove of bamboo trees and into a nearby wok shop. The scroll rolls to a stop in the street. As Tai Lung makes his move on the scroll, Po turns the array of overturned woks into a shell game, sliding the woks around to hide the scroll. PO Lightning! Tai Lung knocks the woks away and exposes the scroll as Po uses his bamboo stilts to block Tai Lung. The leopard swipes out the stilts and brings Po down on top of him as the scroll rolls down the steps towards the river. Po gets thrown into a fireworks booth. As Tai Lung chases down the scroll, he turns back to see Po flying through the fireworks-filled sky. Po slams through Tai Lung and crashes into a rock wall. The scroll flies out of his hand and lands in the mouth of an ornamental rooftop dragon. He looks back at Tai Lung, who sees where the scroll has landed. Via the magic of cookie- vision, Po effortlessly scales the building. Tai Lung is shocked. TAI LUNG The scroll has given him power. (then) NOOO0!! He takes a giant leap and kicks the wall. The resulting shockwave collapses the building. 79. Amazingly, Po skips across the falling roof tiles to reach the scroll in mid-air as Tai Lung leaps up behind him and unleashes a punishing blow that sends Po smashing into the ground. As Tai Lung lands, he delivers a final devastating punch. As the dust settles, Tai Lung is looming over Po in the impact crater. TAI LUNG (CONT'D) (out of breath) Finally... oh yes... the power of the Dragon Scroll... is mine! Tai Lung grabs for the scroll and opens it. His face falls. TAI LUNG (CONT'D) It's NOTHING!! Po stirs. PO It's okay. I didn't get it the first time either. TAI LUNG (disbelief) What? Po gets to his feet. PO There is no secret ingredient. It's just you. Tai Lung snarls and lunges at Po. TAI LUNG RRRAAAH! PO AAAAGGGHH! Tai Lung attacks Po's nerve points. But Po begins giggling. PO (CONT'D) Stop! Stop it! I'm gonna pee! Don't! Don't! Tai Lung's nerve attack has no effect on Po. Frustrated, he delivers a double-fisted punch to Po's belly. 80. The shockwave ripples through Po's entire body and Po's arms come back and strike Tai Lung, sending the leopard crashing back into a building. Po looks at his hands, amazed at what he just did. Tai Lung rises from the rubble and runs at Po again. But Po strikes back, using an unorthodox panda-style technique, even getting Tai Lung to chomp down on his own tail. Po gives Tai Lung a butt bump that sends him crashing into a building. Tai Lung emerges and attempts one more lunge at Po. But Po prepares... and Tai Lung is swiftly met by Po's IRON BELLY! He is launched into the air. Po waits... and waits... until finally, Tai Lung appears in the sky and crashes to the ground. Tai Lung is battered, but still defiant. TAI LUNG (heavy breathing) You... can't defeat me. You're just a big, fat panda! SCHWING! Po grabs Tai Lung's finger. Tai Lung's eyes go wide. PO I'm not a big, fat panda. I'm the big, fat panda. Po's pinky pops up. Tai Lung gasps. TAI LUNG The Wuxi Finger Hold! PO Oh, you know this hold? TAI LUNG You're bluffing. You're bluffing! Shifu didn't teach you that. PO Nope. I figured it out. He flexes his pinky... PO (CONT'D) Skadoosh! KA-THOOM! 81. EXT. VALLEY OF PEACE A mushroom cloud appears over the Valley, sweeping past the Furious Five and the fleeing villagers. DISSOLVE TO: EXT. VALLEY SQUARE - A LITTLE LATER Villagers emerge from hiding. Po walks out from the mist looking very much like the warrior from the opening dream. KG SHAW Look! The Dragon Warrior. As he nears, we see that his hat is an upside down wok and his scarf is a torn apron. Villagers CHEER the Dragon Warrior. Po's Dad emerges from the crowd. PO'S DAD That's my boy. That big, lovely kung fu warrior is my son! PO Thanks, Dad. Po hugs his dad. The wok falls off Po's head and rolls on the ground until Mantis appears in frame and stops it. The rest of the Five are with him. Po takes notice. PO (CONT'D) Hey, guys. TIGRESS Master. Tigress bows deeply. The others follow. FURIOUS FIVE Master. PO (modest) Master? (then, remembering) Master Shifu! Po races toward the Jade Palace. He climbs the steps. Then more steps. 82. INT. PALACE - MOMENTS LATER Po arrives breathless at the Jade Palace. Shifu is still lying in the scroll room, his eyes closed. Po rushes to his side. PO Master! Shifu! Shifu! Are you okay? Shifu weakly opens his eyes. SHIFU Po! You're alive! (then, darkly) Or we're both dead. PO No, Master, I didn't die. I defeated Tai Lung! SHIFU You did?! Shifu smiles and shakes his head in disbelief. SHIFU (CONT'D) Wow. It is as Oogway foretold -- You are the Dragon Warrior. You have brought peace to this Valley. And to me. Thank you. Thank you, Po. Thank you... Shifu closes his eyes. He is still. Po starts freaking out. PO No! Master! No No No! Don't die, Shifu. Please... SHIFU (eyes snapping open) I'm not dying, you idiot-- ah, Dragon Warrior. I'm simply at peace. Finally. PO Oh. So, um, I should...stop talking? SHIFU If you can. Po nods reverently as Shifu closes his eyes again. Master and pupil lie next to each other. The camera pulls up and back away from them. Po tries to remain still, but it's hard. 83. He's about to say something, but he stops himself. He fidgets for a beat, then can't control himself any longer. PO Want to get something to eat? SHIFU (sighs) Yeah. IRIS OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_L.A. Confidential.txt b/unformated_scripts/Script_L.A. Confidential.txt new file mode 100644 index 0000000000000000000000000000000000000000..3b87c9ee3574510275d6da5beb36f44b6225b812 --- /dev/null +++ b/unformated_scripts/Script_L.A. Confidential.txt @@ -0,0 +1 @@ +L.A. CONFIDENTIAL by Brian Helgeland Based on the novel by James Ellroy November 16, 1995 Minor Revisions FADE IN: OVER the opening strains of "I LOVE YOU, CALIFORNIA," a MONTAGE: a mixture of headlines, newsreel footage and live action. Economy Booming! Postwar Optimism! L.A.: City of the Future! But most prominent among them: GANGLAND! Police photographers document crime scenes. The meat wagon hauls ex-button men to the morgue. Where will it end? EXT. L.A. SKYLINE - SUNSET Palm trees in silhouette against a cherry sky. City lights twinkle. Los Angeles. A place where anything is possible. A place where dreams come true. As the sky darkens, triple-kleig lights begin to sweep back and forth. EXT. MANSION (HANCOCK PARK) - NIGHT The KLEIG LIGHTS are out front. Valets hurry to park a line of elegant cars. MAYOR (V.O.) Ladies and gentlemen, I give you the future of Los Angeles! INT. HANCOCK PARK MANSION - BALLROOM - NIGHT The MAYOR yanks a cloth to reveal a MODEL of L.A. criss- crossed by an elaborate FREEWAY SYSTEM. The CROWD oohs. A COUNCILMAN claps. A SOCIETY MATRON nods her approval. PIERCE PATCHETT, 50, tuxedoed, watches off to one side. A behind-the-scenes power broker, Patchett exudes authority much more so than the Mayor does. MAYOR The Arroyo Seco freeway is just the beginning. We're planning freeways from Downtown to Santa Monica, from the South Bay to the San Fernando Valley. Twenty minutes to work or play is the longest you'll have to travel. More applause. One REPORTER asks a little too loudly... REPORTER How many bodies you think Mickey Cohen'll be able to hide in all that cement? The Mayor wears a plastic smile, ignores it. INT. THE MOCAMBO - NIGHT A CLUB PHOTOGRAPHER pops snapshots, but the real action is on the floor where MICKEY COHEN does a wicked "Lindy Hop" with THREE different GIRLS at once. A fireplug of a man, he hardly seems a public menace. Nearby is his bodyguard JOHNNY STOMPANATO. Over it all: HUDGEONS (V.O.) Meyer Harris Cohen, Mickey C to his fans. He's the big moocher, local L.A. color to the nth degree. You know Mickey. He runs dope, rackets and prostitution. He kills a dozen people a year. But who you may not know is bodyguard Johnny Stompanato. His hair in a slick pompadour, Stompanato keeps an eye on Cohen and comes onto a CIGARETTE GIRL at the same time. HUDGEONS (V.O.) Johnny's handsome, ladies, but the real attraction is below the belt. Second only to Steve Cochran, he's sometimes known as 'Oscar' because of his Academy Award-size appendage. Mickey works a sweat on the dance floor. A bottle of champagne pops; Stompanato reacts, nearly draws a pistol from his shoulder holster. As he laughs at himself... INT. HUSH-HUSH MAGAZINE OFFICE - DAY Lurid page one headlines cover the wall where SID HUDGEONS types. The essence of sleaze, Sid is the publisher-photographer-writer of Hush-Hush magazine and keeper of inside dirt supreme. As he continues... HUDGEONS (V.O.) Remember, dear readers, you heard it here first, off the record, on the Q.T. and very Hush-Hush. INT. HANCOCK PARK MANSION - BALLROOM - NIGHT The party continues. The Mayor has moved off to the side with the power brokers. Patchett is a presence. MAYOR We're selling an image, gentlemen. Beautiful weather. Affordable housing. (re: model) Trouble-free transportation. And the best police department in the world to keep it all running smoothly. EXT. STOREFRONT - NIGHT A dozen people watch a display windoe TELEVISION as it rolls the opening of the hit show "Badge of Honor." Over familiar THEME MUSIC, "Sgt. Joe Reno" (actor BRETT CHASE) walks the streets of Los Angeles. CHASE (V.O.) My name? Joe Reno. The city? Los Angeles. A big town. Full of all sorts of people. It's my job to help them. I like what I do. I'm a cop. INT. HANCOCK PARK MANSION - BALLROOM - NIGHT The Mayor continues. MAYOR But with a second rate Al Capone out there, L.A. looks like Chicago in the '30s. Something has to be done. As Pierce Patchett nods sagely. INT. OLYMPIC AUDITORIUM - NIGHT Wrestler GORGEOUS GEORGE primps and poses before flatten- ing an opponent with a drop kick. INT. MOVIE THEATER - NIGHT An enthusiastic crowd adjusts their 3-D glasses. EXT. COHEN MANSION (BEVERLY HILLS) - DAY In monogrammed silk pajamas, Mickey Cohen answers the door, his pet BULLDOG Mickey Jr. at his feet. The police are waiting. REPORTERS' flashbulbs pop. POLICE OFFICER Mr. Cohen, you're under arrest. COHEN Bullshit. What's the charge? POLICE OFFICER Non-payment of federal income tax. COHEN Bullshit. EXT. GRAUMAN'S CHINESE - DAY JOHN WAYNE gets his hand prints in the sidewalk. EXT. WESTCHESTER BEAN FIELD - DAY MIGRANT WORKERS hurry to finish the harvest. We PAN TO CONSTRUCTION WORKERS who wait impatiently with bull- dozers under a "Spirit of the Future" BANNER. As the last picker leaves the field, the bulldozers move in, leveling the bean rows to make way for a housing tract. EXT. FEDERAL COURTHOUSE - STEPS - DAY Flashbulbs pop as Mickey Cohen exits and starts down the steps. Accompanied by his LAWYERS, bodyguard Stompanato and mob lieutenants DEUCE PERKINS and NATE JANKLOW, Cohen ignores REPORTERS' shouts. REPORTER How's your bullshit now, Mickey?! As Cohen gets into a waiting car, the media turn their attention to District Attorney ELLIS LOEW. A singularly ambitious man, Loew loves the spotlight. LOEW Today is an auspicious one for the city of Los Angeles. Mickey Cohen has just been sentenced to ten years in federal prison for failure to pay income tax. As the District Attorney for Los Angeles County, it is my pleasure to declare our great city organized crime free. It is truly the dawning of a new day. The SONG ENDS and so does the MONTAGE. INT. PACKARD (ACROSS FROM BULLOCKS WILSHIRE) - NIGHT December 24th. Wendell "BUD" WHITE, 30, stares at the enormous Christmas tree on the deco platform over Bullocks' entrance. An LAPD cop, Bud's rep as the toughest man on the force has been well earned. In the back seat, with cases of Walker Black and Cutty Sark, is Bud's partner -- DICK STENSLAND. Older, but also a tough hump, "Stens" sucks on a pint of Old Crow. The passenger door opens and Mickey Cohen bodyguard Johnny Stompanato slides in. Guinea handsome, Johnny wears his curls in a tight pompadour. With his boss behind bars, he's out of work. Bud just stares at him. STOMPANATO Officer White. I heard you got a hard-on for wife beaters. BUD And you fuck people up for a living. That don't make me you. Capisce, shitbird? Stompanato smiles. Nervous. Through the window, Bud watches a Salvation Army Santa palm coins from a kettle. STENSLAND Bud ain't in the mood for small talk, Stompanato. STOMPANATO Look, Mickey C's doing time and half the other guys who'd hire me are dead or left town. I need money. If your snitch-fund's green, I'll get you some fucking-A collars. Impatient, Bud tugs at a finger, CRACKS a KNUCKLE. STOMPANATO There's this guy. He's blond and fat, about forty. Likes the ponies. Been pimping his wife to cover his losses. Knocks her around to keep her in line. Bud's eyes narrow at this last bit of info. Stompanato holds up a slip of paper. STOMPANATO I figure the address is worth twenty. Bud digs into his wallet, pulls out twenty bucks, exchanges it with Stompanato. Stompanato smiles smugly, grabs a bottle of Scotch from the back. STOMPANATO Yuletide cheer, fellas. Without warning, Bud grabs Stompanato's tie and yanks, slamming his forehead into the dash. BUD Happy New Year, greaseball. EXT. 1486 EVERGREEN - NIGHT A stucco job in a row of vet prefabs. A neon Santa sleigh has landed on the roof. Through the front window, we see a fat guy browbeating a woman. Puff-faced, 35- ish, she backs away as he rages at her. The Packard pulls up out front. Stensland could care less. STENSLAND Leave it for later, Bud. We got to pick up the rest of the booze and get back to the precinct. Bud KILLS the IGNITION, picks up the radio. BUD Central, this is 4A-31. Send a prowler to 1486 Evergreen. White male in custody. Code 623 point one. Domestic assault and battery. I won't be here, but they'll see him. EXT. 1486 EVERGREEN - BUD - NIGHT steps to the house. Inside, we hear SLAPS, MUFFLED CRIES. Bud grips an outlet cord coming off the roof and yanks. The sleigh crashes to the ground with REINDEER EXPLODING around it. A beat. The fat guy runs out to investigate, trips over Rudolph. Bud pounces. Fat guy takes a swing, misses. Grabbing fat guy's hair, Bud smashes his face to the pavement. Once, twice. Teeth skitter down the walk. BUD Touch her again and I'll know about it. Understand? Huh? Another face full of gravel. Fat guy's WIFE watches with apprehension from the steps as Bud cuffs her husband's hands behind his back, empties his pockets. A cash roll and car keys. Bud looks over at her. BUD You got someplace you can go? She nods. Bud hands her the keys and the cash. BUD Go get yourself fixed up. WIFE (nods, determined) Merry Christmas, huh? Bud watches as she gets into a pre-war Ford in the drive. She backs over a blinking reindeer as she goes. STENSLAND You and women, partner. What's next? Kids and dogs? INT. STAGE FOUR (VARIETY INTERNATIONAL PICTURES) - NIGHT The "Badge of Honor" set. A Christmas party in full swing. Eating, drinking, and dancing. Star Brett Chase, seen earlier on television, is holding court. LAPD Sgt. "Trashcan" JACK VINCENNES, late 30s with slick, good looks, dances with a young ACTRESS. Grinding their way through a ballad, they're obviously hitting it off. ACTRESS Brett Chase told me you're the cop who busted Bob Mitchum. (grinds closer) These 'Badge of Honor' guys like to pretend, but being the real thing must be a thrill. JACK Let's go someplace quiet. I'll give you the low-down on Mitchum. ACTRESS You got your handcuffs with you? JACK Two sets. ACTRESS I'll get my coat. They're interrupted by Sid Hudgeons. HUDGEONS Big V Jack Vincennes! May I have this dance? JACK Karen, this is Sid Hudgeons from Hush-Hush magazine. ACTRESS I know who he is. The Actress storms off. Jack looks to Sid. HUDGEONS We did a piece last year. 'Ingenue Dykes In Hollywood.' Her name got mentioned. JACK Is she? HUDGEONS Beats me. Look, Jackie-Boy, a friend of mine just sold some reefer to Matt Reynolds. He's tripping the light fantastic with Tammy Jordan at 2245 Maravilla, Hollywood Hills. It's right around the corner. JACK You lost me, Sid. Who? HUDGEONS Contract players at Metro. You pinch 'em. I do you up feature in the next issue. Plus the usual fifty cash. Tell me, am I fucking Santa Claus? JACK I need an extra fifty. Two patrolmen at twenty apiece and a dime for the watch commander at Hollywood Station. HUDGEONS Jack! It's Christmas! JACK No. It's felony possession of marijuana. EXT. 2245 MARAVILLA - NIGHT WITH a VIEW of Grauman's Chinese. Jack and two uniformed patrolmen wait on the darkened street. An arc light has been set up. Hudgeons creeps back over from the house. HUDGEONS They're sitting in the dark, goofing on the Christmas tree. JACK Stand there with your camera. I'll stop here so you get Grauman's Chinese in the backgrouns. HUDGEONS I like it! I like it! INT. 2245 MARAVILLA - NIGHT The arc light floods the living room about the same time that Jack kicks the door in. The room is caught flush: Christmas tree, a bag of weed on the couch, two kids necking in their BVDs. MATT REYNOLDS and TAMMY JORDAN. JACK Police! EXT. 2245 MARAVILLA - NIGHT Jack exits, hauling Jordan and Reynolds by the neck. Jack stops with Grauman's FRAMED behind him and Hudgeons CLICKS off several shots with his CAMERA. HUDGEONS Cut! Wrap it! Windows light up. Rubberneckers appear. Jack hands the kids to the patrolmen, heads back in with Hudgeons in tow. INT. 2245 MARAVILLA - NIGHT Jack scoops the pot, flips through an address book. A card falls out. "Fleur-de-Lis. Whatever you desire..." Jack looks from the card out the window at the kids being loaded into a black and white. They're both crying now. HUDGEONS (stantorian tone) It's Christmas morning in the City of Angels, and while decent citizens sleep the sleep of the righteous, hopheads prowl for marijuana, not knowing that a man is coming to stop them. The free- wheeling, big-time Big V, celebrity crime-stopper, Jack Vincennes, the scourge of grasshoppers and junk fiends everywhere. You like it, Jackie- Boy? JACK Yeah, it's subtle. Sid hands him a President Grant 50. HUDGEONS Remember: you heard it first here, off the record, on the Q.T. and very Hush-Hush. INT. HOLLYWOOD STATION - DISPATCH DESK - NIGHT Suspects, mostly drunk and disorderly, are ushered through. Sgt. ED EXLEY, 30, bespectacled, is at the desk with a YOUNG OFFICER. Exley is an up-and-comer. Burning with ambition. The faster he rises through the ranks, the more resentment he leaves in his wake. EXLEY What's on the call sheet? YOUNG OFFICER A guy dressed as Santa has been exposing himself to kids in Los Feliz. Apparently, sir, he's decorated himself. EXLEY Decorated? YOUNG OFFICER With tinsel and plastic icicles and... on his penis, sir. EXLEY I get the idea. You got a description? YOUNG OFFICER Of his penis, sir? EXT. HOLLYWOOD BOULEVARD - HOLLYWOOD LIQUOR - NIGHT Tinsel-trimmed photos of movie stars look down from the walls as the OWNER takes an order from LYNN BRACKEN. LYNN A case each of gin, Scotch, and rum. Everything top shelf. None of that watered-down stuff you push on Errol Flynn. OWNER (laughs) Sounds like a helluva party. Her hair kerchiefed, Lynn waits as the Owner writes it up. There's glamour, a cat-girl grace about Lynn. She seems like she belongs up on the wall with the movie stars. Lynn looks across as Bud White heads toward the counter. Spotting her, Bud doesn't look so tough for a moment. OWNER You want it delivered? LYNN Before five tomorrow. The Owner spots Bud. A big smile turns to a frown. OWNER I'll be right with you, Lynn. The Owner begins indiscriminately loading hard liquor into a cardboard box, leaving Bud and Lynn to look at each other. Bud says the only thing he can think of. BUD Merry Christmas. LYNN Merry Christmas yourself, Officer. BUD That obvious, huh? LYNN (smiles sweetly) It's practically stamped on your forehead. As the Owner bangs a case of liquor on the counter... EXT. HOLLYWOOD LIQUOR - NIGHT Bud exits with his booze, heads for the car. Something catches his eye. A woman in the rear passenger seat of a new Cadillac. SUSAN LEFFERTS. Both her eyes are black. Bud starts over. The case on his hip, he motions for her to roll down the window. The driver's side door opens and bodyguard TURNER "BUZZ" MEEKS menaces his way out. MEEKS Get lost why don't you? Meeks stops short as Bud shoves his badge in Meeks' face. Setting the case on the car's hood, Bud spins Meeks around, pats him down. He finds a .38 in a shoulder holster. MEEKS I got a license for that. Bud removes Meeks' wallet, checks the ID. MEEKS Cut me some slack. I used to be a cop. BUD Turner Meeks? Never heard of you. LYNN (exiting store) We just call him Buzz. Bud raps on Susan's window with his badge. It comes down. BUD You okay? Beside her, a man leans over. Pierce Patchett, seen before at the freeway unveiling, is a man used to being chauffeured. Like FDR, he smokes his cigarette in a holder. PATCHETT She's fine. BUD (menacing) I'm not asking you. Patchett has no idea he's walking on thin ice. As he stares impatiently at Bud, Bud looks back to Susan. BUD Somebody hit you? LYNN It's not what you think. Bud looks to see Lynn Bracken moving to the driver's door. BUD What is it then? SUSAN You got the wrong idea, Mister. I'm fine. Susan laughs. Patchett eases back into the shadows. LYNN (getting in the car) But it's nice to know you care. Bud considers Meeks' gun license, then hands him back the .38 and wallet. Lifting his booze, Bud watches Meeks get back in the car. Stensland steps up as the cabbie starts to pull away. STENSLAND What's going on? For an odd moment, Stensland and Meeks lock eyes. BUD You know him? STENSLAND Seen him around. He used to be a cop. CUT TO: CLOSE ON DUDLEY SMITH Fifty, handsome in his police captain's uniform. Singing "Silver Bells" in a beautiful low tenor. Tough, respected, Dudley goes to bed as a cop every night of his life. He's a department power to be reckoned with. INT. PRECINCT HOUSE - MUSTER ROOM - NIGHT An L.A. Herald Express REPORTER and photographer listen along with the gathered patrolmen as Dudley finishes to applause. Dudley joins the press. REPORTER Captain Smith, I -- DUDLEY Drop the formalities; it's Christmas Eve. Call me Dudley. REPORTER Dudley, I came up with a title for the story. I'm calling it "Silent Night with the L.A.P.D." DUDLEY Excellent. How's this? (dramatic pause) The sanctity of the night is an invitation to the darker criminal element. Our vigilance will not be diminished. As the Reporter scribbles down the quote... DUDLEY That's Smith with an S. They laugh. Dudley points the way out. DUDLEY This way, gentlemen. Dudley's the last one out the door. As he goes, he turns back to give the men a wink. He's no sooner out the door when the first case of Johnny Walker is brought in. INT. PRECINCT HOUSE - DISPATCH DESK - NIGHT Ed Exley gets another report from the Young Officer. YOUNG OFFICER Two police officers were assaulted in a bar. Brown and Helenowski. He hands the report to Exley. It's now that Dudley comes through on his press junket. DUDLEY This is Sergeant Ed Exley. Son of the legendary Preston Exley. He's the watch commander tonight and a damn fine job. As the photographer snaps Exley's picture... DUDLEY I was fortunate enough to be partnered with his father when I was a rookie. It makes a man feel old. That's a fact. (a beat) Feel free to get a feel for the place. As the Reporter and photographer wander off, Dudley turns to Exley a bit more serious. DUDLEY A word with you, lad. INT. DUDLEY SMITH'S OFFICE - DAY Dudley pours two drinks, hands one to Exley. DUDLEY To the memory of your father. They drink. Exley looks to a photo on the wall. Himself as a ten-year-old standing between Dudley and his father Preston, both in police uniform. DUDLEY The day he got the Medal of Valor. A simpler time. Remembering, Exley invokes his father's favorite toast. EXLEY To the solving of crimes that require absolute justice. Exley raises his glass, but Dudley just watches him. DUDLEY That was his favorite toast. (a beat) I saw the test results on the lieutenant's exam. You placed first out of twenty-three. EXLEY The youngest applicant by eight years. DUDLEY You'll make lieutenant inside a year. Patrol division? EXLEY I was thinking Detective Bureau. We can see Dudley doesn't approve. DUDLEY You don't have the eye for human weakness to be a good detective. Or the stomach. You're a political animal, Edmund. The criticism stings, but Dudley's a straight shooter. EXLEY You're wrong. DUDLEY Am I...? Would you be willing to plant corroborative evidence on a suspect you knew was guilty in order to ensure an indictment? EXLEY Dudley, we've been over this. DUDLEY Answer yes or no. EXLEY I... No. DUDLEY Would you be willing to rig crime scene evidence to support a prosecuting attorney's working hypothesis...? Yes or no, Edmund. EXLEY No. DUDLEY Would you be willing to beat confessions out of suspects you knew to be guilty? EXLEY No. DUDLEY Would you be willing to shoot hardened criminals in the back to offset the chance -- EXLEY No. DUDLEY Then for God's sake, don't be a detective. Stick to assignments where you won't have to make those choices. Patrol, Internal Affairs, but not the Bureau. EXLEY I know you mean well, Dudley, but I don't need to do it the way you did. Or my father. DUDLEY At least get rid of the glasses. I can't think of one Bureau man who wears them. INT. PRECINCT HOUSE - MUSTER ROOM - NIGHT A large impromptu bar has been set-up. The party is in full swing, the floor packed with nightwatch blues. A PHONOGRAPH SPEWS DIRTY CHRISTMAS CAROLS. Stensland pours eggnog and Old Crow into the water cooler as Bud elbows his way in with another case. STENSLAND Hey, partner. Grab a cup. BUD I got to write my report first. PASSING COP #1 Hear about Helenowski and Brown? They got into a helluva scrap with six taco benders at some bar. Helenowski lost six pints of blood. Brown's in a coma. PASSING COP #2 We ought to teach Paco and his friends a lesson. More cops vocie their agreement. Bottles are passed. Only Bud doesn't seem as caught-up as the rest. INT. PRECINCT HOUSE - NARCO PEN - NIGHT Jack Vincennes at his desk. Holding the Fleur-de-Lis card, Jack dials the number. A corkboard on the wall is posted with press clippings. "Dope Crusader Wounded in Shootout." "Actor Mitchum Seized in Marijuana Shack Raid." That one includes a shot of Jack ushering Mitchum into jail. WOMAN (V.O.) (over phone, like silk) Whatever you desire. JACK Hi... I'd like to get a delivery to Beverly Hills. WOMAN (V.O.) (over phone) I don't think I know you. CLICK. The line goes dead. Jack redials. WOMAN (V.O.) (over phone) Whatever you desire. JACK Look, a friend of mine gave me this number. I just -- The line goes dead again. Jack dials a new number. OPERATOR (V.O.) (filtered) Pacific Coast Bell. JACK This is Sgt. Vincennes. Requesting a name and address on a phone number. Hollywood zero-one- two-three-nine. OPERATOR (V.O.) (filtered) Please hold the line... No such number is assigned. JACK I just called it. OPERATOR (V.O.) No, Sergeant. I checked twice. JACK (realizes, hangs up) A bootleg... INT. MUSTER ROOM - NIGHT Exley surveys the carousing rowdies. Raising his voice... EXLEY All right, men. You've had your fun. Time to break it up. The party continues undiminished. From across the room, Stensland eyes Exley with disdain. STENSLAND Fucking Exley. Guy's got a pole so far up his ass, every time he farts the flag waves. WATCH COMMANDER'S OFFICE The command not really his, Exley reads a report, ignores the party, though his window looks into the thick of it. Suddenly a ripple goes through the room. The men begin to push out through a rear door. Exley stands, stops a COP. EXLEY What's going on? COP They got the spics who japped Helenowski and Brown. Helenowski lost an eye and Brown's got brain damage. EXLEY I have the report right here. They're home with bruises and muscle pulls -- Oh shit... Exley starts out after them. INT. CELL BLOCK - NIGHT Stensland in the lead. Pulling out a blackjack, he enters Cell #4, begins wailing on one of the Mexicans -- Dinardo. STENSLAND For ours, Pancho. And you're getting off easy. Cheered on by drunks in the tank and his fellow officers, Stensland goes wild. He's joined by Lentz, Crumley and Tristano. Shaking his head, Jack Vincennes moves away. INT. SQUAD ROOM - NIGHT Bud types his report with one finger. Jack looks in. JACK White, you better get a lease on Stens before he kills someone. INT. CELL BLOCK - NIGHT Followed by Jack, Bud forces his way through the crowd. The men who see it's him quickly clear a path. Swigging from a pint of gin, Stensland works skinny GARCIA. Head saps. The kid drops to his knees drooling blood. Bud grabs Stensland, hauls him off of Garcia who looks up. GARCIA Fuck you, pendejo. BUD Yeah yeah... GARCIA And fuck your mother too. Bud sees red. Letting go of Stensland, Bud White picks up Garcia by the neck. There are cheers, "Attaboys" and "Holy Fucks" as Bud bangs Garcia's head on the ceiling. EXLEY (arriving) Stop, Officer! That's an order! Cops block Exley's way. As Bud looks over, Garcia kicks him in the balls. A dangling shot. Bud keels into the bars, Garcia stumbles out of the cell, smack into Jack. Jack looks down aghast at blood on his cashmere blazer, then puts Garcia down with a left-right. Exley pulls a pad of paper and pen form his pocket. EXLEY You're going in my report! All of you! Exley has just started taking names when Bud grabs him by the scruff of the neck and hauls him off balance into... HALL As Exley struggles, a cop opens the door to the store room. Bud slings Exley inside, then slams the door tight. Exley is locked in. As Bud moves off, we hear POUNDING. EXLEY (V.O.) Let me out! That's an order! CELL BLOCK The Herald Reporter and photographer enter unchaperoned and unnoticed. Stensland swings like a madman. That's when a flashbulb goes off. Freezing everyone in black and white. DISSOLVE TO: INT. CHIEF'S OFFICE - DAY The CHIEF sits behind a desk in a four-star uniform. Dudley Smith sits to his left, D.A. Ellis Loew to his right. Seen earlier at the Mickey Cohen press conference, Loew is the only civilian. Bud White stands across from them. There to be judged. CHIEF Officer White, you've refused to cooperate with Internal Affairs. But you should know this is bigger than a police board. Indictments may be handed down. Quite frankly, we need police witnesses to offset the damage done to the Department's image. Will you testify? Bud glances to a gray tinted mirror, then to the Chief. BUD No, sir. I won't. The Chief sighs, looks to Loew. CHIEF District Attorney Loew. Loew steps to Bud, holds up a newspaper with the cell block photo. The headline: "BLOODY CHRISTMAS." LOEW Bloody Christmas. The press love to label. You and Officer Stensland brought the liquor into the precinct. Stensland was already drunk. Do you see how appearing as a voluntary witness against him could offset the damage you've done to yourself? BUD I won't do it. (staring at mirror) I won't testify against my partner or anyone else. LOEW This man is a disgrace. CHIEF Your badge and gun, Officer. Bud sets them on The Chief's desk. CHIEF This is the new L.A.P.D., White. You're suspended from duty and dismissed. Turning, White shoots the mirror a stiff middle finger as he makes his way out. Dudley Smith hides a smile. OTHER SIDE OF GLASS Exley watches, involuntarily leans back as Bud passes on the other side of the glass. THE CHIEF'S OFFICE Dudley, Loew and The Chief wait as Exley enters. CHIEF Ed, your observations have been astute. What's your assessment of this situation? EXLEY The public demands justice, sir. This was a full-fledged riot of policemen. Shift the guilt to men whose pensions are secured. Force them to retire. But someone has to swing. Indict, try and convict Stensland and Bud White. Secure them jail time. Feed them to the sharks, sir. Protect yourself; protect the department. Dudley gives Exley a look. He's angry with him. DUDLEY Stensland's a disgrace. Straight D fitness reports from every C.O. he ever served under. But White is a valuable officer. EXLEY White's a mindless thug. DUDLEY No, Edmund. He's a man who can answer yes to those questions I ask you from time to time. The Chief interrupts with his own concern. CHIEF I want to know who we give the public in contrast? The department needs role models. Clean-cut, forthright men the public can admire. EXLEY I'll testify, sir. I'm not afraid to do what's right. CHIEF And I'll promote you. You'll be a lieutenant immediately. Exley seizes the moment, going over Dudley's head. EXLEY Detective lieutenant. The Chief and Dudley exchange a look. Neither approves. CHIEF Ed, you're 30. Your father didn't make lieutenant until he was 33. EXLEY I know that, sir. I also know that when he made lieutenant, it was as a detective. LOEW (interrupting) Before we start polishing our laurels, it would look better if we had a corroborative witness. DUDLEY That'll be hard to come by. The men hate a turncoat. EXLEY Jack Vincennes. He's the technical advisor on 'Badge of Honor,' sir. He lives for it. That's the way to get him. CHIEF All right, Ed. (into desk intercom) Call Sergeant Vincennes. As Exley starts out, Dudley pulls him aside, speaks low. DUDLEY You'll reap the benefits, but are you truly prepared to be despised within the department? EXLEY Yes, Dudley. I am. DUDLEY So be it. JACK VINCENNES Looking sharp, he strides down the hall, enters the... CHIEF'S OFFICE Round two. Centred on Jack. Exley is gone. DUDLEY Sergeant, we'll get right to it. Nine civilian witnesses have identified you as hitting Ezekiel Garcia. LOEW But my office has a stellar witness who will tell the grand jury that you hit back only after being hit. JACK What do I have to do? LOEW Testify against the three officers who have already earned their pensions. Our key witness will testify roundly, but you can plead ignorance to questions directed at the other men. CHIEF I'll guarantee you a slap on the wrist. A brief suspension followed by a temporary transfer from Narcotics to Ad Vice. (a beat) When you transfer out of Vice, you'll be back on the show. JACK The show, sir? CHIEF Badge of Honor, Vincennes. We need to tone down your profile for a bit. The Chief just got Jack where he lives. DUDLEY John, I doubt you've ever drawn a stupid breath. Don't start now. JACK Okay. I'll do it. Smiles all around. Loew smiles at the two-way. A move not lost on Jack who wonders who might be on the other side. CHIEF Dismissed, Vincennes. Jack leaves. The Chief steps to the mirror, looks through. CHIEF So be it. Detective Lieutenant. OTHER SIDE OF GLASS Exley clenches his fist in victory. The Chief continues. CHIEF Ace them at the grand jury tomorrow, son. Wear the smart- looking suit and ace them. And, Ed? Lose the glasses. INT. ROOM 114 (GRAND JURY WITNESS ROOM) - DAY Glasses off, Exley waits, looks up as Jack enters. JACK You're the key witness? EXLEY That's right. JACK I should've known. What's the Chief throwing you? EXLEY Throwing me? JACK Yeah, Exley. What's the payoff? EXLEY You're the payoff expert. I'm just doing my duty. JACK You're playing an angle, college boy. You're getting something out of this so you don't have to hobnob with the fucking rank and file cops who'll hate your guts for snitching. If they're making you a detective, watch out. Some Bureau guys are gonna burn in this and you're gonna have to work with friends of theirs. EXLEY What about you? JACK I'm snitching three old timers who'll be fishing in Oregon next week. Next to you I'm clean. And smart. At that, a CLERK steps in from the hallway. CLERK Edmund J. Exley to chambers. As Exley's about to go... JACK Just remember, Bud White'll fuck you for this if it takes the rest of his life. They already suspended him. Just pray he cops a deal and stays on the Department because that is one civilian you do not want on your case. INT. TWILIGHT LOUNGE - NIGHT An old black guy in a frayed, threadbare tux plays piano. Bud, nursing a highball at the bar, steps over to a REDHEAD with too much make-up on too many miles. BUD That an old fashioned you're drinking? (as she nods) My name's Bud. REDHEAD Nobody was born with the name Bud. BUD They stick you with a name like Wendell, you look for an alias. REDHEAD What do you do, Bud? BUD I'm sorta between jobs. Look, what do you say we, uh... A hand on Bud's shoulder. He turns to see Dudley Smith. DUDLEY Lad, may I have a word with you? BUD This business, Captain? DUDLEY Say goodnight to your friend and join me by those back tables. Dudley starts off. Bud turns back to Redhead, but she's already talking to a sailor. BOOTH Dudley sits at a table. A newspaper is opened, a little mound underneath. Bud joins Dudley. BUD Does that paper say we've been indicted? Does it say Exley's a hero for squealing me and Stensland off? DUDLEY He made his play amd he got what he wanted. They're making him a detective. BUD Captain, what do you want? DUDLEY Call me Dudley. BUD Dudley, what do you want? DUDLEY Lad, I admire your refusal to testify and your loyalty to your partner. I admire you as a policeman, particularly your adherence to violence as a necessary adjutant to the job. And I am most impressed with your punishment of wife beaters. Do you hate them, Wendell? BUD (looks away) Yeah, I hate them. DUDLEY And for good reason judging from what I know of your background. Bud looks back over. Dudley's getting too personal. BUD What's going to happen to Stensland? He'll give himself cirrhosis over this. He's one year from his pension. DUDLEY It would've happened years ago if you hadn't carried him. Why the loyalty, Wendell? BUD He helped me out once. That's all. DUDLEY Your partner's through. Department scapegoat on the Chief's orders. He's been billed, he'll be indicted and he'll swing. BUD Him and me both. Fucking Exley. DUDLEY Don't underestimate his skills. As a politician he exceeds even myself. But the department needs smart men like Exley and... direct men like yourself BUD What do you want? DUDLEY Wendell, I want you to come to work for me. BUD Doing what? Mowing your fucking lawn? Smith yanks the newspaper revealing Bud's badge & .38 Special. Bud can't believe his eyes. DUDLEY They're yours. Take them. BUD I knew you had juice, but... There's no goddamn bill on me? DUDLEY Four of the defendants recanted their testimony. BUD How? Dudley dismisses the question with a wave of his hand. DUDLEY I need you for an assignment the Chief's given me the go-ahead on. A duty few men are fit for, but you were born for. You'll be working out of Homicide. BUD (excited) Homicide? A detective? CHIEF Your talents lie elsewhere, Wendell. It's a muscle job and shooting job. You'll do what I say and not ask questions. Do you follow my drift? BUD (disappointed) In Technicolor. DUDLEY Will you work for me? BUD Of course... But how? DUDLEY How what, Wendell? BUD How'd you get them to retract? Dudley lays brass knuckles on the table. They're chipped, caked with blood. DISSOLVE TO: L.A. MONTAGE Over the pop song "STRANGER IN PARADISE." A) EXT. GRAUMAN'S CHINESE - NIGHT Frank Sinatra at the premiere of From Here to Eternity. B) INT. KLUB ZAMBOANGA - NIGHT Charlie "Bird" Parker makes magic before an appreciative, mostly black crowd. C) TORCH SONG TAVERN (RIVERSIDE) - NIGHT Nate Janklow exits with his latest flame. A mob lieutenant, Nate was last seen with Mickey Cohen outside the Federal Courthouse in the opening montage. A CAR SCREECHES up. TWO GUNS aim and Nate and his date do down in a proverbial HAIL OF LEAD. D) EXT. FREEWAY - DAY A groundbreaking. The Mayor scrapes at the ground with a gold shovel. Pierce Patchett is among the distinguished guests. END OF MONTAGE EXT. HOLLYWOOD HIGH SCHOOL - DAY The marquee gushes: "Today Sgt. Joe Reno: Badge of Honor Star Brett Chase." INT. HOLLYWOOD HIGH SCHOOL - AUDITORIUM - DAY A nerdy 14-YEAR-OLD asks Brett Chase: 14-YEAR-OLD Why'd you become a policeman? CHASE I'm not a policeman. I just play one on television. But I think I can answer for them. To help people. That's why I do the show. Chase looks over and winks at Jack who waits in the wings. CHASE To protect and serve. It's not just a motto. As the kids applaud, Chase joins Jack who gives him a quick drag of a cigarette. A nervous PA joins them. Chase points out a fetching girl in the second row. CHASE That one. In the sweater. (to Jack) They also serve who only stand and wait. Chase and Jack watch the PA ask "Sweater" a question while pointing to Chase. Maybe sixteen, she nods "yes" eagerly. CHASE Jack, I'll see you Monday on set. JACK I won't be there. They're toning down my profile. PRINTING PRESS The latest issue of Hush-Hush flies through. On the cover: "Gail Russell Caught In Love Nest. Nymph or No?" INT. CITY JAIL - DAY Bud White flips through today's booking slips, finds one that's interesting. Reading to himself... BUD Domestic. Assault and battery. Containment Squad strong-arms, BREUNING and CARLISLE pause as they pass. CARLISLE Ready to go, Bud? BUD I'll be there in five minutes. CITY JAIL - HALLWAY Bud walks to a door covered in sheet metal. He opens it to reveal a holding tank with a burly, jumpsuited PRISONER. BUD I hear you like to hit women. PRISONER My wife. She's dropping charges so it's none of your business. Bud enters, closes the door behind him. A beat, we hear the sounds of FISTS ON FLESH. It's Bud's business now. INT. BEVERLY HILLS MANSION - STUDY - NIGHT Deuce Perkins (the Mickey Cohen narcotics lieutenant seen earlier) stands at the bookshelf. He pulls down books to reveal a shoe box. He sets it on his desk, pulls back the cover to reveal several bags of white powder. Heroin. A BRANCH SNAPS outside. Perkins opens a drawer, fishes a revolver. Turning off the light, he heads to the window. His finger parts the curtains. At that instant, he staggers, falls as GUNFIRE rips into him. The heroin just sits there on the desk. EXT. McNEIL PENITENTIARY - DAY Grim-faced guards scan the yard from machine-gunned towers. INT. McNEIL PENITENTIARY - VISITOR BOOTH - DAY Mickey Cohen sits across from visitor Johnny Stompanato. Cohen is going off the handle. COHEN What do you mean Deuce Perkins got clipped last night?! STOMPANATO They shot him in his library. COHEN I don't want a floor plan; I want to know who! Who's taking the ticket for this, Johnny? STOMPANATO Nobody. At least not yet. COHEN And what about the merchandise Deuce was holding for me? STOMPANATO Gone. Not a trace. COHEN Some ferstunkener is moving in and we don't know who?! Maybe we should ask Hedda Hopper! As "STRANGER IN PARADISE" ENDS, so does the MONTAGE. INT. BRIEFING ROOM - AD VICE - DAY Addressing the squad, a no-nonsense VICE CAPTAIN picks up a stack of magazines. VICE CAPTAIN Picture-book smut, gentlemen. There's been a bunch of it found at collateral crime scenes lately. Mostly narcotics and prostitution collars. As the Vice Capt. hands it out for the men to examine, new member Jack Vincennes arrives late. VICE CAPTAIN Look who's back from suspension. We're honored, Sergeant Jack. The men laugh. Jack sits, flips a magazine. Men and women. Men and men. Girls and girls. Girls and horses. JACK Gee. The Great Jerk-Off Book Caper of 1953. VICE CAPTAIN Vincennes, is there someplace you'd rather be? JACK Yeah, Cap. Back in Narcotics. VICE CAPTAIN Oh? Anyplace else? JACK Working whores with squad two. VICE CAPTAIN Maybe you should have thought of that before you made Bloody Christmas page one. Vice Capt. retrieves the magazines, hands them to Jack. VICE CAPTAIN They're yours. Make a major case, Sergeant. It's the only way you're getting out of here. Exaggerated "oohs" and "aahs" from the men. VICE CAPTAIN Dismissed, gentlemen. As they go, Jack sees the books are stamped: "Fleur-de-Lis Whatever you desire." Jack takes the matching business card from his wallet, the one he found on Christmas Eve. VICE CAPTAIN Roll, Vincennes. No sidetracks. This is Ad Vice, not Narco. INT. HOLLYWOOD STATION - NARCO PEN - DAY Jack Vincennes is at his desk. Holding the Fleur-de-Lis card, magazines spread before him, Jack dials the number. INT. HUSH-HUSH MAGAZINE OFFICE - DAY Sid Hudgeons sits behind his desk, answers the phone. HUDGEONS Hush-Hush. Off the record and on the Q.T. JACK (V.O.) Sid, it's Vincennes. HUDGEONS Jackie, are you back on Narco? I need copy. INTERCUT WITH Jack at his desk: JACK No. But I've got something going with Ad Vice. HUDGEONS Something good? JACK Don't know. I'm chasing picture books. Fuck shots, but the posers don't look like junkies. It's well done stuff. I thought you might have heard something. Hudgeons reaches into a stack of papers, pulls out a magazine like the one Jack has. HUDGEONS Not a word. JACK What about Fleur-de-Lis? Their slogan's 'Whatever you desire.' HUDGEONS No. No, I've heard bupkis. Jack, I'll talk to you later. Call me when you get something I can use. Smut's from hunger. For sad sacks who can't get their ashes hauled The LINE CLICKS off. Jack hesitates a moment before cradling the receiver. Something's not right here. EXT. HOLYWOOD STATION - PARKING LOT - TWILIGHT As Exley pulls in, his two-way drones: DISPATCHER (V.O.) Park Rangers report three Negro youths discharging shotguns into the air in Griffith Park. Suspects are driving a late model purple Mercury Coupe. As the report ends, Exley switches off the two-way and gets out of his car. INT. HOLLYWOOD STATION - SQUAD ROOM - NIGHT Accompanied by Bud, Dick Stensland crams the contents of his desk into a box. Well-wishing cops pat him on the back, offer words of encouragement, but Stensland looks like he's going to cry. It's very bad timing as Exley enters, comes face-to-face with them. This is hatred. Acting on impulse, Bud goes after Exley. It's a mauling. Four vicious body shots. A potentially lethal head shot sails wide as Exley falls to the ground. As four men move to hold Bud back, Exley looks up at him. EXLEY (gasping) You're just a thug, White. That's all you'll ever be. Dudley steps into the fray. He helps Exley to his feet. DUDLEY You should stay away from a man when his blood is up. EXLEY His blood's always up. Four cops are genuinely having trouble holding Bud back. Dudley watches with something bordering on admiration. DUDLEY Then maybe you should stay away from him all the time. EXT. HOLLYWOOD STATION - PARKING LOT - NIGHT Accompanied by Bud, Stensland reaches his car, loads his box of stuff into the trunk. Bud is moody, pensive. STENSLAND Don't look so down in the mouth, Bud. You nailed him good. BUD Yeah, sure... I got a couple of hours before I have to be at the Victory. Want to grab a beer? STENSLAND Rain check me, partner. I got something big going on tonight. BUD What? That new mystery girl you've been seeing? STENSLAND No. I'll tell you sometime. Not now. Don't want to jinx it. But it could take the edge off that jail time I got coming. BUD What are you talking about? STENSLAND It's confidential, Bud. Like that magazines Vincennes scams for. Hush-Hush. (smiles) I'll see you tomorrow. And hey, if it works out, you'll get a piece of it. Stensland gets in the car, drives off. Bud is left alone. INT. HOLLYWOOD STATION - SQUAD ROOM - NIGHT Exley sits alone in a sea of desks. The SQUAWK BOX DRONES. Exley squints at the clock on the wall, can't make it out. He takes his glasses from the inside of his jacket. 2:00 A.M. Finally, something to do. He walks to the wall calendar, tears off Feb. 28 to reveal Mar. 1. As Exley sits, the call SQUAWK BOX booms to life. VOICE Squad call! Nite Owl Coffee Shop One-eight-one-two-four Cherokee! Multiple homicides! Multiple homicides! Code three! EXT. HOLLYWOOD AND CHEROKEE - NIGHT Patrol cars. Blues setting up a crime scene blockade. Exley pulls up, DOUSES his SIREN. PATROLMAN #1 runs over. PATROLMAN #1 Loads of people down. Men. Women. I stopped for coffee -- Exley pushes him aside, heads for the door. It's wide open. INT. NITE OWL - NIGHT Exley takes mental snapshots. Ten stools front a counter. The side wall mural-papered: winking owls perched on street signs. On the right a string of tables. Three in disarray. Food spilled, dishes broken. A high-heel pump by an upended chair. Heel drag marks across the linoleum floor heading back toward the kitchen. Exley follows. Past an open, empty cash register. Outside -- SIRENS. SERVICE RUNWAY Crisscrossed drag marks connect, lead to a walk-in... FOOD LOCKER Blood-soaked bodies on the floor. Five, maybe six in a tangle. Dozens of shotgun shells float in the pools of blood. As Exley struggles to maintain his composure... ROOKIE (O.S.) Holy shit fuck... Exley looks at a green-faced ROOKIE in the locker doorway. ROOKIE S-s-sir, there's a captain outside wants to see you. EXLEY Don't get sick! Not in here! Exley shoves the Rookie, puking, out the door. EXT. NITE OWL - NIGHT Patrolmen hold back a swarm of reporters and rubber- neckers. HORNS BLAST. Motorcycles run interference for meat wagons cut off by the crown. As Ed emerges, reporters surge, shout questions. Exley hurries past, finds Dudley in command and barking orders. EXLEY Sir, I took the call. It's my case. DUDLEY Edmund, you don't want it and you can't have it. EXLEY Yes, I do, sir. DUDLEY It's mine. I'll make you my second in command. Exley spots a photographer moving in. He looks properly serious as the flash bulb pops. INT. NIGHT OWL - NIGHT Forensics Chief RAY PINKER walks Exley and Dudley through. PINKER We got a total of forty-five spent 12-gauge Remington shotgun shells. Three men with five-shot-capacity pumps. All of them reloading twice. EXLEY Hold on... We need to canvass. See if a purple Mercury was seen around here tonight. DUDLEY Why? EXLEY We got a call earlier on three Negro youths. Firing shotguns in Griffith Park from a late-model purple Mercury Coupe. DUDLEY (to his adjutant) Get on it. A FORENSICS COP approaches Pinker. FORENSICS COP We got an I.D. on one of the victims, sir... I think it's Dick Stensland. Exley and Dudley react, look at each other. EXT. VICTORY MOTEL - DAWN Set in a no-man's-land of bulldozed homes. A sign proudly announces the impending arrival of the freeway. The motel is surrounded by a barbed-wire fence. Abandoned but for a pair of LAPD cars and a light burning in room 6. An unmarked pulls up and Exley and Dudley step out. They start forward, but a SCREAM inside 6 stops Exley short. DUDLEY With Mickey Cohen in prison, Los Angeles is organized crime free. The Chief wants it to stay that way, Edmund. The means are not for the weak-hearted. INT. VICTORY MOTEL - ROOM 6 - DAWN Bare. A table and chair bolted to the floor. A tough FLAT-NOSED GANGSTER is cuffed to the hot seat. On the table are a .45 and a fat roll of $100 bills. Breuning and Carlisle watch as Bud White delivers a couple of short, stiff body shots. Flatnose is not used to being on the receiving end. All the same, we get the idea Bud's a bit reluctant. Bud's back is to Dudley and Exley who enter behind him. DUDLEY Come, Wendell, you can do better than that. Bud turns, sees Exley and Dudley. A beat. As Bud looms over Flatnose, the gangster babbles. Snitch-frenzied. FLATNOSE I know things. I hear things. Like with the Mick inside, things are on this weird slowdown. (MORE) FLATNOSE (CONT'D) These shooter teams, bang bang bang, they're 86-ing Mickey Cohen's men. DUDLEY We know all that, lad. Tell us, who do these shooters work for? FLATNOSE I don't know. No one knows. Maybe they're mavericks. You want a prostie roust? Huh? Some narco action? (breaking down) What do you want?! DUDLEY We want you to go home. (to Breuning) Uncuff him, Michael. Dudley turns to Exley. DUDLEY Mr. Sifakis is a known loan shark from San Francisco. He arrived this afternoon at Union Station. Looking for business opportunities in our fair city. An organized crime associate in need of re- education in the ways of polite society. Uncuffed, Flatnose rubs his wrists. Wary. As Breuning steps back, Flatnose snatches the .45 off the table. FLATNOSE Motherfuckers! Exley dives for cover, but the other four cops just stand there. Dudley looks down on the floor at Exley. DUDLEY It's part of the play, Edmund. A sincerity test. Flatnose looks at the gun a beat, then squeezes the TRIGGER. CLICK CLICK. No bullets. DUDLEY (to Breuning) Sit him back down. CLICK, CLICK. They shove Flatnose back in the hot seat. Dudley offers a hand to Exley, helps him to his feet. DUDLEY Wendell, you need to accompany Detective Lieutenant Exley on official police business. I'll finish up here. INT. EXLEY'S PLYMOUTH - DAY They drive in silence. No love lost here. Finally. BUD Where are we going? EXLEY It's a surprise. You like surprises, don't you, White? EXT. COUNTY MORGUE - DAY Exley pulls up. Bud looks to him. Really curious now. INT. COUNTY MORGUE - HALLWAY - DAY Exley and Bud walk. An orderly wheels a covered corpse toward them from the other end of the hall. Bud's spooked. The orderly wheels the body in to the examination room. As Bud and Exley pass, the CORONER pulls back the sheet, is surprised at the sight of a woman who we don't quite see. CORONER Call me crazy, but for a second I thought it was Rita Hayworth. MORGUE MEAT LOCKER Exley and Bud walk past a wall of drawers to where a coroner's assistant waits. EXLEY We need you to I.D. the body. There's no next of kin and you knew him best. So tell me... The assistant pulls open drawer 12. A naked man. A tag on his toe and half his face blown off. EXLEY Is that Dick Stensland? Stunned, Bud stares at what's left of his old partner. BUD Yeah, that's Stens. EXLEY Hell of a way to avoid a prison sentence. Bud's torn between wanting to smash Exley and finding out why Stensland is dead. He squeezes out the words. BUD What happened? EXLEY Someone held up a coffee shop, panicked and killed six people. Then, from the hall... WOMAN (O.S.) Not my baby! Not my little girl! INT. COUNTY MORGUE - EXAMINATION ROOM - DAY HILDA LEFFERTS, 50, enters with the coroner to ID the body of her daughter, Susan. There's stray buckshot in the upper chest and shoulders, but a sheet hides the real damage. It's the girl Bud saw outside Hollywood Liquor. Without the black eyes, she does look like Rita hayworth. As Bud and Exley appear, Mrs. Lefferts looks confused. CORONER Is this your daughter, Mrs. Lefferts? MRS. LEFFERTS I -- I don't know. EXLEY We know this is difficult. Just take your time and look again. Exley doesn't realize, but Bud recognizes the deceased. MRS. LEFFERTS It seems like my Susan, but... EXLEY When was the last time you saw her, Mrs. Lefferts? MRS. LEFFERTS At Christmas. We had fought. I didn't like her boyfriend. I -- she has a birthmark on her hip. The Coroner lifts the sheet. Mrs. Lefferts gasps. MRS. LEFFERTS It's her. My baby. Dear God... As Mrs. Lefferts swoons, Bud and Exley both hold her up. INT. LAPD HEADQUARTERS - BRIEFING ROOM - DAY The room buzzes, jammed to the rafters with every detective standing ready. The Chief waits as Dudley Smith takes the mike, holds up an L.A. Times headline. DUDLEY 'Nite Owl Massacre.' Hyperbole aside, this is a heinous crime that requires a swift resolution. The public will demand it and this department will provide it. Six victims. One of them, one of our own -- Dick Stensland. (as the cops react) As it happens, he was a Nite Owl regular. In the wrong place at the wrong time. Bud White listens, not too sure. Stensland said he had something big going on... DUDLEY Robbery looks like the motive. We have rubber glove prints on the register and preliminary forensics strongly lean toward a trio of gunmen. We do have one hot lead, so listen well. Three Negro youths were seen last night discharging shotguns in the air at Griffith Park. A park ranger I.D.ed them as driving a 1948 to 1950 Mercury Coupe, purple in color. An hour ago, a canvassing crew found a news vendor who saw a purple Merc Coupe parked across from the Nite Owl around 3:00 A.M. The room goes loud, a big rumbling. Dudley holds up a list. DUDLEY The D.M.V. worked all night to get us a registration list on '48 to '50 purple Mercs. There are 142 registered to Negroes in L.A. County. Fifty two-man teams will shake three names apiece. Hot suspects you'll bring here. Interrogation rooms have been set up. They'll be run by Lieutenant Edmund Exley. Hollywood Squad. Catcalls. Boos. The Chief steps to the mike. CHIEF Enough on that. Gentlemen, just go out and get them. Use all necessary force. The people of Los Angeles demand it. The men exchange knowing looks. The real message: kill them clean. Exley doesn't approve. As the men hurry out... EXLEY He might as well have put a bounty on them. INT. SQUAD ROOM - DAY Detectives pairing up and moving out. Scanning his three name list, Bud joins his PARTNER for the day. BUD Can you take them? I got I got something I gotta do. PARTNER Christ, I don't know. What if one of these names... BUD What I gotta do is for Stensland. My partner. The guy looks at him a beat, nods. As Bud heads off... EXLEY watches everyone go. Wishes he could be part of the action. He spots Jack talking to his REDNECK partner for for the day. JACK AND REDNECK Redneck chews tobacco, has a Texas drawl. REDNECK Where to, Trash? JACK If we go by the list, we have about zero chance of making the collar. But I know a guy who knows what's going on south of Jefferson. I'm betting he could put us at 50/50. REDNECK I don't know... As Redneck thinks, Exley steps up. He's overheard. EXLEY I'll take those odds. (to Redneck) Take off. We got it from here. Jack stares. Redneck shrugs, spits tobacco juice in a cup. REDNECK Between the two of you guys, you should bring along a photographer. INT. HOLLYWOOD LIQUOR - DAY Last time we saw the Owner was Christmas Eve. He looks up from a customer as Bud strides in, badge out front. BUD I need an address on a customer of yours. Her name was Lynn. OWNER That's all I have to go on? BUD Yeah. And I think you already know who I mean, so cough it up. OWNER Lynn Bracken. There's a billing address and a delivery address. BUD Give me both. Billing first. EXT. 1184 GRETNA GREEN, BRENTWOOD (PATCHETT'S) - DAY A big, pink Spanish mansion with lots of tile. Also last seen outside Hollywood Liquor on Christmas Eve, Pierce Patchett is in the front yard, chipping golf balls over a koi pond. They land in a tight grouping. As he tees up: BUD (O.S.) You must slay 'em at the country club. Bud's halfway up the walk. Patchett sees the cuffs hooked to his belt. Patchett is cool as can be. BUD Are you Pierce Patchett? PATCHETT I am. Are you soliciting for police charities? The last time, you people called at my office. BUD I'm a homicide detective. Where were you last night? PATCHETT I was here, hosting a party. Who was killed and why do you think I can help? BUD Richard Stensland. PATCHETT I don't know him. Mr... BUD Officer White. How about Susan Lefferts? You know her? PATCHETT (sighs, concedes) You know I do or you wouldn't be here. How did you find me? BUD We met outside Hollywood Liquors on Christmas Eve. This is where Lynn Bracken's booze bills go. PATCHETT Of course... BUD Sue Lefferts died at the Nite Owl. I'm investigating. Patchett studies Bud a beat, weighing his options. Patchett's burly BODYGUARD starts over from the house. BODYGUARD Everything alright, Mr. Patchett? PATCHETT (waves him off) Fine, Philip. Thank you. BUD Where's the other guy? Buzz. PATCHETT He no longer works for me. (a beat) Find Susan's killer, Mr. White. I'll give you a handsome reward. Whatever you desire. If only Jack had been around to hear that. BUD Thanks, but no thanks. PATCHETT Against your code? BUD I don't have one. Lefferts looked beat-up Christmas Eve, but didn't act it. How come? PATCHETT Do you care about criminal matters peripheral to Susan's murder? BUD No. PATCHETT Then you wouldn't feel obligated to report them? BUD That's right. PATCHETT Then listen closely, because I'll only say this once and if it gets repeated, I'll deny it. I run call girls. Lynn Bracken is one of them and so was Susan Lefferts. I treat my girls very well. I have grown daughters, myself, and I don't like the thought of women being hurt. I sense you share this feeling. BUD (ignores comment) Why were Lefferts' eyes black? PATCHETT I think she'd been hit in the face with a tennis racket. She is -- was -- a big doubles fan. BUD You wanna go downtown and discuss this officially? PATCHETT Wait. Our deal still holds? Bud nods, his patience running thin. PATCHETT I needed a Rita Hayworth to fill out my little studio. BUD What little studio? PATCHETT There's Gardner, Hepburn, Grable, Turner. Lynn Bracken is my Veronica Lake. I use girls who look like movie stars. Sometimes I employ a plastic surgeon. BUD That's why her mother couldn't I.D. her... Jesus fucking Christ. PATCHETT No, Mr. White. Pierce Morehouse Patchett. Now, I sense you're on your best behavior, but that's all I'll give you. If you persist, I'll meet you with my attorney. Now, would you like Miss Bracken's address? I doubt she knows anything, but -- BUD I got her address. PATCHETT Of course... this is personal with you, isn't it, Mr. White? Bud turns, heads down the walk. Patchett hits his golf ball. It lands just past the koi pond, with the rest. Ice. EXT. 1736 NOTTINGHAM, LOS FELIZ (LYNN BRACKEN'S) - DAY A modern-looking triplex. A projector's flicker strobes against the closed curtains. We hear a PHONE RING. INT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY The film is This Gun For Hire with Alan Ladd and Veronica Lake. It's projected on a wall in front of which stands Lynn Bracken and an OLDER GENTLEMAN, in his underwear. Lynn's long, blonde hair hangs down over one eye. She looks more like Veronica Lake than Veronica Lake. The film flashes over them as they kiss. The PHONE RINGS. Lynn ignores it as long as she can before breaking away to go answer it. LYNN Hello? OLDER GENTLEMAN (Alan Ladd) Is it the cops? She waves him off. As he practices pointing his finger like Ladd points a gun, Lynn reacts to the news on the phone. EXT. 9781 SOUTH DUQUESNE - DAY A South Central plywood and tar-paper dive. A BLACK BOXER pounds a heavy bag/speed bag combo bolted to the porch. Wiry, a welterweight, he doesn't see Jack and Exley till they're almost on top of him. JACK Leonard Bidwell? The Boxer leans on the bag to catch his breath. Looking them over, he finally nods. JACK How's the left these days? BOXER What's it to you? JACK I saw you fight Kid Gavilan. I like your style. BOXER What do you want, Mr. Policeman? JACK You got a brother up in Folsom. I know because I put him there. BOXER Till 19-fucking-70. JACK How'd you like to make it 1960? I know the judge and Sergeant Exley here is friends with hte D.A. Exley nods, this is true. The Boxer's still listening. JACK We're looking for three colored guys who like to pop off shotguns. One of 'em owns a purple Merc coupe. BOXER You wanna get me a fuckin' snitch jacket? JACK You wanna buy your brother ten years...? You don't have to say anything. Just look at this list and point. Here. Jack holds the DMV list out to the Boxer, who waves it off. BOXER He's bad, so I'll just tell you. Sugar Ray Coates. Drives a '49 coupe, a beautiful ride. Don't know about shotguns, but he gets his thrills killing dogs. He is righteous trash. Jack and Exley scan the list. Jack's finger stabs down on, "Coates, Raymond, 9611 South Central, Room 414." JACK That's five minutes from here. EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY Lynn does her best to usher the slightly disheveled Older Gentleman out the door. OLDER GENTLEMAN I don't understand, doll, we just got started. LYNN I'm sorry, but I'll make it up to you. I promise. OLDER GENTLEMAN Gosh, kitten, I don't know... As he begins to mash up against her... BUD (O.S.) Hit the road, gramps. Bud's standing at the bottom of the stairs. The Older Gentleman strikes a pose. He still thinks he's Alan Ladd. OLDER GENTLEMAN Alright. This time I'll go, but next time -- BUD (flips badge) L.A.P.D., shitbird. Get the fuck out of here or I'll call your wife to come get you. Sputtering, the Older Gentleman exchanges a look with Lynn then hurries away, giving Bud a wide berth. LYNN I've been expecting you. Pierce called. Told me what happened to Sue. INT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY A nice breezy feel. The perfect place to shack up. LYNN It's Officer White, isn't it? Bud nods, eyeballs the place. LYNN Can I get you a drink? BUD Yeah, plain scotch. Bud watches her move to the bar. God, she's beautiful. LYNN I was friendly with Sue Lefferts, but we weren't really friends. You know what I mean? BUD Are you sorry she's dead? LYNN Of course I am. What kind of question is that? She steps back with a scotch for both of them. BUD Have you ever heard of Dick Stensland? LYNN No I haven't. Do you know why Pierce is humoring you? BUD You use words like that, you might make me mad. LYNN Yes. But do you know? BUD Yeah I know. Patchett's running whores and judging by his address, probably something bigger on the side. He doesn't want any attention. LYNN That's right. Our motives are selfish, so we're cooperating. BUD Why was Susan Lefferts at the Nite Owl? LYNN I don't know. I never heard of the Nite Owl till today. BUD Did Lefferts have a boyfriend? LYNN Like I said we were friendly, not friends. BUD How'd she meet Patchett? LYNN Pierce meets people. Sue came on the bus with dreams of Hollywood. This is how they turned out. Thanks to Pierce, we still get to act a little. BUD Tell me about Patchett. LYNN He's waiting for you to mention mention. BUD You want some advice, Miss Bracken? LYNN It's Lynn. BUD Miss Bracken, don't ever try to fucking bribe me or threaten me or I'll have you and Patchett in shit up to your ears. Lynn smiles again. She likes Bud. A beat. LYNN I remember you from Christmas Eve. You have a thing for helping women, don't you, Officer White? BUD Maybe I'm just fucking curious. LYNN You say 'fuck' a lot. BUD You fuck for money. LYNN There's blood on your shirt. Is that an integral part of your job? BUD Yeah. LYNN Do you enjoy it? BUD When they deserve it. LYNN Did they deserve it today? BUD I'm not sure. LYNN But you did it anyway. BUD Yeah, just like the half dozen guys you screwed today. LYNN (laughs again) Actually, it was two. You're different, Officer White. You're the first man in five years who didn't tell me I look like Veronica Lake inside of a minute. BUD You look better than Veronica Lake. Now, Pierce Patchett. LYNN He takes a cut of our earnings and invests it for us. He makes us quit the life at thirty. He doesn't let us use narcotics and he doesn't abuse us. Can your policeman's mentality grasp those contradictions? BUD He had you cut to look like Veronica Lake? LYNN No. I'm really a brunette, but the rest is me. And that's all the news that's fit to print. Lynn starts toward the door. Bud watches her a moment, then follows. She takes his glass at the door. LYNN It was nice meeting you, Officer. Out the door, Bud turns back. Blurts: BUD Look. I want to see you again. LYNN Are you asking me for a date or an appointment? BUD (suddenly unsure) I don't know. LYNN (another smile) If it's a date I think you'd better tell me your first name because I -- BUD (feeling foolish) Forget I asked. It was a mistake. Lynn watches thoughtfully after Bud as he walks away. He opens his car door like he's going to tear ir off. A last glance back at Lynn and as he gets in the car... EXT. TEVERE HOTEL - DAY An L-shaped walk-up. Jack coasts the car to the curb. He leaps out with Exley. Exley holds up at the sight of a late model sedan. He leans down to look in the window at the two-way on the dash. EXLEY L.A.P.D. JACK Shit. Someone beat us here. VOICES from the carport ahead. We see a chrome bumper, the purple fender of a '49 Mercury coupe. A door slams. Drawing a .45, Jack starts over with Exley, .38 in hand. CARPORT Toting shotguns, Dudley's boys from the Victory Motel, Breuning and Carlisle, stand by the purple Mercury. Jack and Exley come around the corner, lower their guns. JACK Hey. Breuning wheels, pumps a round into the chamber. He very nearly fires before he sees who it is. CARLISLE What the fuck are you guys doing here? EXLEY Think of us as back-up. JACK What do you got? As Jack moves to peer through the Merc's window. BREUNING Three Ithaca pumps, an empty box of double-ought buck and cash. Jack spots them. Three shotguns on the passenger side floor, an empty box of shells and loose dollar bills. JACK So long, Vice. Badge of Honor, here I come. CARLISLE Fuck you, Vincennes. It's our collar. Breuning actually has to restrain his partner. EXLEY Quiet. I'm ranking officer here. We go as a team. End of story. INT. CORRIDOR - TEVERE HOTEL - DAY Breuning and Carlisle lead the way with Jack and Exley bringing up the rear. Squinting, Exley reaches to his pocket for something. Not there. EXLEY Damnit... JACK What? EXLEY Glasses. JACK (chuckling) Just don't shoot me. The door to 414. Two men on either side. Breuning rears back. Jack rears back. They kick at the same instant. The door flies off its hinges to reveal two young black men, LARRY FONTAINE and TY JONES, waking from a couple of flop mattresses. ROOM 414 Fontaine jumps up. Entering, Carlisle aims, but Exley grabs his arm. The BLAST rips the ceiling. Jack aims. JACK Freeze! Fontaine freezes. Jones doesn't dare get up. CARLISLE Ace him, Jack. EXLEY Shut up, Carlisle! Jack and Exley burst into a... SECOND BEDROOM Another black, RAY COATES, passed out on mattress, sur- rounded by empty beer cans. Jack sticks his .38 in his back, starts to cuff him. As the cuff ratchets down... INT. OBSERVATION ROOM - DAY Dudley watches intently as Ed Exley skims a report, memorizing names and dates. Jack and other brass are also here along with a stenographer. So's Bud. One of these guys killed Stensland. Through tinted glass, the three suspects in three different rooms. EXLEY Casitas Youth Camp... Coates twenty-two, a boxer... Manager saw them burning clothes. Satisfied, Exley sets the report down. DUDLEY Ed, I want confessions. EXLEY I'll break them, sir. As Exley steps into the #1 room, Jack joins Dudley. JACK You think golden boy can handle it, Cap? DUDLEY I think you'll be surprised what Edmund's capable of. INT. #1 ROOM - DAY Exley closes the door. Ray Coates is cuffed to a chair, dressed in baggy County denims. One eye swollen shut, lip split, a smashed nose with one nostril split. Exley unlocks his cuffs. drops cigarettes and amtches on the table. As Coates rubs his wrists... EXLEY They call you Sugar Ray because of Ray Robinson? (no answer) They say Robinson can throw a four punch combination in one second. Do you believe that? Coates just stares at him. EXLEY You're twenty-two, aren't you, Ray? COATES Say what and so what. EXLEY Did one of the officers work you over a little? No bite. Coates just stares back. EXLEY You look like Robinson after that last LaMotta fight. 'Course LaMotta looked a lot worse. So you're twenty-two, right? COATES Man, why do you keep asking me that? EXLEY Just getting my facts straight. Twenty-two makes it a gas chamber bounce. You should have pulled this caper a couple of years ago. Get life, do a little Youth Authority jolt, transfer to Folsom a big man. Orbit on some of that good prison brew, get yourself a sissy -- COATES I never truck with no sissies! EXLEY That fucking Larry. I almost believed him. COATES Believed what? EXLEY Nothing, Ray. (laughs) That Larry, he's a pisser. You did the Casitas Youth Camp with him, didn't you? COATES Man, why're you talkin' about Larry? His business is his business. Unseen by Coates, Exley reaches under the table, takes hold of one of three toggle switches. EXLEY Sugar, Larry told me you went sissy up at Casitas. You couldn't do the time so you found yourself a big white boy to look after you. He said they call you 'Sugar' because you gave it out so sweet. Exley flips the toggle. #3 ROOM The speaker over Larry Fontaine's head crackles to life. COATES (V.O.) Larry gave it at Casitas! Man, I was the fuckin' boss jocker on my dorm! Larry's the sissy! Larry gave it for candy bars! #1 ROOM Exley flips up the second toggle. EXLEY Ray, you protected Ty and Larry up in Casitas, didn't you? COATES You ain't woofin' I did. Stupid down home niggers got no more sense than a fuckin' dog. Exley flips the switches off. EXLEY I heard you like to shoot dogs. COATES Dogs got no reason to live. EXLEY Oh? you feel that way about people, too? COATES Man, what're you saying? EXLEY Ray, we got the shotguns. COATES I don't own no shotguns. EXLEY Why were you throwing clothes in the building incinerator? COATES (trembling) Say what? EXLEY You guys were arrested this morning, but none of you have last night's clothes. You were seen burning them. Add to that the fact that you hid the car you were cruising around in last night and it doesn't look good. COATES I got nothin' more to say till I see a judge. EXLEY Were you on hop? You were passed out when you got arrested. Were you hopped up, Ray? COATES Ty and Larry fuck with that shit, not me. EXLEY Where do they get their stuff? Come on. Give me one to feed the D.A. Just a little one. Coates nods. Exley flips up the toggles as he leans in. COATES Roland Navarette. Lives on Bunker Hill. He runs a hole-up for parole absconders and sells red devils. Exley flips down the switches, stands. EXLEY I'm going to take a break. Exley opens the door, looks back in afterthought. EXLEY You know, Ray, I'm talking about the gas chamber and you haven't even asked me what this is all about. You got a big guilty sign around your neck. Exley exits. OBSERVATION ROOM Exley enters. DUDLEY Masterful, Edmund. Your father would've been proud. (pointing) This one's on the verge. Exley looks through the glass into #2. Larry Fontaine is weeping. A piss puddle on the floor by his chair. EXLEY Fontaine next, but give Jones the newspaper. I want him primed. #2 ROOM Fontaine tries to control his sniffles as Exley enters. EXLEY Larry, Ray Coates ratted you off. He said the Nite Owl was your idea. You want to tell me about it? No answer. EXLEY I think it was Ray's idea. Talk and I think I can save your life. No answer. EXLEY Larry, this is a gas chamber job. If you don't talk, you'll be dead in six months. No answer. EXLEY Son, six people are dead and somebody has to pay. It can be you or it can be Ray. No answer. EXLEY Larry, he called you queer. He said at Casitas you took it up the ass. He said -- FONTAINE I DIDN'T KILL NOBODY! The voice is strong, full of conviction. Exley glances at the mirror. Then... EXLEY Why'd you burn the clothes? FONTAINE (sobbing) I just wanted to lose my cherry. I didn't mean to hurt her. Exley can't hide his surprise at this. EXLEY Hurt who? Was she a hooker? Hurt who? But Fontaine is gone. Head lolling, eyes squeezing out tears. OBSERVATION ROOM Exley steps out of the interrogation room. Dudley braces him. DUDLEY Don't get sidetracked. Stay with the Nite Owl. EXLEY She may still be alive, whoever she is. Bud's all ears. #3 ROOM Reading, Jones has his feet on the table. Exley bursts in. JONES This newspaper shit ain't shit. EXLEY Where's the girl? Did you kill her? No answer, but Jones looks nervous. EXLEY You wanted Larry to lose his cherry, but things got out of hand. Is that right? OBSERVATION ROOM Everyone's attention is riveted, particularly Bud's. They watch, listen over the speaker. EXLEY (over speaker) Kick loose, Jones. I know you made her bleed, but that doesn't mean you killed her. No answer, but Jones is squirming. EXLEY (over speaker) If that girl's alive, you've still got a chance on this one. JONES (over speaker) I think she's alive. EXLEY (over speaker) You think? Jack turns to Dudley. JACK He's good. I'll give him that. They don't notice as the chair back begins to splinter in Bud's hands. #3 ROOM Exley sits across from him, tries to wrap it up. EXLEY Where is she now? (no answer) Did you leave her someplace? (no answer) Did you sell her out? Give her to some of your buddies? Tell me where the girl is! The door blasts open. Bud slams Jones up against the wall. As Exley stands, he bangs his knee on the table. Pulling a .38, Bud breaks the cylinder, drops 5 shells on the floor. BUD One in six. Where's the girl? EXLEY Officer White, put down that weapon and -- Bud shoves the barrel into Jones' mouth, pulls the trigger twice. CLICK, CLICK. Jones starts to slide down the wall. Bud jerks him back up, roars. BUD WHERE?! Two more clicks. Jones spills. JONES S-sylvester F-fitch one-o-nine and Avalon gray corner house... EXT. AVALON BOULEVARD - EVENING A four cordon. They coast up to a GRAY CORNER HOUSE. Dudley Smith behind the wheel of the lead cruiser. Bud White rides shotgun, reloading his revolver. BUD Give me one minute. DUDLEY You've got it, Wendell. STREET Bud is out the door and scooting down an alley. Exley moves to follow, but Dudley cuts him off. DUDLEY We're going through the front. ALLEY Bud vaults a fence, pads up the back porch. A screen door. Bud slips the catch with a penknife and walks inside. SCREEN PORCH Bud heads for a blind-covered door. Unlocked, he enters... A HALLWAY Light bouncing from side rooms. We hear the opening spiel of "Badge of Honor" from the left. Bud wheels into a... BEDROOM A NUDE GIRL spread-eagled on a mattress. Bound with neckties. One in her mouth. Her eyes grow wide at the sight of Bud, then flicker to the adjoining room. Directing him. Raising the .38, Bud enters... THE KITCHEN Sylvester Fitch sits naked at the table wolfing Rice Krispies and watching "Badge of Honor" on a flickering TV. He looks up, sees the .38 before he sees Bud beyond it. Fitch drops his spoon, raises his hands. Bud SHOOTS him in the face. Dead, Fitch just sits there. Bud moves behind him. Pulling a spare piece from an ankle holster, Bud FIRES back at the door from Fitch's line of fire, then puts the gun in Fitch's hand. We hear the FRONT DOOR CRASH OPEN. As Fitch slides off the chair to the floor, Bud dumps the Rice Krispies on him. EXT. GRAY HOUSE - NIGHT The Girl on a stretcher. Being carried to an AMBULANCE. Bud White walks alongside, looking like some ferocious pet pit bull. The ATTENDANTS get her inside. One joins her. The other closes the door, pauses to light a smoke. Bud rips the cigarette out of his mouth, nearly taking the guy's lips with it. BUD Get her to the fucking hospital. One look at Bud, and the Attendant is running around to the driver's side. Exley arrives, steamed. EXLEY A naked guy with a gun? You expect anyone to believe that? BUD Get the fuck away from me. Bud starts away, but Exley gets right in his face. Other cops begin to take notice. The ambulance pulls out. EXLEY How's it going to look on your report? BUD It'll look like justice. That's what that fat fuck got. Justice. EXLEY You don't know what the word means, you dumb bastard. Bud goes after Exley, but ten hands pull them apart. Dudley on Exley. Four cops genuinely having trouble on Bud. And as if things couldn't get crazier, shouts from the cops on the street. POLICE RADIOS CRANKED UP. DISPATCHER (V.O.) Repeat, three suspects escaped from the Hall of Justice jail. The Nite Owl killers: Raymond Coates, Tyrone Jones and Larry Fontaine. They are considered armed and extremely dangerous. Descriptions are as follows... INT. SQUAD ROOM - DAY Electrified, "Nite Owl Killers" on everyone's lips. Exley strides through with purpose, beelines to a filing cabinet. Exley pulls the file he's looking for. He scans an interrogation transcript, reads to himself the words he's looking for: EXLEY 'Give me one to feed the D.A.... Roland Navarette. Lives on Bunker Hill. Runs a hole-up for parole absconders.' INT. HOLLYWOOD STATION - JACK'S DESK - DAY Police rush back and forth. Exley hurries over to the desk, but he's not there. EXLEY Anyone seen Jack Vincennes? A few cops mumble they haven't. As Exley decides what to do, Carlisle from the original arrest steps over. CARLISLE Is something up, Lieutenant? EXT. 1ST & OLIVE - DAY Exley and Carlisle pull up across the street from a four-story Victorian with paint peeling off the clap- boards. They jump out of the car toting SHOTGUNS. Carlisle waits as Exley checks the mail slots: "R. Navarette, 408. " INT. STAIRWELL - VICTORIAN BUILDING - DAY Exley and Carlisle take the steps two at a time. INT. 4TH FLOOR HALLWAY - VICTORIAN BUILDING - DAY Exley squints, reaches to a pocket. No glasses. He passes an elevator, rounds a corner. There's 408. Exley pumps the shotgun, nods to Carlisle who kicks the door in. NAVARETTE LIVING ROOM Exley and Carlisle burst in on four men eating sandwiches. Fontaine and Caucasian NAVARETTE at a table. Coates on the floor. Jones by the window. Exley squints. EXLEY Nobody move! Fontaine and Navarette raise their hands. A jostled BEER BOTTLE CRASHES to the floor. Reacting, Carlisle JERKS the TRIGGER. Fontaine goes down. Navarette draws a .38, SHOOTS Carlisle twice in the chest. Exley BLASTS Navarette. Screaming, Jones pulls a .45 from his belt. Exley FIRES, blowing him right THROUGH the WINDOW. Coates draws and FIRES, makes a run for it. A bad pull takes out half a back wall. Coates is out the door. ELEVATOR Coates makes it inside, frantically pushes buttons. HALLWAY Here comes Exley. Stumbling, wiping Navarette's blood out of his eyes, he closes on the... ELEVATOR Coates watches as the elevator doors begin closing. HALLWAY Exley charging. ELEVATOR The shotgun barrel juts through. The doors bang against it. BLAM! DISSOLVE TO: L.A. MONTAGE TONY BENNETT belts "BOULEVARD OF BROKEN DREAMS." INT. HOLLYWOOD STATION - DAY Exley returns to grudging respect. His white shirt flecked with blood, he's clapped on the back by Dudley who dubs him "Shotgun Ed." Exley doesn't enjoy it. He's numb, stumbling along. As he notices the blood on his hands... INSERT - NEWSPAPER HEADLINE NITE OWL HERO! Over a photo of Exley. EXT. CEMETERY - GRAVE - DAY A coffin is lowered into the ground. A WIDOW leans on the Chief's arm, accepts a tri-folded American flag from Dudley Smith. Exley drops a handful of earth on the casket, has trouble getting the wet dirt off his hands. CHIEF We mourn the passing of a good man. The loss of Sgt. William Carlisle is the loss of his wife, his family and the entire Los Angeles Police Department... A sea of dress blues. Jack looks bored, dressed too flashy for a funeral. Bud looks grim, rain dripping off the brim of his cap. As a TWENTY-ONE GUN salute is FIRED... EXT. CEMETERY (SOUTH CENTRAL, L.A.) - DAY Larry Fontaine's mother mourns alone as her son is buried. INT. CITY OF ANGELS HOSPITAL - RECEPTION AREA - DAY Exley talks with a tough, starchy NURSE. EXLEY I need the girl to give me a chronology of events. No details. Just times. NURSE Absolutely not. She barely remembers her own name. EXLEY But -- NURSE I was told the case was closed. Should I call your superior to double-check? EXLEY No. that won't be necessary. The Nurse turns, marches away. Exley is left with a nagging doubt. EXT. ORANGE GROVE (ANAHEIM) - DAY People cheer as bulldozers mow down orange trees. A banner heralds the future: "On this site: The World's Biggest Amusement Park." Cartoon characters dance among the fallen trees. INT. STATE ASSEMBLYMAN'S OFFICE - DAY Sitting behind a desk is the Older Gentleman last seen doing his best Alan Ladd impersonation at Lynn Bracken's. He stares emphatically at the SMARMY LAWYER who stands before him holding a manila folder. OLDER GENTLEMAN You tell Mr. Patchett I have no intention of changing my vote. The Lawyer simply hands him a stack of photographs. From Lynn Bracken's apartment. The first is the Older Gentleman naked except for his socks and garters. INT. STATE ASSEMBLY - CHAMBER - DAY The Older Gentleman rises for an assembly vote. OLDER GENTLEMAN It may surprise some, but a mature man, enlightened by the facts, can change him mind... EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - NIGHT Rain. A limo disgorges a heavy-set man who climbs steps, knocks on the door. Lynn answers in an evening gown. He gives her a peck on the cheek and continues in past her. Lynn's about to follow him in when she pauses to deadpan a look down the street. Bud's Packard is parked there and we can see his darkened silhouette behind the wheel. Smiling a bit sadly to herself, Lynn disappears inside. This is no stake-out. Bud watches after her with yearning. INT. TROCADERO CLUB - NIGHT Cigarette girls and club photographer make the rounds. Johnny Stompanato enjoys the frenzien floor show. EXT. WILSHIRE BOULEVARD - DAY A horse parade, heavy on the law enforcement contingent, Out of place in his suit and tie, District Attorney Ellis Loew awkwardly rides atop a sleek Palimono. INT. OLYMPIC AUDITORIUM - NIGHT The crowd in a frenzy as Vincennes-snitch, the welterweight black boxer, beats the shit out of a white fighter. INT. MIDDLE CLASS LIVING ROOM - NIGHT A father holds out his hand, counts along as Jack slaps $100 bills into his palm. Maybe four thousand dollars. Jack says something about "We appreciate your understanding during this difficult time." As "Badge of Honor" comes on the TV, the father responds with "Goddamn actors." Leading, Jack looks through an open door where Brett Chase's high school "Sweater Girl" is being comforted by her mother. As she locks eyes with him an instant... INT. PIERCE PATCHETT'S HOUSE - NIGHT The monied johns watch horny as hell as "Ginger Rogers" twirls around the room with a female "Fred Astaire." Clothes fly as they spin. Still, most eyes turn to Lynn Bracken as she enters oozing that cat-girl grace. EXT. POLICE HEADQUARTERS - DAY Reporters scribble as the Chief speaks. Uniforms everywhere along with Exley and Loew. Bus sits in the back. CHIEF Edmund J. Exley has amassed a brilliant record in his seven years with the L.A.P.D. Recently he evinced spectacular bravery in the line of duty. It is my honor to present him with our highest honor, the Medal of Valor. Exley steps up. The Chief hangs a gold medallion around his neck. Flashbulbs pop as the two men shake hands. Exley then accepts a handshake from Dudley. The policemen stand on cue, applaud without enthusiasm. Dudley lifts the medal from his chest. DUDLEY Your father would've been proud. Exley uses the noise to have aprivate chat with Dudley. EXLEY There are loose ends out there, Dudley. I -- DUDLEY There always are. But there are also three men and three guns. Matched forensically. A few loose ends don't matter. EXLEY Something's wrong. I feel it inside. Doesn't that sound crazy? Dudley puts an arm around Exley's shoulder, smiles out as more bulbs flash. DUDLEY Breaking a big case sticks you in a whirlwind. A little self-doubt? It's natural. Just keep it inside. Between you and you. Exley considers his medal. It is an appealing thing. In the back, Bud stays sprawled in his seat. No one's watching as he takes out his gun, kisses it, and blows pretend smoke off the barrel. As the song ends... INT. VARIETY INTERNATIONAL PICTURES - STAGE 4 - NIGHT A "Badge of Honor" fund-raiser for D.A. Loew's re- election cmpaign. Hot dogs and sauerkraut. Fishbowls stuffed with cash. Jack is here, returns a smile half- heartedly. Loew sits with his wife and teenage daughter as Brett "Joe Reno" Chase speaks. CHASE This election is about the future of law enforcement in Los Angeles. Ellis Loew represents that future. So dig deep and let's get a moral man re-elected. Applause. Leaving the podium, Chase smiles at Ellis Loew's daughter who absolutely gushes. Chase then winks knowingly to Jack who returns a tired, humorless smile. Jack scans the room. An odd moment as Jack catches his own reflection in a mirror across the way. He puts a hand to his face. Is that him? HUDGEON (O.S.) Big V Jack Vincennes! Jack turns to see Sid Hudgeons approaching. HUDGEONS You're back, boychick. JACK Sid, how are they hanging? HUDGEONS Down around my ankles. Hudgeons scans the crowd, points someone out. HUDGEONS You remember Matt Reynolds? Jack spots Matt Reynolds -- one of the young actors Jack arrested on Christmas Eve. HUDGEONS The Grauman's Chinese pot bust. He just got off the honor farm. JACK What's he doing here, Sid? HUDGEONS You tight with the D.A., trash? JACK Sure, he just tried to throw me off the force last Christmas as a little joke. HUDGEONS How'd you like a little payback? Not to mention a donation to the widows and orphans fund. Did you know Loew was a swish? JACK And Reynolds? HUDGEONS He's queer too. Metro paid him two grand a week to fake it with ingenues. On screen and off. I'm getting him to fuck the D.A. for a hundred bucks. (winks) That's twice the fifty you got for wrecking his career. Even Jack's not immune to a comment like that. HUDGEONS Matt! Over here! As Hudgeons heads over, Hudgeons points out... HUDGEONS That's D.A. Loew right there. Reynolds gets a nervous bead on Loew. Hudgeons realizes: HUDGEONS You need a drink, kid... Jack, look after him a minute. Kid, this is Jack. No secrets between me and him. Hudgeons heads off. Reynolds, plae, nods at Jack. REYNOLDS Have we met before? JACK Yeah. Jack doesn't really feel like talking to him. Reynolds' nerves won't let him stay quiet. REYNOLDS Was it a party? JACK Something like that. REYNOLDS (misreading) Oh, I know. A Fleur-de-Lis party, right? Jack remembers the name, plays along for what it's worth. JACK Fleaur-de-Lis. 'Whatever you desire.' REYNOLDS Dope, liquor, hookers that look like movie stars. Pierce Patchett has it all. Jack recognizes the name, bluffs for more information. JACK Yeah. Me and Patchett go way back. REYNOLDS Pierce isn't like regular people. I dig him, but he scares me too. JACK Really? How? REYNOLDS (shakes his head) You know, when I came out to L.A., this isn't exactly where I saw myself ending up. JACK Yeah. Me neither. Reynolds looks like he's going to cry. Hudgeons returns with a double Scotch straight up and a hot dog with sauerkraut. He hands the drink to Matt. HUDGEONS Dutch courage, kid. Drink up. Reynolds downs a few gulps, looks across the room at Loew. REYNOLDS I don't know if I should do this. HUDGEONS Hey, it's not like you don't know how. And Jack here has connections on 'Badge of Honor.' Pull this off and there'll be a part for you. I smell a comeback. Don't you, Jack? Reynolds looks to Jack who gives a noncommittal shrug. JACK Loew's free. Congratulate him. Reynolds nods, drains his glass and heads off. Hudgeons hands Jack a folded slip of paper. HUDGEONS If Reynolds works his charms, which he will, this is the address where they'll be. Meet me at midnight. I guarantee all sorts of illegal activity. Hudgeons takes out a President Grant $50 bill. Jack doesn't take it. JACK Sid, why would a guy like Pierce Patchett get involved with running dope and hookers? HUDGEONS Where'd you hear that? JACK Around. HUDGEONS Jackie, all I know is what you know. The man is very rich. And he's invested in freeway construction so he's gonna get a lot richer. But that's it. Patchett's what I like to call 'Twilight.' He ain't queer, he ain't Red, he can't help me in my quest for prime sinuendo. Jack takes the $50 as Reynolds returns, shaking his head. HUDGEONS What? REYNOLDS I can't do it. HUDGEONS Talk to him, Jack. Tell him about the opening on the show. JACK I'm pretty sure I can get you a part on the show... But tonight? Pretend it's an acting job, kid. Showbiz. REYNOLDS And no one'll know about this? JACK It'll be our secret. REYNOLDS Showbiz. Emboldened by Jack's promise, Reynolds heads off. Jack and Hudgeons watch as he strikes a conversation with Loew who's captivated. Hudgeons chomps a bite of his hot dog, gives Jack the high sign, but Jack just feels like a pimp. INT. VICTORY HOTEL - ROOM SIX - NIGHT Screams. A cauliflower-eared Cleveland mob enforcer on the hotseat. Breuning works him with a rubber hose as Dudley asks unanswered questions. Bud watches, revulsion growing. DUDLEY Where did you intend to start. Prostitution? Gambling? (no answer) Go back to Cleveland, lad. This is the City of Angels and you haven't got any wings. More screams as the hose thwops down. Bud looks away, then shuffles blindly out of the room. INT. VICTORY HOTEL - BATHROOM - NIGHT Bud runs water in the sink to drown out the SCREAMS. It doesn't work. Finally, he leans down and sticks his head under the stream of water. That doesn't work either. EXT. VICTORY HOTEL - NIGHT Hair dripping wet, Bud makes it to his car. The tires spit gravel as he tears away. Dudley appears in the doorway, watching curiously. As cauliflower continues to SCREAM... INT. BUD'S PACKARD - 1736 NOTTINGHAM (LYNN'S) - NIGHT Bud watches Lynn Bracken's apartment, Colored lights play on the windows. Shadows pass. Finally the front door opens. There's Veronica Lake, all sparkles and spangles, kissing another distinguished gentleman goodnight. Bud watches the man into a waiting limo. As it pulls away... INT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - LIVING ROOM - NIGHT Now Lynn just looks tired. As she puts away Scotch bottles and picks up empty glasses, there's a KNOCK on the door. Lynn sighs, become sultry Veronica Lake before our eyes. INT. FRONT HALL - NIGHT LYNN (opening door) Did you forget some -- Bud stands there, filling up the door frame. LYNN I wondered when you might ring the bell again, Officer White. BUD It's Bud. Bud looks at Lynn a moment, then down at his own feet. Embarrassed. She smiles. LYNN You should see yourself. You look like you're ten years old. Bud looks back up. Lynn's smile fades as she studies his face. She's not going to ask questions. Lynn looks at him a moment more, then runs a hand through the blonde hair covering one eye. LYNN If you'd called first, I wouldn't look this ridiculous. INT. LYNN BRACKEN'S (1736 NOTTINGHAM) - BEDROOM - NIGHT Lynn comes to Bud naked, her hair brushed back. Bud goes slow, gently, takes time with his kisses: like she was a lonely woman he wanted to love to death. Lynn plays off his timing: her kisses back, her touches. Finally, Bud forces himself to stop. He pulls back so he can see her. LYNN You're wondering if Patchett told me to be receptive. Bud doesn't answer, but yes. LYNN It doesn't matter. I like you, Bud. I really do. She kisses him. Softly, drawing it out. Not a job. She wants to make love to him. And as Bud stops thinking... EXT. 5261 CHERAMOYA AVENUE (HOLLYWOOD) - NIGHT Jack sits in his car waiting. He checks his watch... 1:30. Well past midnight. JACK Come on, Sid. Where are you? Jack decides. MOVE WITH him as he gets out and crosses the street. The apartment is dark, the front door a few inches ajar. Suspicious, Jack listens. Dead quiet. He enters... INT. 5261 CHERAMOYA AVENUE - NIGHT No one here it seems. Till Jack nearly trips over a body. Matt Reynolds. Soaked in blood. Throat slit. Jack looks down in horror as Reynolds seems to stare back up at him. Jack stumbles out the door. We hear his CAR DOOR SLAM shut, the SCREECH of RUBBER down the street. EXT. 2345 HALBORO (HUDGEONS' HOUSE) - NIGHT Jack pounds on Sid's door till lights switch on. JACK It's Vincennes! Open up! Hudgeons opens the door. He's in his pajamas. HUDGEONS Jackie! You got some good scoop for the Sidster? JACK Sid, cut the crap. I -- HUDGEONS Give me some Narco skinny. I want to put out an all hop-head issue. Shvartze jazz musicians and movie stars. Maybe tie it into the Rosenbergs. You like? Jack grabs him, jerks him into the door frame. JACK Shut up! HUDGEONS (confused) What's wrong, Trash? HUDGEONS What happened with the kid and Loew? HUDGEONS You didn't get my message? It got called off. The kid chickened out at the last minute. JACK He's dead. I was just there. Somebody slit his throat. HUDGEONS Jesus. Jack, that's a story. 'Swish Actor Gets The Gay Blade.' Let me get my camera. Hudgeons starts away, but Jack grabs him. JACK Loew didn't go with him. You're sure? HUDGEONS I put Reynolds in the cab myself. The night cost me a hundred scoots and I got bupkis. Jack lets go of him, starts to ramble off into the night. HUDGEONS Jackie! Big V! Let me get my camera! Where are you going?! INT. AFTER HOURS CLUB - NIGHT The BARTENDER walks down the bar to where Jack arrives. BARTENDER What'll it be, Jack? JACK (pulls out wallet) A bottle of Scotch. As the Bartender turns for one, the only bill Jack finds is the President Grant fifty. The things he's done for fifty bucks... As he looks up with despair at his reflection in the bar mirror, the Bartneder sets down a bottle and shot glass. He plucks the fifty from Jack's hand. Jack grabs the bottle and starts out. BARTENDER Hey! Your change! INT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - BEDROOM - NIGHT Spent, Bud and Lynn lie in bed. SHe traces a finger over his bicep as he muses on the ceiling. BUD Who was that guy who was here earlier? Lynn's tracing finger stops on Bud's shoulder -- a small white scar. LYNN It doesn't matter. All they get is Veronica Lake. You got the real Lynn Margaret Bracken... (re: scar) Where'd this come from? BUD When I was ten, my old man threw a bottle at my mother. I guess I got in the way. LYNN So you saved her. BUD Yeah. But not for long. Bud looks away. Lynn sees he doesn't want to talk about it. LYNN Do you like being a cop, Bud? BUD I used to. What I do now is strong-arm. Sitting duck stuff... No, I don't like it. If I could work Homicide like a real detective... Lynn listens sympathetically. Bud's opening up. BUD There's something wrong with the Nite Owl. That prick Exley shot the wrong guys. But they made him a hero and whoever killed my partner is still out there. Frustrated, Bud pokes at his own chest. BUD In here I know it. But I can't prove it. I'm not a detective. I'm not smart enough. I'm just the guy they bring in to scare the other guy shitless. Bud looks away, embarrassed to have shown so much of himself. Lynn reaches over, turns his face back to her. LYNN You found Patchett. You found me. You're smart enough. Be a detective if that's what you want. BUD That simple, huh? Lynn nods. That simple. INT. HOLLYWOOD STATION - EXLEY'S OFFICE - NIGHT Exley looks up as a CLERK enters holding two files. CLERK I got the rap sheets on the black guys, sir. Coates and Jones got charges a mile long. But except for some kid stuff, Fontaine's clean. EXLEY Clean? CLERK More or less. EXLEY Until he gunned down six people. EXT. GRIFFITH PARK - DAY Exley stands in the trees as a PARK RANGER approaches. PARK RANGER I asked my men, Lieutenant. No one remembers any colored guys firing shotguns. EXLEY Then who phoned in the report? PARK RANGER Not us. INT. FORENSICS LAB - DAY Ray Pinker looks up from his microscope as Bud enters. PINKER Bud White, what brings you down to the basement? BUD I got a few Nite Owl questions. PINKER I don't know if you read the papers, but that case is closed. BUD I'm tying up loose ends. Padding my report. You know how it goes. PINKER What do you want to know? BUD Anything off. Anything that didn't make sense. PINKER You mean beside the fact that thirty-five out of forty-five rounds were gratuitous? I can't think of anything. Pinker is ticked as Bud steps over to where a group of Nite Owl crime scene photos are posted on the wall. Bud pauses at a photo which shows the floor around the table. We see a high heel shoe, blood smears across the floor. BUD Whose shoe? PINKER Susan Lefferts. BUD (pointing) If she was sitting here, then it's facing the wrong way. What are these smears in the blood? PINKER It looks like she was flailing, trying to get away. BUD But she's moving away from the door. (thinks; points) Who was sitting at this table? PINKER Dick Stensland. (a beat) Had to be dumb panic. If she knew him she would've been sitting with him... Right? Bud wonders, maybe a puzzle piece just fell into place. Pinker remembers something. PINKER You know, there is one thing. Pinker rummages a shelf for a glass jar which he hands Bud. Inside are two wax-saturated cotton balls. PINKER Cotton balls. I found them just inside the meat locker door. BUD Ear plugs. PINKER Exactly. At least one of those animals had the brains to protect his ears. BUD It doesn't exactly play like dumb panic. PINKER What do you mean? BUD It's like they knew they were going to kill everyone before they went in... PINKER Yeah, so... Bud just stares at the picture of Susan Lefferts. EXT. LEFFERTS' HOUSE (SAN BERNARDINO) - DAY A shingle shack dump. Bud walks the front steps, RINGS the BELL. Hilda Lefferts answers. She doesn't look so good. BUD Mrs. Lefferts, I'm Officer White with the L.A.P.D. I'd like to ask a couple of questions. MRS. LEFFERTS Let my daughter rest in peace. BUD Five minutes. That's all. INT. LEFFERTS' HOUSE - LIVING ROOM - DAY Pictures of Susan smile down from four walls. Vamp poses on a nightclub floor. Mrs. Lefferts is all twitchy and nervous, her eyes darting to a closed door. BUD Tell me about the boyfriend she had. The one you mentioned at the morgue. MRS. LEFFERTS First I want to go on record as saying that my Susie was a virgin when she died. BUD Ma'am, I'm sure she was. Mrs. Lefferts talks directly to a photo of her daughter. MRS. LEFFERTS Susie, I told you I didn't approve of that boyfriend. He was too old for you. You let him come into this house and be fresh to me. I went out one day and old Mrs. Jensen next door saw Susan's boyfriend and another man and thought she heard a ruckus. BUD What was that boyfriend's name? MRS. LEFFERTS We were never properly introduced. Susan and I were fighting that day. She called him by a nickname. Muns or Lunts or something. BUD Stens? Was it Stens? MRS. LEFFERTS Maybe. I don't know. BUD Look at a picture for me. Bud hands her a snapshot of Stensland taken in Tijuana. Out of uniform. She recognizes him. MRS. LEFFERTS That's him. That's him. BUD You said a neighbor heard a ruckus. Was it outside, inside? Mrs. Lefferts' eyes go crazy, darting to a closed door. Rolled towels are crammed against the bottom of it. MRS. LEFFERTS I don't know. You'll have to leave now, Officer. Bud starts for the closed door. BUD What's through here? MRS. LEFFERTS No! Please leave! Bud kicks away the towels, opens the door, steps into... DEN Innocuous except for the smell. It hits Bud right off. MRS. LEFFERTS Don't mind the smell. I think a rat died behind the wall... My Susie was a good girl! BUD Easy. Tell me about the ruckus. MRS. LEFFERTS I came home that night and there was blood on the floor. Susan said Stams -- Stens had cut himself. They were acting nervous. And that Stens kept going under the house. As Mrs. Lefferts goes shrill, Bud beelines out the door. EXT. LEFFERTS' HOUSE (SAN BERNARDINO) - DAY Holding a flashlight, Bud crawls under the house, into... CRAWLSPACE Bud elbow-crawls over the dirt, between wooden pilings. There's a long burlap sack ahead. It smells bad. Bud rips burlap. A rat's nest explodes. Bud sweeps a forearm at them. As they clear, he sees a gristle-caked human skull staring back, a .38 hole in the forehead. Undaunted, Bud tears the burlap back further. He pats the corpse's pockets, comes up with a wallet. Bud checks the ID. "Turner Meeks." Bus knows him by that name and another. BUD Buzz Meeks... Holy shit. EXT. LEFFERTS' HOUSE - DAY Bud crawls out, blinking sunlight and gulping fresh air. Mrs. Lefferts is there. She's scared. MRS. LEFFERTS Was it... a rat? BUD Yeah. A great big one. Bud opens Meeks' wallet, pulls out a couple hundred bucks and gives them to Mrs. Lefferts. BUD Here. Compliments of the Los Angeles Police Department. INT. FORENSICS LAB - DAY Ray Pinker looks up from an autopsy as Exley enters. PINKER Hey, just in time for our stomach of the week. Frankfurters with sauerkraut, French fries, Coca-Cola, alcohol and sperm. Jesus, what a last supper. The stiff is Matt Reynolds! Pinker continues working away. EXLEY The Nite Owl. Anything bothering you about the case? PINKER Yeah. The fact that you guys won't let it get filed away. EXLEY What are you talking about? PINKER Bud White grilled me on it this morning. You know, he's not as dumb as I thought. As Exley's head swims... EXT. LEFFERTS' HOUSE (SAN BERNARDINO) - DAY Mrs. Lefferts waters the grass, watches as a car pulls up. Exley gets up, starts toward her. She drops the hose and runs for the front door Exley cuts her off. MRS. LEFFERTS Let my Susie rest in peace! EXLEY Mrs. Lefferts, I just want to ask a few questions. MRS. LEFFERTS That other policeman already checked under the house and found not a thing amiss. EXLEY Officer White? MRS. LEFFERTS A sweet man. EXLEY (thinking out loud) Under the house. MRS. LEFFERTS All he found were rodents. No signs of foul play. So there. Exley spots the entrance to the crawlspace. He hurries over, enters nearly flat on his belly. Mrs. Lefferts calls in after him. MRS. LEFFERTS My daughter was a virgin! EXLEY (O.S.) I don't doubt it -- Oh, God. INT. HOLLYWOOD STATION - JACK'S DESK - DAY Jack sits unshaven and hung-over, the dregs of the Scotch bottle on the desk. He considers a framed "Badge of Honor" photo: Jack and Brett Chase, before a banner "To Protect and Serve." Jack punches a fist through it. INT. LAPD - FORENSICS LAB - DAY Exley walks alonside as a body bag is wheeled into the lab atop a gurney. Pinker steps over. EXLEY I need an I.D. ASAP. You talk only to me on this one. INT. JACK'S DESK - DAY Sitting in disgust, Jack spots something amidst all the clutter -- the Great Jerk-Off Books of 1962. He flips one over, looks at the Fleur-de-Lis stamp. Jack remembers something Matt Reynolds told him. He dials the phone. JACK Yeah. Sergeant Jack Vincennes requesting. I need the home address on a Pierce Patchett. OPERATOR (V.O.) Please hold, Sergeant... As Jack waits, Exley appears in front of him. EXLEY I need to speak to you. JACK Give me a minute, will ya? Exley clicks off the phone. JACK Damnit... What? EXLEY I want you to follow Bud White. JACK Even I'm not that crazy. EXLEY It's not a request. I need to know what White knows. Follow him or I'll have you pulled off 'Badge of Honor.' Permanently. JACK Yesterday that might've meant something. Pull me off. You'd be doing me a big favor. EXLEY Yesterday yes, today no. What happened last night? JACK Transfer me, suspend me. Just leave me alone. EXLEY You make a mistake? JACK Yeah. My whole life. Jack stands, heads out. Exley follows; he needs help. EXLEY Listen, I think I made a mistake, too. JACK I ain't a priest, Lieutenant. I can't hear your confession. EXLEY Do you make the three Negroes for the Nite Owl killings? JACK What? EXLEY It's a simple question. JACK You should be the last person who wants to dig any deeper into the Nite Owl, Lieutenant. Exley watches as Jack continues down a hall. Then: EXLEY Rollo Tomasi. Jack stops, looks back at him. JACK Is there more to that, or do I have to guess? EXLEY Rollo was a purse snatcher. My father ran into him off duty. He shot my father six times and got away clean. No one even knew who he was. I made the name up to give him some personality. JACK So what's the point? EXLEY Rollo's the reason I became a cop. I wanted to catch the guys who thought they could get away with it. It was supposed to be about truth and justice and Rollo. But somewhere along the way I forgot all that... How about you, Jack? Why'd you become a cop? Jack looks like he might cry, but smiles instead. JACK I don't remember... Both men are quiet a moment. JACK I'm trying to figure what angle you're playing this time, but I sure as hell can't see one. EXLEY I've given up angles for awhile. I just want to solve this thing. JACK The Nite Owl was solved, Lieutenant. EXLEY I want to do it right. So does Jack. JACK Okay, college boy, I'll help you. But I want half the collar. EXLEY A third. I don't think we can make a case without Bud White. EXT. BROWN DERBY - DAY A Packard pulls up out front. Bud gets out, heads inside. Another car pulls up across the street. CLOSE ON JACK Watching Bud. Jack gets out, starts across the street. INT. BROWN DERBY - BAR - DAY At the bar, Johnny Stompanato looks over as Bud joins him. Stompanato isn't happy about it, but he smiles anyway. STOMPANATO Wendell White, how's tricks, paesano? BUD I ain't your paesano, you wop cocksucker. Nervous, Johnny taps his pinkie ring on a bottle of beer. STOMPANATO What do you want, officer? BUD You remember an ex-cop named Buzz Meeks? He works for a guy named Patchett. Johnny taps his ring harder. The bottle almost tips. STOMPANATO Should I? BUD His file listed you as a known associate. Now spill. STOMPANATO Oh, yeah. That was a long time ago. Before your day. The last few years he's been muscle for hire. But I heard he's disappeared. BUD More. STOMPANATO More's gonna cost you. Bud's hand flashes out, grabs Stompanato by the crotch. BUD How 'bout I give you your balls back? STOMPANATO (in considerable pain) Before Meeks disappeared he was popping off about trying to move eighteen pounds of heroin. BUD Bullshit. Where would a two-bit ex-cop get 18 pounds of heroin? STOMPANATO Deuce Perkins. Mickey C's narcotics lieutenant. The night he got clipped, eighteen pounds of Mickey's heroin went missing. Bud loosens his grip. Stompanato gasps for air. DOOR Jack peels in, catches a glimpse of Bud and Stompanato. Too far away too hear anything, Jack quickly ducks out. BAR Stompanato's recovering. STOMPANATO Meeks is probably in Rio or someplace like that by now. BUD He's under a tract house in San Berdoo. And he don't smell too good. What happened to the heroin, Johnny? STOMPANATO I don't know. I swear it! Bud starts to raise a hand. Stompanato cringes, but Bud just slaps a twenty down on the bar and goes. INT. BROWN DERBY - PHONE BOOTH - DAY Jack's on the phone to Exley. JACK He's in the Brown Derby with Johnny Stompanato. (sees Bud exit) Check that. I gotta go. EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY Jack pulls up, sees Bud knock on the front door. It opens and Bud steps in. Jack doesn't see who opens it. EXT. BUSHES - 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY LEAVES RUSTLE. There's movement in the underbrush. Jack appears, followed by Exley. Jack pulls a gun as they near a window. EXLEY What's that for? JACK Bud White. He sees us and we're dead. They press up to the glass for a partial view. Bud White sits on a footstool massaging a pair of women's feet. Jack and Exley exchange a long, curious look. This isn't the Bud White they're used to. A pair of woman's hands take Bud, the arms covered in glitter and satin. The woman, Lynn Bracken, leans forward to kiss her policeman. It may have been a long day, but she's every inch Veronica Lake. Only the hair's not over her eye. They stand, kiss again. Lynn's gown spills down around her ankles. Bud scoops Lynn into his arms and the two of them disappear into a bedroom. A long beat before... JACK Jesus... Maybe White's not so dumb after all. EXLEY Rita Hayworth at the morgue and now Veronica Lake with White. What the hell's going on? JACK Movie star hookers. Whatever you desire... It's Fleur-fr-Lis again. EXLEY What's Fleur-de-Lis? JACK High line whores. With plastic surgery to look like movie stars. And who knows what else? It's run by this guy Pierce Patchett. You want to talk to him? EXLEY Yeah. But first I want to brace Stompanato. INT. BROWN DERBY - ENTRANCE - DAY Exley and Jack enter. EXLEY Check the bar. I got the restaurant. RESTAURANT Exley scans. There's Stompanato with a girl who looks amazingly like "LANA TURNER." Engrossed, Stomapanato doesn't look up till Exley's nearly on top of him. STOMPANATO Hey, you want an autograph, write to M-G-M. EXLEY Since when do two-bit hoods and hookers give out autographs? STOMPANATO What? As Stompanato stands, Exley flashes his badge. EXLEY L.A.P.D. Sit down. "LANA" Who in the hell do you think you are? EXLEY Take a walk, honey, before I haul your ass downtown. "LANA" Who in the hell do you think are?! STOMPANATO You are making a large mistake. As Jack arrives, Lana tosses a drink in Exley's face. "LANA" Get away from our table! EXLEY (grabs her wrist) Shut up. Being cut to look like Lana Turner doesn't mean you are Lana Turner. Jack pulls him aside. JACK She is Lana Turner. EXLEY What? JACK She is Lana Turner. INT. EXLEY'S PLYMOUTH - SUNSET Rolling. The sky glows ahead. EXLEY How was I supposed to know? A moment before Jack begins to laugh. Exley joins him. EXT. 1184 GRETNA GREEN (PIERCE PATCHETT'S) - NIGHT Exley's Plymouth is parked on the street. INT. 1184 GRETNA GREEN (PATCHETT'S) - LIBRARY - NIGHT In a silk robe, the unflappable Pierce Patchett smiles at Exley. Jack stands alongside. PATCHETT I believe the Nite Owl's your area of expertise, Mr. Exley. I saw you on television getting your medal. (turns to Jack) And you're that other celebrity Hollywood policeman, aren't you? A beat. Exley and Jack don't look like they appreciate being joked with. Patchett finally sighs. PATCHETT I'll tell you what I told Officer White when he asked me about Susan's death. EXLEY (a look to Jack) Bud White's been here? PATCHETT For the last time. I may suborn women into illicit activities, but they're handsomely compensated, I treat them well and make sure the men they deal with show them every due respect. EXLEY Is the Veronica Lake look-alike one of your whores? PATCHETT A vulgar term, but yes. EXLEY What's her name? PATCHETT Lynn Bracken. EXLEY Why's she seeing Bud White? PATCHETT Why do men and women usually see each other? EXLEY Anything else you want to add before I talk to her? PATCHETT No. EXLEY Not good enough. PATCHETT (unfazed) Then try talking to my lawyer. Good evening, gentlemen. EXT. 1184 GRETNA GREEN - NIGHT Exley and Jack head for the car. JACK Guy's as cool as they come. A call CRACKLES in over Exley's RADIO. Exley picks up. EXLEY This is Exley. DISPATCHER (V.O.) Ray Pinker wants to talk to you, Lieutenant. Says he has your I.D. EXLEY Tell him Sergeant Vincennes is coming in to talk to him. JACK What are you going to do? EXLEY I'm going to Lynn Bracken's. I'll meet you at the Dining Car. JACK Great. You get the girl, I get the coroner. INT. LIBRARY (1184 GRETNA GREEN) - NIGHT Watching Exley and Vincennes from the window, Patchett picks up the phone, dials. HUDGEONS (V.O.) (over phone) Hush-Hush. Off the record and on the Q.T. INT. 1736 NOTTINGHAM (LYNN'S) - LIVING ROOM - NIGHT KNOCKING on the door. Lynn answers to reveal Exley. EXLEY Miss Bracken, I'm Lieutenant Exley. LYNN I know who you are. You're the policeman Bud told me about. EXLEY Really? What did White say? LYNN He said you were smart. He also said you were competing with your dead father. How did he put it? Trying to measure up to a ghost. Exley lets it pass. As he enters... EXLEY Let's concentrate on my smarts. Pierce Patchett made you, didn't he? He taught you how to dress and talk and think and I am very impressed with the results. But I need some answers and if I don't get them, I'm going to take you and Patchett down. LYNN He can take care of himself and I'm not afraid of you. And you forgot one thing, Lieutenant. Pierce also taught me how to fuck... Can I get you a drink? Exley can't help but smile. Lynn smiles back. EXLEY Scotch. Exley watches her as she steps over to fix the drinks. LYNN I'm curious about you. EXLEY Why? She hands him his drink. LYNN Because Bud hates you more than he loves me. Exley stews. Lynn watches him over the rim of her glass. LYNN It galls you that I know so much about you. You don't have information to compete. EXLEY Don't underestimate me, Miss Bracken. LYNN The way you've underestimated Bud White? Exley's had it. A menacing step forward. Lynn's smile becomes a laugh. Lost to himself, Exley leans in and kisses her. Lynn pulls back, then kisses back. In a beat, they're rolling to the floor, shedding clothes. As they trash the furniture, Lynn looks over his shoulder at her own reflection in a closet door mirror. REVERSE ANGLE - INSIDE CLOSET Two-way glass. Sid Hudgeons is in here SNAPPING pictures. As Lynn and Exley continue with their frantic lovemaking... INT. FORENSIC LAB - NIGHT Ray Pinker rubs his tired eyes. PINKER God bless dental records. Stiff used to be a cop. Turner Meeks. JACK Buzz Meeks? PINKER You knew him? JACK Of him. He was around when I first joined the force. A bad egg. Pinker could care less. As Jack's wheels turn... INT. LAPD - RECORDS ROOM - NIGHT Jack searches dusty filing cabinets with dates like 1939 and 1940. Reading one headed "Meeks," Jack lets out a low whistle. He's found something. INT. PACIFIC DINING CAR - NIGHT Jack waits at the bar, watches the door anxiously. JACK Come on, Exley. Where are you? INT. 1736 NOTTINGHAM (LYNN'S) - LIVING ROOM - NIGHT Spent, Exley and Lynn sit, half-dressed, on the floor. They're quiet. Then, through a smile: EXLEY How was I? LYNN Oh, the best I ever had. Absolutely the best. EXLEY (laughs) You sound like you mean it. LYNN The silver screen's loss is your gain. EXLEY How about White? LYNN You want to know what Bud's like in bed? She actually embarrasses him with that one. EXLEY I want to know why you see him. Is it a Patchett payoff? LYNN I see Bud because I want to. I see Bud because he can't hide the warmth he has inside him. EXLEY I'll take your word for it. LYNN I see Bud because he makes me feel like Lynn Bracken and not some Veronica Lake look-alike who fucks for money. I see him because he doesn't know how to disguise who he is. There's more if you want to hear it. Exley shakes his head. He's heard enough. LYNN Does all that make it harder for you to hate him or easier? EXLEY I don't hate White. I really don't. It's just, in my business, it's the wild cars you have to watch out for. LYNN You don't like that you don't know how to play him. He doesn't follow the same rules of politics you do. That makes him dangerous. EXLEY You cut to the heart of things, don't you? What about Lynn Bracken? She going to be a hooker all her life? LYNN I came out here with a dream. That's gone, but I settled for reality. EXLEY Some reality. LYNN No. This is the means to the reality. But I'm not going to tell you what it is. EXLEY Why not? LYNN Because you'll use it against me. Won't you? Exley doesn't answer, but the answer is yes. Lynn smiles. LYNN You're tougher than Bud thinks you are. EXLEY (smiles) You're the first person to ever call me tough. LYNN Like recognizes like. I'm pretty tough, myself. EXLEY You, me and White, huh? LYNN Actually, Bud's only tough on the outside. As Exley kisses her... IN CLOSET Exasperated that he's still stuck in here, Sid Hudgeons checks his watch, shakes his head in disgust. EXT. 9608 VENDOME (SILVERLAKE) - NIGHT Jack knocks at a darkened house. The porch lights come on. The door opens to reveal Dudley Smith in his bathrobe. DUDLEY John Vincennes. It's three A.M., lad. JACK Two minutes, Dudley. It's important. DUDLEY Lucky for you that my wife and four fair daughters are at the beach in Santa Barbara. INT. 9608 VENDOME - KITCHEN - NIGHT Jack sits at the table while Dudley makes coffee. JACK You remember Buzz Meeks, Dudley? DUDLEY A disgrace as a policeman. Straight D fitness reports from every C.O. he ever served under. What about him? JACK Twelve years ago he worked a vice roust with Dick Stensland. They arrested a Pierce Patchett on an extortion scam. Guy ran hookers. He'd have them photographed with their johns, then double-dip for some blackmail. Charges got dropped. Insufficient evidence. You were supervising officer on the case and I was wondering if you remember anything about it. DUDLEY What's this all about, lad? JACK Part of it has to do with a murder. I've been working with Ed Exley on it. DUDLEY You're Narco, lad, not Homicide. And since when do you work with Edmund? JACK It's a private investigation. I fucked something up and I want to make amends. DUDLEY (smiles, then...) Don't start trying to do the right thing, John. You haven't had enough practice. Dudley walks over, hands Jack his coffee. DUDLEY Have you discussed this with anyone else, John? JACK No. DUDLEY Not even with Exley? Jack shakes his head. Dudley raises a REVOLVER. He FIRES it at point-blank range, right into Jack's heart. Jack hits the floor, his cheek pressed flat on the linoleum. Jack opens his mouth to speak. His lips form the words, but no sound comes out. Dudley crouches down beside him. JACK Have you a valediction, lad? Dudley leans low, gives Jack an ear. As he dies... JACK Rollo Tomasi... Dudley frowns in ignorance at the name. INT. LAPD HEADQUARTERS - BRIEFING ROOM - DAY Nothing mobilizes the police like losing one of their own. Dudley is at the podium along with Exley. Dozens of detectives take notes, including Bud White. DUDLEY Sergeant Vincennes' body was found in Echo Park at ten o'clock this morning. Killed by a single .38 round to the heart. One of our own, gentlemen. We cannot tolerate it. Justice must be swift and merciless. That's all. As the men move odd, Dudley approaches Exley. DUDLEY Edmund, a word with you. We received a tip this morning. Did Vincennes ever mention the name Rollo Tomasi? Exley tries to look like he's thinking as Jack calls from the grave. Screaming the name Dudley! EXLEY No... Where'd the tip come from? DUDLEY Anonymous. Probably nothing. As Dudley moves off, Exley watches him go. Scared. INT. LAPD HEADQUARTERS - BUD WHITE'S DESK - DAY Bud looks over as Dudley sits down across from him. DUDLEY You're perplexing to me these days, Wendell. You're not your old, cruel self anymore. I need proof that the extracurricular work I had planned for you remains within your grasp. BUD What work? DUDLEY I've long been involved in containing hard crime in such a way that myself and a few colleagues might someday enjoy a profit dispensation. That day will soon be here and you'll share handsomely. Grand means will be in our hands, Wendell. (MORE) DUDLEY (CONT'D) Imagine crime limited to the criminal element who perpetrate it. Imagine the means to keep the nigger filth sedated. But don't stop there. Extrapolate. Imagine the police in control. It's big, lad. BUD You lost me, Dudley. I don't know what you're talking about. DUDLEY You have your extracurricular secrets, I have mine. We'll hold a clarification session soon. For now, I need your fearsome old habits at the Victory Motel. We're going to brace a man who may know who killed Jack Vincennes. Can I count on you? BUD Sure, boss. Sure you can. INT. FORENSICS LAB - DAY Pinker looks up as Exley enters. EXLEY I want to know what you and Jack Vincennes talked about last night. Anything and everything. Start with the I.D. on the corpse. A put-upon Pinker sighs. PINKER An ex-cop. Buzz Meeks. I pulled his police academy photo. Pinker goes to his desk for a twenty-year-old photo of Meeks. he hands it to Exley, whose wheels are turning. EXLEY We got a dead ex-cop and a girl who looks like Rita Hayworth at the Nite Owl. Another dead ex-cop under the house of Rita's mother. It's not a good week for ex-cops. PINKER I got Vincennes in the next room. It's not a good week for cops in general. EXT. VICTORY MOTEL - DAY A RAIN STORM has turned the courtyard into a mud bath. As usual, a light burns in room six. Bud White parks alongside the other cars already here. He makes a dash for the door. INT. VICTORY MOTEL - ROOM SIX - DAY Sid Hudgeons is cuffed to the hot seat. Dudley sits across from him. Dudley's henchman Breuning looms. Bud enters. DUDLEY This is Mr. Hudgeons, Wendell. HUDGEONS I'm happy to cooperate. You don't need to tie me down. DUDLEY It's for your own safety. Now what can you tell us about Sergeant John Vincennes? HUDGEONS Trashcan Jack. The Big V. I can tell you he's on the Night Train to the big adios. Breuning cuffs Hudgeons in the side of the head. HUDGEONS Take it easy! I didn't have anything to do with him getting killed if that's what you mean. DUDLEY But you were business associates? HUDGEONS What does that have to do -- Breuning cuffs him again. HUDGEONS Okay so we worked together. It was an information exchange. I got him first class collars and he got me good stories. We were friends for Chrissakes! DUDLEY Alright. We'll drop that line for now. Next topic. Please comment on Pierce Patchett. Bud looks over at mention of the name. HUDGEONS You think he had something to do with Vincennes getting iced? Dudley sighs, looks to Bud. DUDLEY Wendell. I want full and docile cooperation on all topics. Hudgeons flinches as Bud steps up, twice Breuning's size. HUDGEONS Okay. Okay. Everyone knows Patchett's worth a boat-load of greenbacks. From aviation, freeway construction. But the man has hobbies, too. He bankrolls B movies under the table and runs movie star look-alike hookers. And try this on: he's rumored to be a periodic heroin sniffer. All in all a powerful behind-the- scenes strange-o. DUDLEY And? HUDGEONS And what? Bud digs a fist into Hudgeons' gut. As Hudgeons gasps to get his breath back. DUDLEY Reciprocity, Mr. Hudgeons, is the key to all relationships. HUDGEONS He runs call girls. Primo tail. Fixed up like movie stars. Bud looms, rests his hands on the back of Hudgeons' chair. He doesn't like where this is going. DUDLEY And? HUDGEONS In my car. Blackmail shit. The trunk under the carpet. Patchett got me to photograph a cop fucking this gorgeous cunt Lynn, looks just like Veronicaaa -- Wooden slats pop as Bud tears the bolted chair right out of the floor. Hudgeons and the chair land sideways. DUDLEY Wendell! Bud can't hear him. He uprights the chair one-handed. As his fist cocks back, he's restrained by Breuning and Dudley. This is no act. They can barely hold Bud back. HUDGEONS Get him away from me! Bud breaks free, heads outside. EXT. VICTORY MOTEL - HUDGEONS' CAR - DAY Bud jams a tire iron into the trunk seam and pops it with a ferocious yank. He tears at the carpeting. A manila envelope. Bud rips it open and 8x10 glossies of Exley and Lynn spill out. Raindrops dot them, as Bud's in his Packard and tearing out of there. INT. VICTORY MOTEL - ROOM 6 - DAY Dudley and Breuning watch from the door. DUDLEY I wouldn't trade places with Edmund Exley right now for all the tea in China. Breuning laughs. So does Hudgeons. HUDGEONS Dudley, I thought you were gonna let the dumb bastard kill me. (to Breuning) And you! Learn to pull those punches a little better. Dudley and Breuning stare at him. A bit grimly. HUDGEONS You can uncuff me now, fellas. But no one moves to do so. HUDGEONS Fellas? (nervous) We had a deal. You, me and Patchett, We're a team! (scared) Come on, we're friends. We're -- As Hudgeons protests, Dudley slaps a hand over his mouth. DUDLEY Hush-hush... As Breuning and Carlisle move in... INT. RECORDS ROOM - LAPD - DAY A wormish CLERK searches dusty filing cabinets with dates like 1939 and 1940. The same ones Jack looked through. Exley steps over from another row. EXLEY Anything? CLERK Nothing. EXLEY So on active duty, Meeks didn't make an arrest from 1938 to '43. CLERK Someone must've pulled the records. Exley ponders the implications. Taking out the photo of Meeks, he gets an idea. EXLEY Where are the police academy files? CLERK I don't have time. I have -- EXLEY Just show me where they are! EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY Blue, Lynn sits on her porch watching the rain come down. A SCREECHING on the wet street as Bud's PACKARD pulls up. She watches as he gets out and starts for the house. Lynn stands, holds her arms out. Bud stops short on the steps, out of reach, the rain soaking him. BUD Did you talk to Exley? LYNN Come in out of the rain. In the morning we'll have both our stories for breakfast. Lightning flashes. Bud shakes hs head. BUD I want to know about Exley. LYNN He's the opposite of you. He's more like me. Cold, calculating. BUD How'd you get to know so much about him? More lightning. Lynn looks God-awful sad. LYNN Come in out of the rain, Bud. BUD You gonna tell me what happened with you and Exley? LYNN We talked. BUD So tell me about it. LYNN (looking away) In the morning. BUD No. Now. (a beat) You fucked him. Too tired to lie anymore, Lynn finally just nods. LYNN I thought I was helping you. I thought -- Bud backhands her, hard. Lynn faces straight into the next one as Bud hits her again. A third time as the sins of the father are visited on the son. Bud stops short as the self-realization slams home. Lynn waits stoically. She doesn't start crying till Bud turns and runs back into the rain. INT. RECORDS ROOM - LAPD - DAY Drawers are open. Files are everywhere. Exley's reached the end of the line. As he looks through one last file, he finds a stack of official photos. Then he stops short. There's a photo of four cadets and an academy instructor. Two of the cadets are IDed as Turner Meeks and Dick Stensland. The instructor is Dudley Smith! Exley looks up at the sound of FOOTSTEPS and Bud is there. Fury. He slams Exley, knocks him flat. Bud's here to kill him. He hauls Exley up, pummels him, then throws him over the table. Then up into a wall. Plaster cracks. Bud's on some gonzo animal plane. Bud strangles him. Exley gags. It'll be over in moments. Until Exley's flailing hands finds Bud's .38. Yanking it from his waistband, Exley smashes Bud in the forehead. Bud reels. But, blind with rage, he moves back in only to have the barrel of the .38 placed right between his eyes. EXLEY Why? BUD Lynn. EXLEY She told you? Bud shakes his head. He's coiled, ready to make a move. EXLEY Who told you? Did Dudley have anything to do with you finding out? Bud hesitates, the answer obvious. EXLEY Listen to me. Dudley killed Jack. It has something to do with Buzz Meeks. Exley points out the academy photo on the floor. EXLEY Look. Dudley and Meeks go way back. Stensland, too. Bud sees, but does he really? As Bud reaches for the photo, Exley relaxes slightly. Bud slaps the gun away, drops Exley to the ground. He grabs, begins slamming his head into the floor. EXLEY Think, goddamn you. Think... Exley's almost out. But maybe Bud heard him. The attack slows, stops as Bud does think. Exley stays conscious. BUD I knew Stensland and Meeks knew each other. Meeks was with Sue Lefferts on Christmas Eve. The night I met Lynn. Lefferts' mother I.D.ed Stensland as Lefferts' boyfriend, but Stens pretended he didn't know either one of them. EXLEY Stensland and Meeks. What were they up to? BUD Johnny Stompanato told me when Meeks disappeared, he was trying to move the 18 pounds of heroin that went missing when Deuce Perkins was shot. EXLEY Stensland and Buzz Meeks. Two-man triggers knocking off Mickey Cohen lieutenants. When they killed Deuce Perkins, they got heroin as a bonus. BUD Then something goes wrong. Meeks gets killed. Maybe Stens got greedy, killed Meeks and left him under his girlfriend's house. (a beat) The night he died, Stens was all mysterious. Said he had something big going down. EXLEY The Nite Owl! Stensland was going there to sell the heroin. BUD Somebody got wind of it, killed them all. EXLEY It wasn't the Negroes. The Griffith Park report was a phony. And, who says the purple Merc was spotted outside the Nite Owl? BUD Dudley. EXLEY The first guys to the car when Jack and I got there were Bruening and Carlisle. BUD Dudley's guys. EXLEY They didn't find the shotguns. They planted them. BUD It all keeps coming back to Dudley. EXLEY It's Dudley for the Nite Owl. They just stare at each other a beat as it sinks in. EXLEY Pierce Patchett figures in, too. That's the angle Jack was working. Dudley must work for Patchett. BUD Let's just kill them. EXLEY What? BUD For Jack, for Stensland, for anybody else who got in the way. I've been trying to be smart. A detective. But killing those two fuckers, that would be justice. EXLEY Stay smart, Bud. We build a case. We play by the rules. BUD There are no rules! Why the fuck are you doing this? The Nite Owl made you. You want to tear all that down. EXLEY With a wrecking ball. You want to help me swing it? Bud smiles. For a second he likes Exley. EXLEY Let's go see Pierce Patchett. Run a good-cop-bad-cop. BUD Which one are you and which one am I? EXT. 1184 GRETNA GREEN (PIERCE PATCHETT'S) - DAY Exley and Bud make their way up the walk. Bud pulls his .38 from its shoulder holster, shoves it in his waistband. EXLEY You expecting problems? BUD Patchett uses a lot of ex-cop muscle. FRONT DOOR Exley RINGS the BUZZER. Looking back, Bud sees a pitching wedge and pile of golf balls abandoned in the grass. A single ball floats in the koi pond. Bud's eyes narrow at the sight. Not like Patchett at all. BUD Come on. And Bud shoulders the heavy door right off its hinges. INT. 1184 GRETNA GREEN - HALLWAY - DAY Bud draws his .38 as he strides in. Exley tries to keep up. EXLEY (a screaming whisper) What? Double doors on the left open into a library. Bud stops short, slowly lowers his gun. Exley steps up beside him. LIBRARY Hanging from a ceiling light, Patchett's body slowly twists around, a toppled chair beneath him. EXLEY I don't think his ex-cop did him much good. Bud goes to the body while Exley heads for a side table on which rests a typed sheet of paper. Bud checks Patchett's right hand, the knuckles are split, two of the fingers badly distended. EXLEY It's a suicide note. Says he killed Jack because Jack had figured out a pornography scam Patchett was running. BUD He had help getting up there. Two of his fingers are broken. EXLEY We had one thing figured wrong. I don't think Dudley workd for Patchett. BUD At least not anymore. EXLEY Patchett's dead. He sent you after me. I'd say Dudley's tying up his loose ends. BUD (it hits him) Lynn. Bud dashes to the PHONE, dials. It RINGS. No one answers. EXLEY I got a guy who owes me in the Sheriff's department. West Hollywood station. He can be at her house in two minutes. Bud shoves the phone into his hand. BUD Call him. EXT. 1736 NOTTINGHAM (LYNN BRACKEN'S) - DAY A county sheriff's unmarked parked out front. A DEPUTY behind the wheel. Exley's Plymouth pulls up behind. The Deputy gets out. MOVE WITH him as he steps BACK TO Exley, who's rolling down his window. EXLEY Is she inside? DEPUTY We took her to Hollywood Station for safekeeping. Someone worked her over pretty good. She wouldn't say who. Exley looks at Bud. Bud looks down in shame. EXLEY Hold her as Joan Smith. No one sees her unless I okay it. DEPUTY You got it, Exley. And now we're even. As the Deputy moves off. EXLEY Ellis Loew. BUD What about him? EXLEY Jack thought he was up to his neck in all this. INT. DISTRICT ATTORNEY'S OUTER OFFICE - DAY A SECRETARY looks up as Bud and Exley beeline Loew's door. SECRETARY You can't go in there! INNER OFFICE Loew looks up as they burst in. SECRETARY Do you want me to call the police, Mr. Loew? EXLEY Ask for Captain Dudley Smith. We'll have a party. Hot dogs and sauerkraut. A beat as Loew considers his options. LOEW It's okay. These are police. (as she leaves) What do you want? EXLEY I want D.A. bureau men to tail Dudley Smith twenty-four hours a day; I want you to get a judge to authorize a wire tap on his home phone; I want authorization to check his bank records and I want it all in an hour. LOEW On what evidence? EXLEY None. Call it a hunch. LOEW (incredulous) Absolutely not. Dudley Smith is a highly decorated member of this city's police department and I won't smear his name without -- EXLEY Without what, his smearing yours first? What's he got on you, Loew? Pictures of you and an out of work actor with your pants down? LOEW Do you have any proof? EXLEY The proof had his throat slit. (a beat) So far you're not denying it. LOEW I'm not going to dignify youwith answers. If you'll excuse me, I've got a Jack Vincennes press conference to prepare for. Loew enters his bathroom. Bud looks to Exley who nods: Go. OFFICE BATHROOM Loew is at the mirror clipping a few stray nose hairs. Bud enters full of menace followed by Exley. LOEW Unless you're here to wipe my ass, I think we're through. Bud just glares at him. Loew shakes his head. LOEW Don't try this good cop/bad cop with me. I practically invented it. And so what if some homo actor is dead. Boys, girls, ten of them step off the bus to L.A. every day. The MIRROR SPIDERWEBS as Bud slams Loew's face into it. Bud swings him around, forces him forward and shoves his head in the toilet. He holds it there, finally lets Loew up for breath. Then backhands: one, two, three. BUD Dudley Smith. Spill. LOEW Call him off, Exley! EXLEY I don't know how. More backhands. Holding Loew by the scruff of the neck, Bud marches him past Exley and back into the... INNER OFFICE Bud heaves up the window, practically throws Loew through it. Loew catches hold of the window framing. Bud hammers his hands loose with a fist and pushes him through. OUTSIDE Bud holds his leg. Loew screams as coins, comb and wallet spill from his pockets, plummet toward the street below. INNER OFFICE Bud shakes Loew, could drop him at any time. EXLEY Bud... BUD If I let you go, there'll be ten more lawyers to take your place tomorrow. They just won't come on the bus, that's all. OUTSIDE We hear Loew's PANT LEG TEARING loose. LOEW Okay! You're right! Dudley's got photos of me and Reynolds. EXLEY What's Dudley's scheme? More TEARING. Loew's life may depend on the answer. LOEW Dudley's rotten to the core. He's taking over Mickey Cohen's rackets, his own hand-picked cops'll be the new franchise holders. Because of those pictures I won't be able to prosecute. Oh Jesus pull me up! INNER OFFICE Exley helps pull Loew back inside. Bud dumps him on the floor. Bruised and bloodied, Loew looks up at Exley. LOEW Dudley's got everyone under his thumb. Not just me, but the Chief of Police, the lieutenant governor, everybody! Exley pulls his .38, shoves it into the side of Loew's neck. EXLEY Not everybody. You tip-off Dudley and Officer White visits you alone next time. Loew looks at Bud, nods, his face a bloody mess. EXT. CITY OFFICE BUILDING - DAY Exley and Bud exit. Bud's wheels are turning. BUD They never made a match on the shotgun serial numbers. What if Breuning and Carlisle took them from the evidence room? Couple of cold pieces that had been hanging around a year or two. EXLEY We should check the records, and, we should talk to Lynn. Bud just stares at him a beat. EXLEY You want to talk to her? Bud looks away, shakes his head "no." Finally... BUD You do it. I'll check the files. INT. SHERIFF'S DEPARTMENT - HOLDING ROOM - DAY Lynn looks up as Exley enters. her face is puffy, swollen. LYNN (dry) If I knew you were coming I'd have baked a cake. EXLEY Forget everything else for a second, Lynn. Is there anything you can give me on Dudley Smith? A blank look from her. EXLEY A police captain. I think he's behind all of this. LYNN (shakes her head) I work for Patchett. I had a feeling that there was someone else, but I never knew who. EXLEY Okay. Look, if it helps, Bud hates himself for what he did. LYNN (a beat) I know how he feels. A beat as Exley wonders how he should interpret this. EXLEY I don't know if it's pathetic or romantic, but when this is all over I'd like to see you again. Lynn looks away, can't help an ironic smile even as she starts to cry. As Exley gives her his handkerchief... INT. LAPD - EVIDENCE ROOM - NIGHT Bud waits at the cage window as a RECORDER returns with some information. RECORDER I got your guns, Bud. Signed in April 3rd, 1950. Remember the First Western bank robbery? They were used in that. BUD I want to see them. RECORDER No can do. I can't find them. As Bud thinks, a ROOKIE-TYPE approaches. ROOKIE-TYPE Uh -- Sergeant White? BUD What? ROOKIE-TYPE Dispatch just got a call for you. Lieutenant Exley wants you to meet him at the Victory Motel. EXT. VICTORY MOTEL - SUNSET Bud's Packard crests the rise looking down on the Victory. Exley's Plymouth is in the courtyard. INT. VICTORY MOTEL - ROOM 6 - SUNSET Exley in the hotseat. Sitting there thinking. At a CAR DOOR CLOSING, he goes to the door. ANOTHER ANGLE Exley opens the door as Bud approaches, toting a shotgun. The sun is down. The sky is just a dull glow. BUD You wanted to meet here? EXLEY Me? You called it. I got a message that... As the reality sinks in, Bud and Exley hear TIRES on the GRAVEL; CARS are COMING. Being in a concavity, they don't see them yet. Then the CARS STOP. But still Bud and Exley can't see anything. They hear the CLICKS of CAR DOORS OPENING, but they don't hear them shut. There are FOOTSTEPS, MURMURED WHISPERS. More CARS PULL UP. EXLEY Shit... Come on. Exley starts for his car, but Bud holds him back. BUD Too late. A beat. Resigned, Exley nods. They retreat back to Room 6, disappear inside. A beat. There's MOVEMENT in the shadows to the left. To the right. INT. VICTORY MOTEL - ROOM 6 - NIGHT There's a big back window. Bud covers most of it with a ratty old mattress. He pumps the shotgun. He pulls a .45 automatic from his waistband. BUD Here. He throws the auto to Exley, pulls out a .38. Bud's armed for bear. EXLEY You figured this was a set-up? And you showed up anyway? BUD A lot of bad stuff happened here. It's as good a place as any for it to end. Bud switches off the light. They wait in silence. Then: EXLEY You know, all I ever wanted was to measure up to my father. BUD (softly) I spent years trying not to live down to mine. (MORE) BUD (CONT'D) (thinking) We should block off the bathroom. They could come through -- A CREAK outside the front door. Bud levels the SHOTGUN. BOOM! The DOOR is BLOWN OFF ITS HINGES. We see the figure of a man sprawl back in the dirt. In the darkness beyond, MUZZLE FLASHES from all around. Exley and Bud RETURN FIRE. We hear the BACK WINDOW BREAK under a MUFFLED BLOW. Bud charges back, yanks down the mattress revealing two men climbing through. Sitting ducks: torn apart by THREE TRIPLE-AUGHT ROUNDS close in. A beat, then... EXLEY We got him! Bud smiles, in on the plan as theres an answering WHOOP. A third man looks through the window. BOOM! Bud nails him. Bud motions Exley to stay put, then slips out the window. EXT. VICTORY MOTEL - NIGHT Bud crouches, looks between the cinder blocks supporting the room. Two sets of feet shuffling along. Bud FIRES the SHOTGUN. Shrieks as the men go down. Bud extends the .38 to fire point blank headshots. Then... Bud flattens himself as a wicked CROSSFIRE TEARS UP ROOM 6. INT. VICTORY MOTEL - NIGHT Exley is forced down as well, lying flat as plaster rains down. The door frame splinters as more Dudley men charge in. Four men with rifles. One is Patchett's Burly Bodyguard. They spot Exley lying there. Hushed whispers as they approach: "Dead meat." "Be careful." Kicks in the side. The men look at each other, sneer. Exley jerks a foot. The foot man stumbles as Exley spins around SHOOTING. FIRING the .45 and his own .38. All four men go down. Exley stands, digs into his pocket to reload. Bud scrambles back through the window. Exley looks over and smiles as Bud reloads the shotgun. It's dead quiet. EXLEY I'm thinking we might walk away from this. At that instant, Dudley steps through the bathroom door. He's got Exley dead to rights. As he squeezes the trigger, Bud leaps forward, pushes Exley hard to the ground. The SHOT passes through Bud's back by his left shoulder blade. It spins him around. A SECOND SHOT to the stomach slows him to a walk as he charges Dudley. A THIRD ROUND SHATTERS Bud's jaw, but still he comes. Driven by rage, his hands reaching for Dudley's throat. He even gets hold before a FOURTH SLUG tears his chest. Bud falls hard. Dudley swings his aim to Exley who's just managed to shake the cobwebs of being flattened by Bud. A frozen moment. DUDLEY I'm loathe to kill my brother officers, Edmund. EXLEY Tell that to Jack Vincennes. To Stensland. DUDLEY Jack was a shame, but Dick Stensland had the audacity to try to sell me my own heroin. Through his whore girl friend. I sent him to make the buy. The rest is history. EXLEY Why? DUDLEY A vacuum, Edmund. That's what we have in Los Angeles. Sending Mickey Cohen up created it. My containment work maintained it. Certain photographs guarantee it. Organized crime has been held back, but there's still a demand for the services it provides. EXLEY And now you'll provide them. DUDLEY Absolutely. Prostitution and gambling are victimless crimes. The heroin we'll run down to the coloreds. Anesthetize them. As long as it's not a middle class problem, no one will care. It's still a crime free city... for respectable people. Dudley aims the .38, cocks back the hammer. We hear DISTANT POLICE SIRENS. DUDLEY This isn't politics, Edmund. There won't be winners and losers when it's over... Dudley doesn't see Bud stir, reach into a pocket. DUDLEY Just the living and the dead. It's always been that way in the Bureau. You should've realized that before you became a detective. It's over. Dudley's finger tightens on the trigger. But Dudley screams as Bud buries a switchblade into his left calf. It took all Bud had left. As he collapses... Dudley wails; Exley dives for Bud's shotgun. Dudley FIRES, misses. A wild SHOTGUN BLAST takes out half the wall. Dudley stumbles out the door. SIRENS BLARE. EXT. VICTORY MOTEL - NIGHT Dudley drops his gun as the cruisers stream down. Exley steps out behind him, but doesn't drop the shotgun. The two of them are bleached white by headlights. Dudley raises his badge over his head. DUDLEY We're policemen! (winks) Let me do the talking. They'll make you Chief of Detectives. Exley steps ahead to block his way. EXLEY No. DUDLEY Why not, lad? Absolute justice? EXLEY Something like that. DUDLEY Really? Would you be willing to rig crime scene evidence to support a prosecuting attorney's working hypothesis? Exley doesn't answer. Dudley smiles. DUDLEY Would you be willing to beat confessions out of suspects you knew to be guilty? Exley glares. Laughing, Dudley brushes by, limps toward the gathering policemen. DUDLEY Are you willing to shoot hardened criminals in the back to offset the chance they'll -- The SHOTGUN BELCHES flame. Dudley goes down, shot in the back. Exley drops the gun, raises his hands over his head. DISSOLVE TO: L.A. MONTAGE "RAGS TO RICHES" PLAYS. EXT. ROSE BOWL PARADE - DAY Riding in a convertible, waving to the crowds is the Grand Marshal -- the new Vice President, a young Richard Nixon. INT. OBSERVATION ROOM - NIGHT A midnight assembly. The Chief, D.A. Loew and several high ranking brass. Their attention riveted THROUGH the one-way glass into... INT. ROOM #1 - NIGHT Bloody, exhausted, Exley sits across from two INTERNAL AFFAIRS DETECTIVES. INTERNAL AFFAIRS #1 You have a lot of explaining to do, Lieutenant. EXLEY Yes. I do. As Exley begins... TELEVISION SCREEN Where we're informed that tonight's episode of "Badge of Honor" is: "Dedicated to the memory of technical advisor Sergeant Jack Vincennes." EXT. VENTURA FREEWAY - CAHUENGA PASS - DAY A ribbon is cut. Eager motorists roll down the blacktop. EXT. GRAUMAN'S CHINESE THEATER - DAY Ronald Reagan applauds as Jane Wyman plunges her hands into fresh sidewalk cement. INT. OBSERVATION ROOM - NIGHT The brass exchange concerned looks and raied eyebrows as they watch Exley THROUGH the glass, his VOICE heard OVER the SPEAKERS. INT. UNION STATION - DAY The Flatnose Frisco loan shark and Cauliflowered Cleveland enforcer seen earlier at the Victory Motel return to L.A., ready to fill the vacuum. EXT. NEWSSTAND - DAY Hush-Hush is delivered. The headline: "Actor Reynolds in his Final Role: Conductor of the Night Train to Slice City." INT. ROOM #1 - NIGHT Exley stares across at the Internal Affairs Detectives. EXLEY That's it. That's the whole story. As Exley looks to the gray-tinted wall mirror... OBSERVATION ROOM Loew leans over, whispers to the Chief. LOEW The press would have a field day with this. CHIEF (a beat) When in doubt, feed them a hero. In this case, we'll need more than one. CUT TO: LOS ANGELES EXAMINER HEADLINE: R.I.P. DUDLEY SMITH Fabled L.A. Cop Dies Defending City from Organized Crime! INT. LAPD HEADQUARTERS - BRIEFING ROOM - DAY Exley in his dress blue uniform. The Chief smiles, pins gold stars to his shoulders. CHIEF Captain Edmund Exley. Chief of Detectives. Los Angeles Police Department. Applause. Flashbulbs. Lynn watches from the back as Exley runs a handshake gauntlet. Finally, he spots her. She's returned to her natural brunette. Looks even better. Exley steps over. EXLEY (ironic smile) I tried to throw it all away and they give it back in spades. EXT. PARKING LOT - DAY Exley walks Lynn out. EXLEY Where will you go? LYNN Bisbee, Arizona. The air's good for pensioners and I know where everything is. EXLEY When? LYNN Right now, before I back down. EXLEY Where is he? Lynn gestures ahead. They walk to her car. She opens the back door. Bud's in the back. Braces on his legs, head sutured. Jaw wired shut and tubes running in and out. But his hands still look strong. Bud forces a smile through the wires, tries to say something, but can't. EXLEY Thanks for the push. Exley takes his hand. Bud squeezes till both men wince. EXLEY You just did what you did. No rank, no glory. Exley slips his Medal of Valor into Bud's hand. EXLEY From me to you. It'll mean something if it's yours. Bud takes it, turns away so Exley won't see the tears. LYNN We should go now. As Exley steps back, Lynn closes the door. PARTY noises drift from upstairs. Exley looks to Lynn. EXLEY Do you think I ever could've been in the running? LYNN Some men get the world. Others get ex-hookers and a trip to Arizona. A beat. Exley wishes he'd gotten the trip to Arizona. She kisses him on the cheek, gets in the CAR. STARTS it. Exley looks back at Bud. Bud presses his hands to the glass. Exley touches his side, palms half the man's size. Hands against hands. The car moves. A turn into traffic, a good-bye TOOT on the HORN. Exley's all alone. As he watches them go... FADE TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Labor of Love.txt b/unformated_scripts/Script_Labor of Love.txt new file mode 100644 index 0000000000000000000000000000000000000000..d225c000953b4d505172f44a3135633e348afe8b --- /dev/null +++ b/unformated_scripts/Script_Labor of Love.txt @@ -0,0 +1 @@ + LABOR OF LOVE by M. Night ShyamalanFADE IN:EXT. ROUTE 476 - OUTSKIRTS OF PHILADELPHIA - NIGHTA three lane highway relegated to one lane. The serpentineline of cars bottlenecks as it slithers by. An arch ofORANGE AND RED FLARES outlines the area of shattered glassand twisted metal.We are at the site of a gruesome car accident. An ambulanceand four police cars are on the scene. Two cars are involvedin the crash. The first, a SILVER CADILLAC with its frontcaved in a perfect semi-circle; there is no-one inside thecar.The second car is a different story entirely. A DARK GREENHONDA PRELUDE crushed against the concrete median thatseparates the South-bound lanes from the North-bound lanes.All the windows have imploded. The original seventeen footlength of the car, compressed to ten. The hood has foldedback into the front seat. This car is not empty! Throughthe sliver that used to be a window, WE SEE a female hand,purple, swollen and bloody.Some drivers have stopped their cars on the shoulder and havewalked over to the flares. A set of cops wave them back. POLICE OFFICER Get back in your cars and continue with the traffic. There is nothing you can do. (beat) Get back in your cars... CUT TO:OFFICER PIERCE speaks to a female OFFICER DANA. OFFICER PIERCE What's the story? OFFICER DANA She's been dead about ten minutes. The jaws are on the way... Ran a license check. Her name is Ellen Parker. Forty-two years old. OFFICER PIERCE What about him?Pierce gestures to a HISPANIC TEENAGER who is cuffed behindhis back and being led to a police car. OFFICER DANA D.U.I. OFFICER PIERCE Shit... How old is he? OFFICER DANA Seventeen. It's his grandfather's car. On his way back from drinking with the 'boys'.Pierce lets it sink in. OFFICER PIERCE Who do we contact for her?Dana checks the papers in her hand. OFFICER DANA Her husband. Maurice Parker. They live in Wynnewood. Married seventeen years.Pierce looks back at what remains of the HONDA PRELUDE.Beat. OFFICER PIERCE There isn't any good left in the world, Dana. Not one damn thing.CLOSE UP of the hypnotic RED AND BLUE LIGHTS that consume thehighway. DISSOLVE TO:EXT. ROAD - EARLY MORNING "TWO WEEKS EARLIER"Just AFTER DAWN. A gentle mist hangs in the air. The calmsuburban streets wait to be flooded with a sea of middleclass homeowners on their way to work...A woman's REEBOK CROSS-TRAINERS move along the sidewalk...long, brisk steps, steps people have when walking with apurpose...The Cross-Trainers enter the doors of a bakery store secondsafter a man turns a window-sign from "CLOSED" to "OPEN"...This happens with precision timing, not losing a step... awell practiced routine. CUT TO:INT. ANGELO'S BAKERY - MORNINGANGELO, a large man, black slicked hair -- has laid out threeidentical loaves of RAISIN BREAD on the counter. ANGELO Very good batch today.We finally see the person standing in the REEBOK CROSSTRAINERS... MRS. ELLEN PARKER, a woman in her forties with aheart-warming smile and wise glint in her eyes. The kind ofwoman that somehow becomes more beautiful with age.She carefully squeezes each loaf. Her hand hovers over themiddle loaf. ELLEN That one. CUT TO:INT. KITCHEN - MORNINGTwenty minutes later. The basket of the "chosen" raisinbread is placed on the center of a table. Ellen covers itwith a cloth napkin.The eggs sizzle in a pan. We find Ellen cooking breakfast.A stunning African Grey Parrot sits proudly on Ellen'sshoulder. CLAUDE is a breathtaking creature with greyfeathers and a cherry red tail.The DOOR BELL RINGS. CUT TO:FRONT DOORwhere a delivery man hands over a bouquet of VIOLET ORCHIDS.Claude, still perched on Ellen like a clothing accessory,spreads his impressive wings defensively. The delivery manscans the far wall to find a collection of bird photographs.A dazzling collection of all kinds of birds, elaboratelyframed and hung.Ellen signs the release and closes the door. She takes adeep smell of the violet orchids and looks down the hall tothe open bedroom door with a glowing smile. We CATCH AGLIMPSE of a man dressing. CUT TO:KITCHENWhere Ellen and her husband are eating breakfast. Claude isnow in a cage in the hallway.MR. MAURICE PARKER eats a buttered piece of raisin bread. Heis a man in his late forties, neatly combed hair, his NewYork Times folded into a manageable rectangle. This is a manwho has been seated a great deal of his life... the type ofman who breaks into a sweat when taking out the garbage.He feels a stare and looks up to find his wife with thatglowing smile. He smiles back.Ellen gestures with her eyes to the violet orchids nowdisplayed proudly on the window ledge. MAURICE Yes? ELLEN The flowers... they're beautiful.Maurice studies them. MAURICE They are... who sent them?Beat. This takes Ellen by surprise. Maurice catches theexpression. MAURICE You thought I sent them? ELLEN (disappointed) There was no card.Maurice reaches over and searches the bouquet. MAURICE Have I forgotten something? Is this a special day? ELLEN (flat) It's just a regular day.Maurice pulls out a small bent card from between the stems. MAURICE It's from Dan and Kate Wilkins... for dinner last week...Maurice hands Ellen the card, she looks at it uninterested. MAURICE It's a special day isn't it? ELLEN Well, I'm sure it's not Christmas, because you'd be worried about how much money we don't have to spend on each other... I know it's not New Years, because you'd be going on and on about wearing a tuxedo and how much you don't like to dance... and I'm sure it's not our anniversary, because I didn't find an envelope with a hundred dollars cash on my bureau with a note that says, 'Pick out something pretty'... Yes -- Maurice -- I'm virtually certain it's not a special day today.Ellen begins to eat. Maurice stares at her... MAURICE You're mad at me... You were beaming a minute ago, but since I didn't send the flowers... now you're mad at me.Beat. MAURICE Why would I send flowers? What's the occasion.Ellen instantly becomes emotional. ELLEN Occasion? Because you love me... That's the occasion.Ellen returns to eating. Maurice stares at her quietly. CUT TO:INT. BOOKSTORE - MORNINGA SHAFT OF LIGHT penetrates the darkness of a room... growingLARGER as the door swings open.Ellen steps in first followed by Maurice. Ellen goesstraight for the blinds. BURST OF LIGHT stab the room.The spines of the BOOKS catch the light... rows and rows ofbooks cradled by a maze of mahogany book shelves. This is anold-fashioned store with antique chairs at select places. Acoffee table sits near the window with a set of deepcushioned sofa-chairs. This store is a home...Maurice moves behind the counter and TURNS ON THE RADIO.CHOPIN FLOWS from the old speakers atop the corner shelves --delicately.Ellen opens the door to the store and locks it in thatposition with a slanted piece of wood... The store is nowopen. CUT TO:INT. BOOKSTORE - DAYHalf a dozen people wander the isles. Maurice's eyes driftto a pair of eleven year olds who have sauntered into thestore. One boy disappears behind "Philosophy" and reappearsmomentarily with his sweat-shirt zipped up to his neck -- arectangle is outlined under his shirt. MAURICE I see that!Maurice comes around the corner -- the boys HAUL ASS out ofthe store. They're long gone before Maurice reaches thedoor. He yells after them. MAURICE I'm getting a Doberman! Two!Ellen who is sitting in the back room doing the accounts,comes out when she hears the commotion. ELLEN You've been saying that for two years; I think they know you're bluffing.Maurice inspects the "Philosophy" section.Maurice looks up as a young man, early twenties, hurries in.KRIS REDDY walks past Maurice, his black locks of hairpeeking out from under his Philadelphia Eagles cap. KRIS (to Maurice) Lizy Bennett? ELLEN Hi Kris.Kris waves as he removes his jacket. He is wearing a PARKERBOOKS T-shirt underneath. He pins an "Assistant Manager" tagon.Maurice thinks to himself. MAURICE Lizy, Eliza... Elizabeth Bennett... (the answer comes to him) Pride and Prejudice. KRIS You're amazing. MAURICE It has to be a full character's name. KRIS They called her 'Lizy' in the book... (beat) Sorry I was late. My jeep died on the way over from the paper. MAURICE They printed your article on, 'Dry Verses Can Dog Food'... Very enlightening. KRIS Pulitzer, here I come.Kris notices as Maurice goes back to searching the isles. KRIS What happened? MAURICE Never have children. If they're not a burden to you, they're a burden to someone else. ELLEN (on the end of his words) Kris, go to the pharmacy. Ask Mr. Donnavan to get you a large bottle of Geritol... Tell him, Maurice has officially become a grumpy old man. KRIS What'd they take this time? MAURICE Nietzsche!... As if they're going to read Nietzsche.Maurice moves back behind the counter clearly irritated. ELLEN They pick on you because they can get a rise out of you... children can sense those things.Kris quickly opens his black shoulder bag and pulls out amini-tape recorder. He talks into it -- dead serious. KRIS Monday -- August 24... Juvenile delinquency -- Are the victims to blame?CLICK. The tape recorder returns to the bag. Ellen staresat him curiously. KRIS Story ideas. I'll forget them otherwise.Ellen nods with realization. Ellen and Kris turn theirattention to Maurice who is mumbling to himself angrily. Helooks out the window to the street to see a familiar group ofschool boys waving at him tauntingly. CUT TO:INT. CHINESE RESTAURANT - NIGHTDIMLY LIT. Red and gold paper mache lanterns are sprinkledaround the room. WE FIND Ellen and Maurice polishing off adish of General Tso's Chicken. MAURICE Two thousand square feet... We can add a used book section.Ellen is not listening. She is staring at a young couple twotables over, who can't take their eyes off each other. MAURICE Next door is a jewelry store with a full-time security guard... He stands outside all day. Let's see them try and take Nietzsche then...Maurice finally notices Ellen is not listening. MAURICE Ellen? ELLEN (snapping out of it) What? MAURICE The new store? ELLEN Honey, I told you. If it makes you happy, we should just do it. MAURICE It's a tremendous amount of work -- moving. ELLEN We can do it together.Maurice needed the support. His face brightens. CUT TO:LATERAn empty table. The dishes have been cleared. Maurice andEllen are opening their fortune cookies. MAURICE What's your's say?Beat. ELLEN ... Love is shown through actions not just words. MAURICE What's that? That's not a fortune... You will be rich... That's a fortune. What you have is a statement. ELLEN What it is -- is the truth. MAURICE I don't follow.Beat. ELLEN Maurice, what would you do for me? What would you do for our love? I'm not talking about saying, I'm talking about doing.Maurice notices the STRAIN IN HER VOICE. MAURICE Is this going to be similar to the flower incident? ELLEN (very emotional) Sometimes people need to see things done for them -- because sooner or later they don't believe the words anymore. MAURICE (raising his voice) You don't think I love you?Customers react. ELLEN (lowering the volume) I want to be shown... (beat) Maurice would you do anything for me? MAURICE Yes. ELLEN Anything? MAURICE What do you want from me? Would I swim across an ocean for you?... Would I walk across the United States for you? Yes... Yes I would. You know that. ELLEN (soft) No I don't. I don't even know if you'd walk across the street for me.Maurice is getting redder by the second. The entirerestaurant hangs on his response... MAURICE So what have you done for me that's so earth-shattering?The waiter closest to the table cringes with Maurice's words.Ellen drains of color. She stares at him in complete andutter disbelief. She drills him with this iron glare for aneternity then grabs her purse and heads to the exit. Mauricestares at the table for a moment to gather what's left of hisdignity and follows her out.The waiter moves to the table and clears the aftermath. Hesees Ellen's fortune crumpled next to her tea cup. Heunravels it. The fortune reads... "YOU ARE A FRIENDLY AND GENEROUS PERSON." CUT TO:INT. BEDROOM - DAYThe room is LIT BY ONE BEDSIDE LAMP. Maurice is sitting inbed wearing a robe. Reading glasses at the end of his noseas he rubs a yellow cloth over a SILVER MEDALLION. Themedallion has a raised picture of a lamp, the kind Aladdinuses, seated on an open book and the words BOOK SOCIETY -1992. Maurice meticulously rubs away the smudge marks.Ellen is at the edge of the bed -- as far from Maurice aspossible. Her back is to him as she sleeps under the covers.She speaks without turning around. ELLEN Why do you polish that thing all the time? MAURICE You're talking to me? ELLEN Why do you polish it?Maurice studies the impressive silver medallion. MAURICE A Book Society Award is a very prestigious thing. ELLEN Why are you polishing it -- in bed -- in your pajamas -- at 11:15 at night? Are you going to show it to someone? MAURICE No. ELLEN Then why? MAURICE There's no reason. ELLEN Exactly. No reason. No occasion. It just makes you feel good to do something for it, to express your pride and affection for it some how... (beat) How come you'd do that for a piece of metal and not for me?Maurice has no answer. He just stares at his hands.ELLEN'S face can be seen under the covers facing away fromMaurice. Her eyes are red. The tears roll off her nose andland on the pillow unseen and unheard. CUT TO:INT. KITCHEN - MORNINGThe kitchen table is mockingly empty. No bread. Not even acrumb. Maurice, dressed for work, eyes the table with greatresolve. He rubs his hands together ceremoniously. MAURICE I can do this.Maurice moves to the fridge and gets out two eggs, onions,green peppers and mushrooms.CLAUDE is chirping INCESSANTLY FROM THE HALL.The pile teeters precariously in Maurice's arms as he movesto the counter. Next the pans come out -- He tries to pullthe bottom pan from the cabinet -- CUT TO:BEDROOMEllen is seated in bed, arms crossed -- equal resolve in herface. A LARGE METALLIC CRASH OF POTS ECHOES FROM DOWNSTAIRS.Ellen grabs her robe. CUT TO:HALLWAYEllen gently takes Claude out of his cage. She kisses him.The bird, once frantic, instantly at peace. ELLEN (whispering) You missed mommie... worried when I didn't come down... my baby... so sweet.Ellen feeds the bird as she peeks around the corner, carefulnot to be seen. Maurice is desperately trying to cook an outof control omelette. It spills over the sides and SIZZLES onthe range top. He tries to scoop it up with the pan, tiltingit further -- further -- the entire omelette slides onto therange. Maurice frantically tries to wrangle it back in. Manvs. Egg. Man losing.Ellen has to keep herself from laughing. Her expressionchanges to pity as she watches the chaos unfold. CUT TO:INT. BAKERY - MORNINGEllen scrutinizes a new three loaves of raisin bread. ELLEN That one.Angelo smiles and packages the chosen loaf. CUT TO:INT. KITCHEN - MORNINGA defeated Maurice is eating an apple. He looks up withsurprise as Ellen walks into the kitchen from the back door,a bag under her arm. She glances at him and then moves tothe counter where she prepares the bread for serving. Ellenlooks down into the trash to find the rebellious omelettesitting uneaten.The bread gets laid out in its usual basket, in its usualmanner. Maurice says nothing as Ellen pulls two eggs fromthe fridge and cracks them on a sizzling pan with expertease. ELLEN Onions?Maurice smiles warmly at his wife's back before moving to herand hugging her from behind. He whispers in her ear. MAURICE Why do you put up with me?Beat. ELLEN Love... has something to do with it.Maurice reaches over and turns off the stove. He then turnEllen around and kisses her long and hard. Ellen pulls awaygently and stares into his eyes. Maurice looks veryemotional. MAURICE I do love you... very, very much. ELLEN Show me. MAURICE (with all his heart) I will -- I promise.Ellen kisses Maurice and returns to the eggs. Mauricecontinues to hug her from behind. The MORNING SUN pours intothe kitchen covering Ellen and Maurice in a golden bath. CUT TO:INT. EMPTY STORE - AFTERNOONA large black man wearing a dress shirt, sleeves rolled up tothe elbows TURNS ON a switch. A SET OF TUBE LIGHTS FLICKERTO LIFE.CARL STONE leads Maurice out to the main room which ispresently a cob-web infested, barren space with a fewdiscarded packing boxes left in the corners.Maurice runs his fingertips against the wall. MAURICE History and the arts will be here...His hand makes a grand swirl pointing to another area. Hesays the next two words with great awe as if he was sayingsomething holy. MAURICE The Classics...Carl watches curiously as Maurice walks around in a trance.He moves to the bay window that over looks the street. MAURICE We'll have a hand-painted sign... (another grand swirl) ... Parker Books.Maurice's already bright eyes, brighten even more as he spotsthe security guard strolling up and down the front of thejewelry store. The guard catches his stare and waves.Maurice is aglow... He turns to Carl. MAURICE This is my dream... it's finally here.Carl has to smile -- rarely does he see someone so happy. CUT TO:INT. OFFICE ROOM - AFTERNOONWe are in Carl's cramped upstairs office... just enough roomto walk amongst the file cabinets.Maurice holds his pen over the documents before him. MAURICE I wish my wife were here. She should see this... (stalling) She had a doctors appointment in Blue Bell. That's a one and a half hour drive. Ellen's been going to that doctor since she moved to Pennsylvania... CARL (understanding) We could do this tomorrow? MAURICE Ellen gave me strict orders to sign it... We invited some friends over -- you see, for a celebration.Carl smiles patiently, he's seen this before.Maurice gathers his strength as he puts pen to paper... Hescribbles his signature quickly and let's the pen drop to thetable top as if all the energy drained from his body. Helooks up to Carl with powerful eyes. MAURICE Every journey begins with one step right?Beat. CARL Enjoy your party Mr. Parker... Your new store will be waiting for you Monday morning.Carl and Maurice shake hands like best friends. CUT TO:INT. HOUSE - NIGHTA wine chiller sits proudly on the coffee table. The SOUNDSOF LIGHT CONVERSATION float through the room. About tenfriends and family have gathered.Maurice sits on the sofa nearest the window. He's listeningto the drone of TED PRICE.Ellen is not present. TED ... So she says the "L" word, after two dates, the "L" word! She says 'Don't you believe in true love? Love that can conquer all?' I say, 'Whoa, hold on. Just so we're clear on things, I think love these days is shit. It don't mean a thing and it don't stand for nothing. Shit.'... You know what she says, 'Fine, but how do you feel about kids?'Everyone near the SOFA LAUGHS. A CAR LIGHT DANCES ON THECURTAINS... Maurice quickly pulls the curtain aside andwatches as the car pulls past the house and around thecorner. Maurice turns back from the window hiding hisconcern and without missing a beat... MAURICE It's nice to see you don't have any scars from your divorce.This brings on another ROUND OF LAUGHTER.THE TELEPHONE RINGS.Maurice rises from his seat -- but is waved off by ADELLEMATLIN who picks up the phone right away. Adelle isMaurice's niece, early thirties, very attractive and alwayssmiling -- except at this moment.Ted begins another one of his stories -- the words areincoherent as Maurice watches Adelle carefully... Adelleturns her back to the room as she talks and then DISAPPEARSinto the kitchen stretching the phone cord around thedoorway... Something is definitely wrong.Maurice steadies his gaze at the door of the kitchen...eternal seconds pass before Adelle appears again. She looksdifferent -- ghostly. She glances up for a fraction of asecond locking eyes with her uncle -- she immediately looksaway.Maurice watches Adelle move to her husband GERALD andwhispers in his ear. Gerald changes instantly -- taking onthe same ghostly transformation -- his eyes dart to Maurice.Ted's story is cut off as Maurice speaks LOUDLY... MAURICE What's wrong?The room goes SILENT as all eyes fall on Adelle and Gerald. GERALD (shaking) Maurice, can we go into the dining room?Beat. MAURICE What's happened to my wife?This hits everyone in the room like a bomb. A dread hangsover every passing second... Gerald crumbles under themoment... Adelle begins to cry. GERALD There was a car accident... Drunk driver.Some of the crowd reacts. A women covers her mouth. Themoment is unbearable. MAURICE (to himself) Please God -- don't do this.Gerald cracks -- the tears start to flow from his eyes. GERALD Maurice, it was serious... I don't know how to --Gerald buries his face into the heels of his palms as iftrying to contain an explosion in his head. GERALD Oh Jesus, please help me... She didn't... Ellen didn't make it... Ellen's dead Maurice.Maurice closes his eyes shut tightly... like a child scaredof the dark.Adelle blacks out, knocking over the wine chiller on the wayto the ground. In less than a minute the room hastransformed from a celebration to a mourning. Everyone isfrozen staring at Maurice for their cue... A child in hermother's arms begins to cry as if aware of the circumstances.EXTREME CLOSE UP. Maurice opens his eyes slowly. The roomstays still as Maurice stares at Ellen's HAT sitting on thepiano. DISSOLVE TO:EXT. PARKER HOUSE - MORNINGA "FTD" Florist truck pulls up. A delivery man, moves withan extravagant bouquet of flowers to the front door. HeRINGS THE DOOR BELL. No answer. KNOCKS. No answer.The delivery man looks to the ground and searches, beforeplacing the bouquet on the porch.WE NOW SEE that the porch is completely covered with flowers,bouquets and wreaths. The delivery man tip-toes his waythrough the maze of condolences and moves to his truck. CUT TO:INT. KITCHEN - MORNINGMaurice waits, as the SOUND OF THE FLOWER TRUCK FADES AWAY,then looks into Claude's cage. Claude sits on the highestperch and continues to call to his mother. Maurice stares atthe pile of untouched food on the floor of the cage. MAURICE Eat the food Claude... CUT TO:LATERMaurice seated at the kitchen table.He looks at the bouquet of flowers still seated on the windowsill. The violet orchids are all dead and shriveled up. DISSOLVE TO:INT. PARKER HOUSE - NIGHTThe house feels abandoned -- lifeless.THE HOUSE IS SILENT EXCEPT FOR THE FRANTIC CHIRPING OF CLAUDEFROM THE HALL. His hopeless cries punctuating the air everyfew seconds. CUT TO:BEDROOMMaurice sits in a chair facing Ellen's wardrobe closet. TheLIGHTS IN THE ROOM ARE OFF. The room is lit only by theLIGHT FROM THE HALLWAY STREAMING IN AT AN ANGLE.Maurice gets up and with a great deal of uncertainty, opensthe closet. Maurice stares at the collection of hangingdresses.He reaches out and pulls the cloth of a floral dress towardshim... He closes his eyes and smells the cloth... his facetightens in pain... both hands cling to the dress tightly...he tries desperately, can't fight it -- Maurice Parker beginsto cry.His hands grab frantically at the rest of the dresses --pressing them to his face and chest. MAURICE Oh God... I'm sorry Ellen... I'm so sorry...He hugs the dresses as if they were her. His weeping turnsto a torturous wail of grief... all the love, all the angerspilling out in this one moment.He falls to the ground yanking all the dresses down with him-- they collapse atop him... He buries his face in his wife'sclothes...The MUFFLED SOUND OF HIS CRIES ECHOES through the lonelyhouse. DISSOLVE TO:EXT. PARK - MORNINGThe neighborhood park. The trees in full bloom. Mauricewalks down a path leading to the open fields. Only motherswith strollers and the elderly are out this early. CUT TO:PARK BENCHMaurice is seated on a park bench. Across from him is anELDERLY COUPLE -- in their seventies. The OLD WOMAN is frailwith tiny eyes that disappear when she smiles. The husbandis a skinny man with a baseball hat that makes him look likea little boy.Maurice watches them silently as they sit and hold hands...Their warm laughs and whispered conversations stinging him.He watches as the old man gets up. The old woman tries tomake him stay, but he playfully pulls away. She shakes herhead like a shy school girl as the old man walks back downthe path by himself.The old woman glances Maurice's way. OLD WOMAN Good morning. MAURICE Good morning.The old woman glances at the empty baby carriage standingnext to the bench. OLD WOMAN Is it a boy or a girl? MAURICE Oh, that's not mine.Maurice gestures to the woman and baby who are sitting on ablanket in the grass. MAURICE I don't have kids. OLD WOMAN You should. Children are a blessing from God. I have four.The old woman studies him. OLD WOMAN Are you okay?Beat. MAURICE Is that your husband?She nods, "Yes." MAURICE You look so happy -- how long have you been married? OLD WOMAN Forty-seven years.This hits Maurice hard. OLD WOMAN Are you married?This hits Maurice even harder. MAURICE (this is painful) Yes... Seventeen years.The old woman looks down the path for her husband. MAURICE Where did he go? OLD WOMAN He's getting my sweater from the car. I said there was a breeze. (shaking her head) I told him not to go.Beat. MAURICE May I ask you a question that might sound strange? OLD WOMAN Yes.Beat. MAURICE How do you know he loves you?The old woman looks at him oddly. MAURICE I mean besides... time -- how did you know ten years ago -- twenty years ago?She thinks hard... tough question. No answer for a momentthen --The old woman sees something out of the corner of her eye --her husband is walking up the path with her white lacesweater over his arm...She smiles as the answer comes to her. OLD WOMAN Because he shows me... he's not much for words, but he shows me.Maurice sits back -- her answer lingers in the air like ahaunting voice.Maurice watches as the old man comes back and drapes his wifewith the sweater. The old woman waves as they continue downthe path... hand in hand. CUT TO:INT. DOCTORS OFFICE - DAYAn obese woman with a hacking cough sits to the left ofMaurice... To the right, a man with a patch over his eye. NURSE Parker... Maurice Parker.The nurse sticks her head outside the glass divider tillMaurice stands up. CUT TO:EXAMINATION ROOMDR. ROYCE checks a chart. Maurice watches him from his perchon the examination chair. DR. ROYCE So what's the deal Maurice? MAURICE Pardon? DR. ROYCE I mean why the sudden voluntary visit -- usually it takes gun- point to get you in here... MAURICE Routine, I assure you. I just wanted to gage my health. Am I healthy? DR. ROYCE Yes -- you are. MAURICE I'm going to ask you a question that may sound peculiar.Dr. Royce folds his arms and waits... What's this all about? MAURICE How far could an individual walk if they had no athletic training -- you understand, just an ordinary person?Dr. Royce stares at him suspiciously. DR. ROYCE I know what you're getting at. MAURICE You do? DR. ROYCE I've seen it before. MAURICE You have? DR. ROYCE You're feeling old and you want to start exercising. A lot of men your age feel the need to recapture their youth. Don't feel embarrassed about it. MAURICE (playing along) Okay. DR. ROYCE You should start slow and easy -- fifteen minutes a day. MAURICE No. How far in one attempt -- what's the farthest someone like myself could walk?The doctor is confused again. MAURICE Just for curiosity sake that's all? DR. ROYCE I don't know -- maybe twenty miles... Of course I'm not recommending that... if someone like you had to I mean... that's how far they'd probably get before encountering serious physical walls. MAURICE Twenty miles? I see.Maurice thinks about it carefully as the doctor returns tothe chart. CUT TO:INT. AAA AUTO CLUB - DAYA hip young woman with her forehead wrapped in a headbandchews away on a stick of gum. JOSELLE leans over the counterwith Maurice and studies a map. JOSELLE Each inch represents 150 miles... MAURICE Making the grand total? JOSELLE Damn baby, relax. I'm getting to it. (taking on a rehearsed tone) From Philadelphia following the route highlighted to Pacifica California -- you're traveling an estimated three thousand two hundred miles...Maurice is a bit pale. He follows the yellow highlightedhighways winding it's way across the U.S. MAURICE Three thousand miles?... How many times does twenty go into three thousand? JOSELLE What was that? MAURICE Perhaps there's another route? JOSELLE This is the route approved by triple A. Even if you followed back roads the entire way, you'd still be looking at roughly the same distance...Joselle studies his concerned expression. JOSELLE Don't worry baby, it shouldn't take you more than five days if you just stop to sleep and eat. MAURICE By car right?Joselle scrunches her face in exaggerated shock and takes astep back to look Maurice up and down. JOSELLE How else you gonna get there on the ground?Maurice gives her a sad expression. If she only knew. CUT TO:INT. NEW STORE - DAYThe future Parker Books. The room sits as empty and barrenas before.Maurice sits on the floor against the far wall. He stares athis new store. His gaze turns to the window where the guardstrolls by. The guard doesn't notice him.Maurice looks terrible, his eyes red and framed by bags...his skin a yellowish white.He moves to his feet and TURNS OFF THE LIGHTS. CUT TO:INT. BOOKSTORE - AFTERNOONKris unloads the last of a shipment of books. He moves toMaurice who sits by the window to the street. Maurice pointsto a chair across from him and Kris takes a seat. MAURICE Why do you want to be a journalist Kris? What sparked your interest?Beat. KRIS I want to reach people. Nobody listens to me. This is my way to reach them. MAURICE To reach people, you have to feel something first... You write about the wrong things. How can you feel for dog food? The people at the Gazette don't respect it, and neither do you. KRIS This is a ghost town. Nothing ever happens. MAURICE Write from your heart. That's why the classics are great.Beat. KRIS Why are you telling me this Mr. Parker?Maurice looks out the window and picks up an envelope fromthe coffee table between them. He hands it to Kris. MAURICE Your bus is arriving.Kris opens the envelope and finds money. MAURICE It's one month's pay.Kris gets up. A shock of adrenaline hits him. KRIS Are you firing me? MAURICE No. No... I won't be here for a while. The store will be closed in the interim.Kris grabs his coat, shifting his attention between thewindow and Maurice? KRIS You going on a trip Mr. Parker? MAURICE Yes. KRIS Where? MAURICE California.Kris moves to the door. KRIS That's cool. What day are you arriving?Beat. MAURICE I'm not sure -- sometime in January I think.Kris stops cold. The door to the street half-open. KRIS When are you leaving? MAURICE Tomorrow.Kris is seriously confused now. Maurice decides to end theconfusion. MAURICE I'm walking there Kris. KRIS Walking where? MAURICE California.Kris' jaw hits the floor as the bus pulls to a stop acrossthe street. Kris pulls up his sleeve and glances at hisforearm. KRIS The hairs on my arm are standing up... Something strange is happening. MAURICE I always knew you had good instincts... (beat) Goodbye Kris. I'll see you when I get back.Kris hesitates before darting out of the store, across thestreet and into the bus. Kris takes a seat in the back anddigs into his bag and pulls out the tape recorder. CLICK. KRIS Thursday, September 25... 'The Death Of A Spouse - Can It Drive You Insane?' CUT TO:EXT. WYNNEWOOD PENNSYLVANIA - DAWNA BRILLIANT RED HUE BLANKETS THE HORIZON.The suburbs come to life...Men and women leaving for work...School buses picking up their cargo of passengers...Store owners opening their businesses... CUT TO:PARKER BOOKSA group of eleven year old boys including the twokleptomaniacs we saw earlier, are standing before a closeddoor staring at a sign. They look at each other beforeheading down the block.The sign reads: CLOSED - OWNER OUT OF TOWN. CUT TO:INT. HOUSE - MORNINGThe house is eerily silent.Three things lay on the dining table. A shoulder bag filledwith clothes. A carrying bag with personals. And a set ofmaps.Maurice checks the locks on all windows... He places all thefood in the refrigerator into a trash bag... He pulls out adrawer and loosens a side panel, a wad of money flops out.Maurice pockets the bills...Maurice walks through the hall with a portable cage. Hestops before Claude's hanging cage... no movement, nochirping. Maurice stares emotionally for a moment beforereaching in and carefully removing CLAUDE'S LIFELESS BODYfrom the bottom of the cage. Maurice looks down at the lostpet in his hands. MAURICE I know how you feel. CUT TO:EXT. HOUSE - MORNINGMaurice buries the bird in the backyard. CUT TO:DINING ROOMMaurice sits at the table... the essentials laying beforehim. He clings to a wallet size photo of Ellen.Maurice stands and gathers his things. CUT TO:EXT. PENNS LANDING - DAYMaurice stands at the edge of the water. Recreations ofhistorical ships are docked in the harbor. The old fashionedsails and masts sway in the gentle breeze.The SOUNDS OF A STREET VENDOR catch Maurice's ears. He turnsto see a funnel cake booth in a row of food stalls. CUT TO:EXT. TWENTY YEARS EARLIER - DAY (FLASHBACK)The harbor is jammed with people. A street fair is in fullswing. The SOUNDS OF A LIVE BAND MIX WITH THE CRIES OF THESTREET VENDORS...MAURICE -- EARLY TWENTIES... Skinny, dark rich hair. Heyells out from behind a booth of paperback books. YOUNG MAURICE Three dollars a piece... Two for four dollars! All the classics!A young woman emerges from the crowd of browsers. Mauricebegins to speak but is caught off guard by YOUNG ELLEN'Sbeautiful features. Maurice manages a few words. YOUNG MAURICE Can I help you?Beat. YOUNG ELLEN My father owns the food stall over there.Maurice looks over to find an enormous man serving food. YOUNG ELLEN You look thirsty.Ellen places the soda she had at her side on the table.Maurice is completely flustered. YOUNG MAURICE Hi, I'm Ellen.Ellen places her hand out. Maurice grabs it instinctivelyand shakes. YOUNG MAURICE Maurice.Ellen looks at the full table of books. YOUNG ELLEN Not doing too good huh?Maurice nods "no." YOUNG ELLEN It'll pick up. I've been coming to these things my whole life... people don't want to carry things as they walk around... you'll sell as the fair starts to end...Ellen waits for Maurice to say something but nothing comesout. YOUNG ELLEN You don't talk much do you? YOUNG MAURICE I read a lot.Ellen's father BELLOWS FOR HER OVER THE CROWD. Maurice jumpsat the sound. YOUNG MAURICE I better go... (Ellen starts for her booth) ... Come over if you get hungry.Ellen disappears into a sea of people. Maurice stands in awefor a second before snapping out. He shakes his head tohimself. YOUNG MAURICE I read a lot? CUT TO:LATER - IN THE FAIRThe people are filing out of the street. Maurice is a whirlwind of activity as people wave dollar bills at him callingout classical titles.Maurice glances over to Ellen's booth. She is watching himwith a big smile. Maurice gestures to the line with ashocked expression. Ellen laughs. CUT TO:FOOD STALLThe booths are packing up. Ellen helps pack away theremaining food. A book is placed in front of her on thecounter. The book is "Romeo and Juliet." Ellen looks up tosee a very shy Maurice standing before her. Ellen gives hima smile that melts him. MAURICE Are you trying to tell me something?Beat. Maurice eyes Ellen's dad who throws him deadlyglances. Maurice is very intimidated. He whispers to her. MAURICE (barely audible) Walk with me? ELLEN You like to take walks? MAURICE No. But I want to take a walk with you.Ellen looks at him carefully... looks right through him. ELLEN You just said something very sweet. CUT TO:EXT. THE EDGE OF THE WATER - DUSKThe water reflects the lights from the harbor. Maurice andEllen are standing very close. MAURICE What are you thinking?Ellen looks out onto the water. ELLEN It's one of those thoughts you keep to yourself. MAURICE Please tell me.Beat. ELLEN I was just thinking that if we actually became a couple -- this was a beautiful place to begin things.Maurice is bright red. Ellen giggles at his shyness.Maurice gathers his strength and looks her straight in theeyes.Maurice leans forward and kisses her softly. CUT TO:EXT. PENNS LANDING - MORNING (PRESENT)Maurice, tears in his eyes, stands in the spot they stoodmany years before. MAURICE (softly) I love you Ellen.On this empty dock... on this hot day in September... with nowitnesses and no fan-fare, Maurice Parker takes the firststeps of his journey.SUPERIMPOSED ON THE SCREEN: SEPTEMBER 26, 1993 CUT TO:EXT. STREET - DAYA topless CHERRY RED WRANGLER JEEP pulls out of a mechanic'sgarage and moves down route 32. Kris Reddy is at the wheel.A "Daily Gazette" sign flaps from his roll-bar.Kris changes the station on the radio as his eye catches aman walking on the opposite side of the street... Kris turnsback to the road -- mind racing... BRAKES SCREECH as the jeepslows and then RUMBLES over the island separating thelanes... making a U turn across a four lane highway. CUT TO:EXT. STREET - DAYMaurice wiping his brow with a handkerchief. The Wranglerjeep rolls up next to him as he walks. Maurice doesn't stopwalking as Kris leans over the passenger seat. KRIS Phileas Fogg? MAURICE (looking ahead) ... Round The World In Eighty Days. ... Hello Kris. KRIS You're amazing... What are you doing Mr. Parker? MAURICE I told you.Beat. Cars HONK as they pull by the slow duo. KRIS You're walking to California? MAURICE Pacifica, California -- it's a coastal city. KRIS Oh, a coastal city. That's good.Kris looks around to see if anyone else sees the lunacy inthis moment. MAURICE Ellen told me that she didn't know if I loved her. KRIS She knew you loved her. MAURICE She wasn't certain... I never really showed her.Beat. KRIS I'm really lost. What does this have to do with walking? MAURICE I said, 'I would do anything for her'... and she didn't believe me. I said, 'I'd walk across the country for her'... she didn't believe me.Maurice looks to Kris rolling along beside him. He sees theworried expression on his face. MAURICE I need to show her how much I love her Kris. KRIS Why know? MAURICE Because I should have shown her before... Everyday, I should have shown her.Beat. KRIS Pacifica, California... that's a long ways away. MAURICE So I've been informed.Kris tries to act calm, but it doesn't last long. KRIS Shit Mr. Parker. You can't walk across the United States -- it's over three thousand miles.Maurice takes his time with the response. Kris waves morecars to pass them. MAURICE Ellen got up every morning and went to the corner store to get me my bread for breakfast... Everyday. Now that's about a quarter mile each way... 17 years... that comes to about three thousand miles... (he smiles to himself) And you know what Kris? KRIS What Mr. Parker? MAURICE She never ate a slice.Maurice picks up speed -- surer with every step... Kris slowsthe jeep to a stop and reaches into his bag. The mini taperecorder goes on with a CLICK. KRIS Thursday, September 26... 'The Question We Never Ask - What Would We Do For Love?'Kris watches through the windshield as Mr. Parker disappearsdown Route 32. CUT TO:EXT. PARKER HOUSE - AFTERNOONThe wreaths, flowers and bouquet have now tripled in number.They spill onto the lawn and walkway. A neighborhood dogrummages through the more colorful bouquets. CUT TO:INSIDEThe abandoned house. A TELEPHONE RINGS CONTINUOUSLY. Itstops after a string of rings. It BEGINS AGAIN AFTER A FEWSECONDS. CUT TO:INT. BOOKSTORE - AFTERNOONThe dark bookcases echo the RINGS OF THE TELEPHONE. Theanswering machine finally picks up. MACHINE (ELLEN'S VOICE) Hello you've reached Parker Books -- our store hours are eight to six... CUT TO:INT. ADELLE'S HOUSE - AFTERNOONA center-city Town house. Wall to wall books, "CognitivePsychology", "Physiology of Behavior", "Abnormal Psychology","Clinical Psychology", the titles cover every shelf and everytabletop.Adelle Matlin hangs up the phone, and moves to the livingroom where her husband is reading a paper in his recliner. ADELLE Something's wrong. I'm worried.Gerald looks on with an assuring smile. GERALD He probably just went somewhere. ADELLE Where? GERALD For a walk. I don't know.Beat. ADELLE Uncle Maurice? Are you kidding? He hates walking. CUT TO:EXT. MOTEL - NIGHTNighttime. The empty street ECHOES with the TIRED SHUFFLE OFMAURICE'S FEET.Maurice stops in this tracks and picks up a CRUSHED COKE CANFROM THE SIDE OF THE ROAD. He places it upright at the placewhere he stands. Maurice immediately walks off the highwayinto a small MOTEL PARKING LOT. CUT TO:INT. MOTEL - NIGHTA motel clerk checks his wooden keys. CLERK Pool times are 11 am to 5 pm, there's cable in every room with two premium channels. HBO and CINEMAX. Pay Per View Channels can be -- MAURICE I need a bed and I need Tylenol... that's all. CLERK The room comes with two twin Sealy Posturepedics... but the Tylenol will be extra.Maurice stares at him with exhausted eyes. CUT TO:THE INSIDE OF A FLORAL PRINTED ROOMMaurice's shoulder bags are on the bed... The WATER ISRUNNING IN THE BATHROOM.Maurice gently moves his hands under the bathtub head,checking the temperature. He sits on the edge of the tub.Maurice peels off his shoes with great pain. They slideacross the dull white tiles into the corner. The once wellkept English Loafers could be mistaken for trash now.Maurice rubs his barefeet with both hands -- grimacing fromthe pain. The tub is almost filled. Maurice stops the tap.The steam from the water fills the room.Maurice raises his legs with great effort and submerges eachleg into the steaming water. His eyes close with greatrelief as his body melts into the tub. Maurice lays his headon the side of the tub... It only takes ten seconds beforeMaurice's SNORING fills the bathroom. CUT TO:THE OUTSIDE OF THE QUAKER MOTEL ON ROUTE 32The neon MOTEL SIGN THROBS RED.SUPERIMPOSED across this image are the words: PHILADELPHIA, PENNSYLVANIA... MILE 26 CUT TO:EXT. MOTEL - MORNINGMaurice looks down the highway... eyes squinting to block outthe sun. The road winds and dissolves into the horizon...Maurice looks back the way he came -- a second ofindecision... the moment passes.Maurice takes a deep breath before moving to the CRUSHED COKECAN. He moves to the exact spot where he left the road thenight before and begins walking again... CUT TO:INT. NEWSPAPER BUILDING - MORNINGThe elevator BELL dings, letting off a cargo of newspaperpersonnel. FRANK AND SETH are two of them. They make theirway to the desks... a sea of desks pressed against each other-- each desk has a computer.Frank and Seth come to their corner and stop before a youngman, Phillies cap turned backwards, sitting behind an IBM 486DX... fingers flying over the keyboard. FRANK Someone's got a hot story. SETH What time did you get in?Kris Reddy keeps typing. He spits out the answer after a fewseconds. KRIS Five... Couldn't sleep. FRANK What's this one about Kris? 'Blinds or Curtains - The Eternal Question?' SETH No, no... 'Boxers Verses Tight Undies - The Battle Continues.'Frank and Seth crack up laughing. Frank reaches for theprintouts... Kris immediately covers them with his hand. Hestares up with a smile. KRIS Read about it on Sunday. CUT TO:EXT. STREET - DAYMaurice exits an athletic store in a small town. On his feeta new pair of sneakers. CUT TO:EXT. STREET - DAYMaurice as he walks down a winding highway. His new sneakersshuffling slowly.A SHARP PAIN SHOOTS UP MAURICE'S LEG. His knees buckle. Theshoulder bags tumble to the ground followed by Mauricehimself. From a distance it looks like he's been shot.Maurice grabs the back of his thigh and tries to straightenhis leg out... His face frozen in a painful expression.Maurice rubs his legs slowly -- working the cramp out. Herelaxes a bit as he finally straightens his leg. Mauricesits there motionless -- eyes glazed... defeated.The SOUNDS OF A BIRD snap him out of his trance. He looks upto see a PAINTED BUNTING, a bird about six inches in heightFLY DOWN from a tree and land on a rock next to him. Mauricestares at the beautiful bird curiously. Its body splashedwith brilliant blues, reds and greens. It looks out of placein these mundane surroundings. Maurice looks around theskies to see no other birds. The Painted Bunting chirps afew times before taking flight into the air. It circles overMaurice before disappearing behind the trees.Maurice smiles. He pulls himself to his feet with greateffort.Maurice opens all of his bags and begins emptying theessentials -- the maps, food, a canister of water.Maurice reloads one bag and pulls it over his shoulder withgreat effort. At his feet, are the rest of his belonging --piled on the side of the road.Maurice painfully begins walking again.WE PULL BACK on Maurice's figure walking on the highway...the pile of disregarded things laying by the side... Thehighway is endless... winding it's way for miles and milesinto a fixed dot in the distance. CUT TO:INT. ADELLE'S HOUSE - MORNINGSunrise on Pennsylvania. Gerald picks the PhiladelphiaGazette off the front porch. CUT TO:DINING ROOMGerald flips open the paper as he waits before an emptyplate. GERALD Smells good, honey. CUT TO:KITCHENAdelle puts the finishing touches on a stack of pancakes.She sets up two plates and brings them into theDINING ROOMGerald's eyes remain glued to the paper. Adelle comes to thetable, holding the golden pancakes over the table. Shenotices the strange look on his face. ADELLE What is it? GERALD Adelle... Maurice is in the paper.She stares silently at the paper laid out on the table. Theheadline beams at her: A PHILADELPHIA NATIVE'S LABOR OF LOVEAdelle is shocked. She gazes at an old picture of her uncleprinted underneath the headline. ADELLE Oh my God.She STORMS off into the kitchen with the golden pancakes.Gerald looks down at his empty plate longingly. GERALD Honey. CUT TO:INT. POLICE STATION - DAYSERGEANT DALLY pretends to be concerned. DALLY What would you like us to do? ADELLE Put out a P.B.S.... Or whatever it's called. DALLY A.P.B.... He isn't breaking any law. He's a grown man... He can crawl on his hands and knees to China if that's what he wants to do. ADELLE Sergeant, I'm a psychologist and I know the difference between normal whims people have and actions that clearly display psychological problems... My uncle lost his wife and it devastated him. DALLY We're very sorry about that. Some of our men were on the scene of the accident. ADELLE I think my uncle is suffering from a condition called Mania which is linked with depression. It is a time when an individual will act over-confident, and will act out impractical, grandiose plans. Sometimes these plans can be dangerous. DALLY How long does this... Mania last? ADELLE A couple days to a few months if untreated.Dally digests this information. DALLY Look, I'll see if anyone has spotted him recently. If I get any information, I'll call you. ADELLE Thank you. DALLY Don't wait by the phone. If he's really been walking this whole time, he's out of our jurisdiction...Adelle looks very emotional... on the verge of tears. DALLY Don't worry he'll be back. He's in his forties. He's had no physical training... He'll be back by the end of the week. CUT TO:EXT. HIGHWAYS - DAYA floating DOT moves along a flat stretch of road... DISSOLVE TO:EVENINGThe sun drops behind rolling hills. The DOT has becomeLARGER, sprouting arms and legs... DISSOLVE TO:NIGHTDarkness has fallen. The DOT has materializes into MAURICE. CUT TO:MOTELA clerk hands over a set of keys in exchange for money. DISSOLVE TO:ROAD - MORNINGMaurice walks back onto the highway and steps next to an oldboot that has been used as today's MARKER. Maurice startswalking from that point. DISSOLVE TO:DRUGSTOREMaurice grabs two handfuls of small green boxes. He placesthem on the table. The cashier stares down at the eightboxes of Ben-Gay and rings it up. DISSOLVE TO:ROADMaurice standing at the entrance to a tunnel that pierces theside of a mountain side. Maurice makes "The sign of thecross" and walks into the darkness... DISSOLVE TO:EXIT OF TUNNELMaurice appears on the other side with a smile of relief.He's awed at the beauty of the landscape. Tiny clusters ofbuildings far in the distance wrapped in a blanket of greenfor miles on every side. DISSOLVE TO:MOTELMaurice asleep in the bathtub. DISSOLVE TO:ROAD - DUSKIt's raining hard like gun-fire from the sky. Maurice sitson the edge of a road rubbing his legs. His hair matted tohis head. The rain pelts the ground in forceful waves. DISSOLVE TO:SUPPLY STOREAt a cash register, Maurice slaps ten more boxes of Ben-Gaydown on the counter. A teenage girl with braces looks at himlike he's Charles Manson. DISSOLVE TO:MOTELMaurice sleeps. His barefeet are propped up on his bag. Hisfeet are swollen and red with fresh blisters. A pack of iceis wrapped around his knee with an old shirt... The pictureof Ellen clutched in his hand. DISSOLVE TO:ROADTwo joggers pass Maurice as he sees a flashing school sign.It is a suburban town. The fallen red and orange leavescover every flat surface.SUPERIMPOSE: ELKHART, INDIANA... MILE 598 CUT TO:EXT. SCHOOL - DAYA line of cars pulls around a semi-circle driveway. Mauricewatches as parents drop off their children. A couple of tenyear old boys walk by. BOY Nice sneaks.Maurice realizes they're talking to him. MAURICE They are? BOY 2 Sure man, High-Top Nike Cross Trainers with heel supports and air cushioned soles -- They're nasty.The boys keep walking. Maurice looks down at his sneakerswith new-found pride.After a while, Maurice's attention switches back to the cars.One car in question catches Maurice's eye. A woman consolesa small child who doesn't want to leave the car. She wipeshis tiny tears with her hand and hugs him tenderly. Thelittle boy's head cradled in her arms. CUT TO:EXT. FIFTEEN YEARS AGO - NIGHT (FLASHBACK)The Parker house many years ago. The house semi-furnished.Ellen carefully hangs her first bird photographs on the wall;a striking aerial photo of a GOLDEN EAGLE. Wings spread,soaring high over a mountain range. MAURICE I thought we both wanted the same things. ELLEN I've changed my mind. MAURICE You can't change your mind.Beat. Ellen takes a seat on the only sofa. ELLEN I want children. MAURICE You've just decided, is that right? ELLEN Yes.Young Maurice is visibly upset. MAURICE Ellen, there are two kinds of people in the world -- ELLEN Please not, 'The two kinds of people' speech. MAURICE ... People that were made to be parents, and people who were not made to be parents... My parents, were people who were not made to be parents but had kids anyway. I don't want us to be that way Ellen. ELLEN You can change. MAURICE Face it Ellen, I'm not the type of person who reads bedtime stories. But you love me anyway. ELLEN (upset) Don't be so sure.Ellen fiddles with her dress. She bites her bottom lip asshe tries not to cry. ELLEN (shaky voice) What if something happens to one of us? We'll be all alone.Maurice loses his hard demeanor and moves next to her. Helays his hand across her shoulder. MAURICE Nothing will happen to us. It's a bleak picture, I know, but we're going to be together till were old and grey and you don't remember my name anymore.Maurice lifts her chin with his hand gently. She blinks hereyes and a tear rolls down her cheek. He takes a deepbreath. MAURICE Let me think about it okay.Ellen brightens up immediately. MAURICE I'm not saying anytime soon. I'm just saying that maybe we can consider it down the road sometime.Ellen gives her patented glowing smile. She hugs him withall her strength. She whispers in his ear. ELLEN I love you Maurice Parker. CUT TO:EXT. INDIANA GRADE SCHOOL - DAY (PRESENT)Maurice walks away from the school, shuffling through thepiles of leaves that block the walkways.A child and her father walk down the path towards him.Maurice looks away painfully. THE CHILD'S SOFT LAUGHTERPOUNDING IN HIS EARS as he quickens his pace. CUT TO:INT. LIQUOR STORE - DAYJACKSON LIQUOR WHOLESALERS. For the kind of people who buywhiskey by the crate.Maurice has his map unfolded over the cash register. CASHIER I can show you the main roads, but that'll add ten miles to your trip. Do you mind ten miles? MAURICE I mind. CUT TO:OUTSIDE OF LIQUOR STOREThe parking lot of the store looks like a used truck lot.Every kind of supped-up truck one could possibly imagine ison display here.Maurice passes a CANARY YELLOW FLATBED PICK-UP with a groupof men drinking a newly purchased case of beer. Maurice getsabout ten feet past them when he stops, hesitates and thenheads back to them. MAURICE Excuse me, who's truck is this?The man sitting on the hood of the truck, has dark hair andhasn't shaven in days. This unfortunate gentleman is namedDENNY. DENNY Mine. MAURICE Are you and your friends planning on driving soon?Denny gives Maurice a greasy curious look. He squints hisglazed eyes. DENNY Yes we are. Who the fuck are you?Maurice, doesn't look scared, in fact he looks angered. MAURICE You don't know me from Adam, but I want you to do something for me. I want you to wait until you sobered up before you get behind the wheel. I know this is out of the ordinary, but one man to another, would you do me that favor?Silence. Then everyone in the group BURSTS OUT IN DRUNKENLAUGHTER. DENNY Are you a preacher? MAURICE (seething with anger) No, I just don't want anybody dying because I didn't say something when I had the chance.Denny's face goes blank. No emotion. His steady gaze almostterrifying. DENNY I'll drive my truck shit-faced if I want to. You better turn around and walk away preacher. You don't know who you're talking to.Maurice looks around at the hostile faces and decides on aretreat. Denny watches Maurice with predatory eyes. CUT TO:EXT. ROAD - DUSKMaurice practically hobbles his way down a road lined bytowering pines. He stops to take a drink from his canisterand keeps walking. The SOUNDS OF A CAR GROW IN THE DISTANCE.Maurice doesn't turn his back.The CANARY YELLOW TRUCK pulls over the ridge with a load fullof passengers. It gains distance on Maurice.Maurice hears the ENGINE and waves HIS ARM IN THE AIR --signaling for it to pass him. Maurice walks ten more feetbefore turning around.Maurice's face instantly changes when he sees the dementedgrins through the windshield of the truck. Maurice turns andquickens his pace... The truck picks up pace... Mauricebreaks into a run... The truck speeds up, passes Maurice andstops in front of him.Panic fills Maurice as he watches the truck unload it'sdrunken passengers. Eyes scan the forest on either side fora way out. Maurice decides to stand his ground. MAURICE (to himself) This is Indiana -- nothing's going to happen to you. DENNY You need a ride, Preacher?The men walk up to Maurice. MAURICE No thank you I'll walk.A tall lanky gentleman gestures to Maurice's shoulder bagwith his beer can. Some beer sprays Maurice's feet with thegesture. WIL Where you coming from? MAURICE Look gentlemen, I'm late, I need to -- DENNY I've been thinking -- who the hell is this preacher guy? Coming up to me and my friends? Looking like he wanted to kick my ass for drinking?Denny gives Maurice that inhuman stare. Maurice is clearlyfrightened. DENNY Then I figured it. You're angry. You lost somebody, because some asshole was drinking.Maurice is frozen. DENNY Maybe you lost a son? A sister? A wife?Maurice looks up for a millisecond. Denny doesn't miss it. DENNY (stepping closer) A wife?... Did someone piss drunk run into your wife? Crushed her like a bug. Snapped her bones? MAURICE That's enough.Maurice is red with anger. Denny loves it. DENNY Oh the preacher's getting angry again... (Denny goes ice cold) Tell me something. Did she die instantly or did she feel every torn muscle and shattered bone? Were you there to help her? Or were you safe at home when the windshield sliced into her face -- MAURICE I'll kill you!Maurice swings. Denny easily avoids it. Maurice doesn't seethe first BLOW COMING, IT HITS HIM IN THE CHEST -- Mauricegasps for air as he buckles to the dirt. Hands grab --restrain. A POWERFUL KICK IN THE RIBS -- ANOTHER...LAUGHTER... ANOTHER SET OF VICIOUS KICKS... The road andforest begin to spin... A PAINFUL SLASH ACROSS HIS FACE...Maurice prepares for the next blow... it never comes. REDAND BLUE lights swirl... Maurice looks up, barely focusing --a man leans over a car door... The image becomes clearer -- aPOLICEMAN stands poised -- gun aimed directly at the menhovering over him. POLICE OFFICER (distorted and slowed) Step away from him now! CUT TO:INT. INDIANA POLICE STATION - EVENINGOFFICER MERRIL GREY -- balances a phone on his shoulder as hespreads a new coat of mayonnaise on his hoagie. OFFICER GREY Need an I.D. check on a Maurice A. Parker...Grey reads Maurice's license. OFFICER GREY Driver's number 22 184 877... (listening) He was assaulted by a group of men just outside Elkhart, Indiana... CUT TO:INT. PHILADELPHIA POLICE STATION - EVENINGSergeant Dally, the officer Adelle spoke to earlier, listenson the other end of the phone his mouth agape. DALLY How is he?... That's good.Gesturing to a young officer at another desk to come over.Dally, cups the phone. DALLY Call Adelle Matlin... tell her we found her uncle. CUT TO:INT. PHILADELPHIA GAZETTE BUILDING - EVENINGThe sea of desks are empty. One empty desk is lit -- KrisReddy's desk. THE CRACKLE OF A SHORTWAVE/C.B. UNIT FLOATSTHROUGH THE LARGE UNOCCUPIED ROOM from an adjacent room. TheVOICES OF DALLY AND OFFICER GREY ARE DISTORTED BUT AUDIBLE.WE MOVE TO the back room to find Kris writing furiously infront of an elaborate C.B. setup.He jots down the words as fast as they're said: "Maurice Parker... Elkhart... Route 80... Precinct 18..."The transmission gets cut as the phone conversation ends.Kris quickly rolls the chair across the room and grabs a mapoff the shelf.The map gets pinned under two coffee cups and a ceramic frogas Kris traces the route from Philadelphia to Indiana... Hesits up straight in astonishment as his eyes hit the KEY ofthe map. KRIS Jesus -- he's walked six hundred miles.Kris glances at the hairs on his arm and smiles. CUT TO:LATERKris at his computer and in the 'zone.' Fingers flying overthe keys passionately. On his desk is a cardboard box filledwith letters all shapes and sizes on the verge of overflowingthe top of the box. One the side of the box are the words,"Labor of Love - Fan Mail." CUT TO:INT. INDIANA POLICE STATION - MORNINGDAWN IN INDIANA -- the sun spills over the horizon. CUT TO:EXT. INDIANA POLICE STATION - MORNINGMaurice and Officer Grey are seated on the front stairs ofthe precinct drinking coffee when ADELLE MATLIN DRIVES UP.Adelle steps out of a RENTED TOYOTA CELICA. Her tense --frightened eyes betray her mental state for the past tenhours. She walks to the stairs. GREY Mrs. Matlin... good morning.Maurice slowly gets up. Adelle is in shock as she looks atthe stranger before her.Maurice stands in a 'COLTS' football T-shirt, faded jeans andsneakers. His left cheek is black and blue, and his arm andside are bandaged. ADELLE Uncle Maurice, you're wearing sneakers? MAURICE High-top Nike Cross-Trainers with heel support and air-cushioned soles. They're nasty.Adelle wasn't sure what that meant. She shakes it off andhugs Maurice. She is visibly relieved to have him in herarms. GREY My shift ended an hour ago.Adelle notices the ROSE in Grey's hand. Grey catches herglance. GREY It's for my wife. ADELLE What's the occasion?Grey looks to Maurice -- they exchange a knowing smile. GREY No occasion.Adelle notices the WINK exchanged between Grey and Maurice. GREY You can use the conference room, if you want to talk. ADELLE That won't be necessary. GREY Fine. ADELLE We can talk on the way back -- I rented a car.Beat. MAURICE It'll be kind of hard to talk, since you'll be in the car and I won't.Adelle gives Maurice an angry glare -- Maurice holds hisground. GREY The conference room is down the hall on your right. CUT TO:INT. POLICE CONFERENCE ROOM - MORNINGFile cabinets in the corners. A small rectangle table takesup ninety percent of the space in the room.Maurice is seated -- his legs extended straight on anotherchair. Adelle paces the front of the room. ADELLE And your store? What about your new store? What about all your dreams? MAURICE I have new dreams now. ADELLE I don't accept that. MAURICE Maybe one day -- after you've been married twenty years you'll understand. ADELLE Uncle Maurice -- I spent all our frequent flyer miles on a one way ticket here... I have a rented car outside, just listen to me. (beat) Come back with me now, and if you still want to do something like this in a year -- maybe we'll plan a car trip across the country -- Gerald and I will come along -- MAURICE I have to walk -- by myself -- all the way -- every inch. ADELLE It's impossible. MAURICE It's what she asked for... It's what I'm going to do. ADELLE She was being symbolic. What if she asked you to fly to the moon? MAURICE You'd be visiting me at Nasa.Adelle changes gears. She takes a seat next to Maurice andstudies his legs and tired face carefully before uttering thewords. ADELLE (whispering) What if you don't make it? MAURICE I'll make it. ADELLE If you really want to do this... plan it out. Rest up. Train for it. Build up your body. Plan every stop along the way. How much money? Time? Really do it properly. This is all so -- by the seat of your pants. MAURICE No it's not. ADELLE Why did you take the back roads here? They're not safe. You'd know that if you'd planned.Beat. MAURICE I've all ready gone six hundred miles... I can't do it again. ADELLE If you can't redo these six hundred miles when you're rested and ready, how are you possible going to walk another two thousand-five hundred miles in your present condition?Maurice is stumped. He looks unsure. He instantly looks onthe verge of tears. MAURICE Nothing's going to happen. ADELLE Uncle, the way I was told, if that police car didn't happen down that road, you would be dead right now. That guy Denny, had jumped bail in another state, he's dangerous... They'll be other Dennys, if you don't plan.Maurice stares down at the table -- the life draining fromhim with every word she says. ADELLE Ellen, deserves you to do this right. Really make it -- if you're going to do it. She deserves it. CUT TO:INT. CAR - DAYThe RENTED TOYOTA CELICA turns out of the police station ontothe main road.Adelle holds a cushion in the air as she looks in therearview mirror. ADELLE Do you want this? It's a long ride.Maurice is stretched out in the back -- his legs propped upon a blanket. Maurice shakes his head "no" silently.His sad eyes watching the passing scenery. The speeding carswallows up the miles effortlessly. Maurice watches theJackson Liquor Wholesalers whiz by... The painful hills heclimbed, gone, in an instant... The school where he watchedthe children being dropped off, swishes by in a blink... allthose miles lost.Maurice shuts his eyes in pain. CUT TO:EXT. GAS STATION/REST STOP - DAYThe rented Toyota Celica is parked at the convenience store.Maurice is seated in the back staring out at the eighteenwheelers that come in and out of the parking lot. He glancesin to Adelle who is gathering food.Maurice's dull eyes are about to shut when something catcheshis attention. He sits up and stares out the window withgreat intensity. Maurice watches as a large truck pulls intothe parking lot, across it's side in blazing red -- "Jackson Liquor Wholesalers - Since 1945"Maurice scans the area... gas station ATTENDANTS... A BEARDEDHOMELESS MAN laying next to a heating unit... KIDS eatingfast food on old picnic tables...Maurice's gaze steadies on the TRUCK, as the driver fills thetank with gas. CUT TO:A PHONE BOOTH INSIDE THE CONVENIENCE STOREAdelle is on the phone. ADELLE We'll figure everything out when we get there... Oh, he's going to need a lot of help with this... He wasn't even going to come with me, I had to tell him that he could do the walk later if he plans well... I know, but by that time I'll have gotten him some treatment... I just want to get back home before he changes his mind. CUT TO:CAR - LATERAdelle gets in the front seat of the car keeping the bag offood on the passenger seat. She starts the car as she talksinto the rearview mirror. ADELLE You want something to eat?She stares at Maurice covered in a blanket with his back toher... an unresponsive blob. ADELLE I know you're feeling a lot of emotions right now. It's okay to be mad. It's okay to feel helpless. It's part of the healing process. I understand. I do.Adelle puts the Celica into drive and pulls out onto thehighway. DISSOLVE TO:EXT. ADELLE'S HOUSE - EVENINGEvening in Philadelphia. The rented Toyota Celica pulls intothe driveway. The front door of the house opens. Geraldwalks out to greet them.A tired Adelle slips out of the car and hugs Gerald. ADELLE He was exhausted -- slept the whole way.Adelle and Gerald move to the back door of the Celica. Theyopen it and stare at Maurice covered by the blanket. Adelleshakes the blanket. ADELLE Uncle Maurice we're home... Uncle Maurice.Adelle shakes Maurice, who stirs a little as he wakes. Hisfeet slide out from under the blanket -- Adelle starescuriously at the ARMY COMBAT BOOTS that dangle out. ADELLE Uncle Maurice?Adelle pulls aside the covers... THE HOMELESS MAN, from thegas station, sits up. ADELLE'S SHRILL SCREAM BLASTS THROUGHTHE AIR. Gerald and Adelle stumble back as the large,bearded man struggles out of the car and looks around thequiet neighborhood. HOMELESS MAN So this is the City of Brotherly Love.The homeless man raises his hand. He holds up MAURICE'S WELLPOLISHED BOOK SOCIETY MEDALLION and kisses it lovingly.Adelle and Gerald stare back speechless. DISSOLVE TO:EXT. ROAD - MORNINGJACKSON WHOLESALER'S PARKING LOT. The truck from the gasstation, the only vehicle parked before the store. CUT TO:EXT. ROAD - MORNINGMaurice back on the road. His limp only slightly visible atthis point in the day. The bandages rubbing him with everystep.The highway takes him around a beautiful bend of trees. THEAIR IS FILLED WITH THE SOUNDS OF BIRDS. Maurice spots aYELLOW WARBLER, a striking bird about eight inches long withvivid yellow feathers. It sits elegantly on a nearby branch.He walks towards it -- it stays in position. Closer. Thebird chirps back at him. Maurice is within arms reach of thebird. MAURICE Ellen would have loved you.Maurice looks closer -- and notices it's wings. The feathersbend back -- a dark area at the center. MAURICE How did that happen?Maurice watches the bird hop around the branch -- unable tofly. CUT TO:INT. PARKER KITCHEN - FIFTEEN YEARS EARLIER (FLASHBACK)The kitchen is a different color. The refrigerator andappliances are brand new. Ellen walks in -- somethingcradled in her hand. Maurice looks up from his paper to seeEllen move to the sink and lay a motionless bird on thecounter. ELLEN (shaky voice) It must've hit the window... I think its neck is broken. MAURICE Don't bring it in here -- it probably has all kinds of diseases.Ellen finds an eye dropper from the table and fills it withwater -- she lets a few drops fall into the birds mouth. CUT TO:BEDROOMEvening, just before bed. Maurice is reading. Ellen ismonitoring the bird closely. It lays on the bedside table --wrapped gently with a hand towel. A morsel of food islowered into its mouth with a pair of tweezers. The birdstares blankly at the ceiling. MAURICE It isn't going to make it Ellen. Let the poor thing go quietly. ELLEN It'll make it.Her delicate hand rubs the bird's stomach. CUT TO:LIVING ROOMThe GRAPHIC IMAGES of the TV FLICKER on Maurice's face. Heglances back to Ellen who talks to the bird cradled in herarms. ELLEN (softly) You must miss flying. Being way up there in the clouds looking down at all of us. You miss that don't you? You miss playing with your friends and talking with them...In the SOFT LIGHT of the lamp -- Ellen has transformed into amother rocking her child to sleep. CUT TO:KITCHENMaurice is reading his paper. ELLEN Maurice! Maurice! Come out here.Maurice looks through the window to see Ellen waving to himfrantically. CUT TO:BACKYARDEllen points to the ground. The little bird awkwardly walksaround the porch.The bird's wings BURST into motion -- flapping hard --catching the wind. Ellen jumps up and down, bursting withpride, as her little child takes flight. MAURICE I don't believe it.Ellen hugs Maurice. ELLEN All he needed was love. Once you have that, you can do anything.Young Maurice and Ellen watch the bird soar into the bluesky. CUT TO:EXT. STREAM - DAY (PRESENT)Maurice is kneeling at a stream by the side of the road. Hegently clears away the dirt from the Yellow Warbler'sfeathers. MAURICE You'll be all right. A couple days and you'll be up there again.Maurice carries the bird back to the trees. He lays it backon the branch. He stares at it's beautiful coat with asmile. MAURICE Ellen would have loved you. CUT TO:INT. ADELLE'S KITCHEN - DAYAdelle is on the cordless. Her fingers tapping on thekitchen table angrily. Gerald moves around her as he setstwo plates at the table. ADELLE Yes I understand, it does sound humorous, but this is a very serious situation.Gerald is cooking. He gently flips the chicken breast in abutter and garlic sauce. GERALD This smells good. ADELLE Why am I such an authority? GERALD (under his breath) Here comes the resume. ADELLE I received my B.S. from the University of Pennsylvania, my P.H.D. from Bryn Mawr College. I worked three years at the Boston University School of Medicine, during which time I had articles printed in the "Journal of Educational Psychology", "American Journal of Psychology", "Psychology Review" and "Science"... So I think it's safe to say my opinion is valid.Gerald brings the sizzling pan over and divides the steamingdish into both plates. ADELLE Look, please find him for me... Officer, I tried... but I brought back the wrong person.Gerald quickly scoops some rice onto both plates. His mouthis watering as he goes for the utensils.Adelle abruptly stands at her place. ADELLE Stop laughing!Gerald gets into his seat at the table just in time to seeAdelle angrily hang up the phone. She stares off into spacebefore unconsciously cleaning the table. Adelle picks upboth plates of food... GERALD Adelle --Gerald's heart sinks as Adelle pops open the trash can with atap of her foot and dumps the picture perfect meal into thegarbage. She goes to the sink and rinses the platescompletely preoccupied with her thoughts. She mumbles toherself as she shuts off the water. ADELLE He says he admires him.Adelle storms out of the kitchen. Gerald sits at the emptytable with a fork in his hands. He shakes his head indisbelief. CUT TO:EXT. MIDWEST HIGHWAYS - DAYThe land is flat. From the roads one can see endless fieldsin all directions. When the wind blows, the crops bend inunison, changing the shape and texture of the land for amoment and instantly changing back with a snap of the wind.Maurice takes in the beauty of the land through a painfulgrimace. Occasionally clutching his right leg in moments ofextreme pain.Maurice rests on an abandoned tractor by the side of the roadand watches the wind change the fields. He closes his jacketas the gusts become stronger. DISSOLVE TO:HOTELThe clock clicks past 11:30 am. Maurice is still in bed --the curtains drawn. He crawls out from under the sheets anddowns two pills with a glass of water. He looks bad. Hisface pale, his eyes at half-mast. He wipes unnatural sweatfrom his brow and melts into the bed again. DISSOLVE TO:STREETJust after dusk. A small town's main road. Maurice quietlypasses under the street lights.He stares up and tightens the hood on his parka as the firstSNOWFLAKE falls into the SHAFT OF THE STREET LIGHT. Soonthousands of flakes fall into the light... DISSOLVE TO:GAZETTE BUILDINGKris fields calls frantically as the LIGHTS BLINK ANXIOUSLYon his phone. The front page of the Gazette is posted on hispin up board. It reads... "HE MARCHES ON..." Underneath isA PICTURE of Maurice standing outside his bookstore holdingup THE BOOK SOCIETY MEDALLION proudly.A teenage boy gets off the elevator and maneuvers an enormousbag over his shoulder... emblazoned across his back are thewords "MAIL ROOM." The boy comes to Kris and empties the bagon Kris' desk without a word. Hundreds of letters cascadedown swallowing the table top and covering Kris who stares inawe as the letters keep coming. DISSOLVE TO:MOTELMaurice is COUGHING PAINFULLY. He crouches over the edge ofthe bed and holds his side with every strain.Maurice looks worse than ever. His hair and shirt are soakedwith sweat. The coughing attack stops. Maurice take acouple deep breaths before laying back down.His feet are visible -- sticking out from beneath the sheets.They look like someone has beaten them with a stick, swollenand bruised. They disappear under the sheets. DISSOLVE TO:SNOW COVERED ROADSthat stretch into a white oblivion.SUPERIMPOSE: ELM CREEK, NEBRASKA... MILE 1,564 CUT TO:EXT. STREET - DAYEarly morning. The branches of the trees are encapsulated inice. The snow piled ten inches on every surface. Maurice,buried deep beneath three layers of clothes, looks around.His breath materializes with every step. He forces a weaksmile at the magical landscape before him. White. Pure.Peaceful.The SOUNDS OF A VOLVO STATION WAGON urges Maurice to the sideof the road. As it passes a little girl waves from thepassenger window. Maurice puts on a brave face and wavesback.Another CAR ENTERS the picture -- A DARK BLUE FIREBIRD risesover the hill in the opposite lane moving fast, too fast.SLOW-MOTION as the Firebird skids over the ice and the snow-- the driver desperately trying to gain control... Themother in the Volvo hits the BRAKES as the Firebird spinsinto her lane... Maurice yells out. MAURICE No!The cars IMPACT with a sickening CRUNCH -- BACK TO REAL TIME:The Firebird spins into a guardrail, breaking through it andcoming to a stop in a bank of snow.The Volvo isn't so lucky. It flips from the impact...sliding on its roof, driving through the snow, down theroad... It comes to a rest a hundred feet away.SILENCE. STILLNESS. The entire event took only seconds.Maurice runs frantically after the Volvo. The windows areSHATTERED. Snow has packed into the over-turned car. No onecan be seen inside the vehicle.Maurice kneels down and punctures the wall of snow with hishand. His arm disappears up to the shoulder. His facegrimacing with the strain. His arm comes out slowly...A few MUFFLED SOBS ARE HEARD BEFORE the little girl breaksthrough the wall of snow and slides out of the window. Shelets out a DESPERATE GASP for air as Maurice pulls her out bythe wrist.Maurice clears her mouth and face and watches as she coughs. MAURICE (panting) It's okay. It's all over.Maurice lays her gently against a snow bank, before moving tothe other side of the car. DRIVER (O.S.) Is she okay?Maurice looks up to see the driver of the Firebird walkingtowards him. He looks dazed.Maurice doesn't waste another second and plunges his arm inthe snow... deeper than before. His cheek pressed againstthe snow, almost laying flat on the ground. MAURICE (frantic) Oh no... she's wearing a seat-belt.Maurice fishes around... his teeth clenched... He lets out aPOWERFUL GRUNT as he pulls back with all his strength -- awoman's WRIST appears first, then the tangled hair and thenthe body spills out onto the road next to Maurice.The driver appears over the Woman and Maurice and loses itwhen he sees them. DRIVER It wasn't my fault. It wasn't my fault.Maurice, out of breath, clears the woman's face and mouth --no movement. No sound. MAURICE Come on... please...Maurice holds her nose and breaths into her mouth... MAURICE Please...She doesn't respond. CUT TO:A FRIGHTENING FLASHThe mother's UNCONSCIOUS face turns into ELLEN. Her lifelesseyes -- her bruised cheek and forehead. Her neck at anawkward angle. Maurice stares down at his wife in horror. MAURICE No Ellen... don't die... CUT TO:THE MOTHERbeing revived by Maurice. He pushes her chest in counting...push, count, breath... push, count, breath...The mother's BODY TWITCHES, slightly at first -- thenobviously... The mother let's out a FEW PAINFUL COUGHS.She takes a breath. Life quickly returns to her body.Maurice places her head in his lap and hugs her, lightlyrocking back and forth. The tears streaming down his redface. MAURICE Everything's going to be fine Ellen. I won't let anything happen to you. I love you sweetie. Everything's going to be different now.The SCENE BACKS OUT as Maurice comforts this stranger in hisarms. CUT TO:EXT. ROAD - AFTERNOONThe police have descended on the scene. Traffic has beenblocked off in both directions. The LIGHT thrown by theambulances tints the snow and fields a THROBBING RED.Maurice's face can be seen in the shadows of the backseat ofa police car.OUTSIDE THE CAROFFICER HANSEN AND OFFICER TANDY converse. HANSEN What's his story? TANDY His name is Maurice. He's dancing around everything else. HANSEN Red flag, man. TANDY If he's in trouble with the law -- fine. Not our problem. He yanked two people from a car wreck, let's give him some space.Hansen looks in at the drawn, exhausted face of Mauricethrough the window. Hansen opens the back door. HANSEN Maurice, you need anything? Which way were you headed? We can drive you. MAURICE No thank you officer. I'll walk.Hansen throws a sharp glance to Tandy. Hansen turns back toMaurice. HANSEN Grub? Food? How about food? Our dime at the local diner...Maurice mulls this offer. HANSEN Come on man, you're a hero. In Nebraska we don't let hero's walk around with empty stomachs.Beat. MAURICE ... I need to be brought back here. HANSEN Deal. CUT TO:INT. DINER - EVENINGThe end of the meal. Maurice sits in a booth across fromHansen and Tandy. They watch as Maurice coughs violentlyinto his napkin. HANSEN You look like shit Maurice.Maurice takes a couple strained breaths. MAURICE Getting old. TANDY How long have you been footing it Maurice?Beat. MAURICE Too long... (looks around) Excuse me gentlemen.Maurice gets up and heads to the bathroom. Hansen and Tandystare at Maurice's shoulder bag laying on his seat. HANSEN Red flags man. TANDY Not our problem. HANSEN Why so vague? Why so evasive? He could be somebody hot. TANDY Not our problem. HANSEN It's going to look beautiful when he turns out to be that animal who paid a visit to the Steadman's house. TANDY This guy's not a murderer. HANSEN If he is, half the town has seen us take him out for dinner like a couple of jack-asses.That makes Tandy think. HANSEN If he's clean, he'll never know about it.Tandy looks to the men's bathroom door. TANDY Do it quick.Hansen instantly reaches over and begins rummaging throughthe shoulder bag. Hansen pulls out a little folder. Heopens the folder to reveal an old certificate. Hansen showsTandy the worn piece of paper. HANSEN A marriage certificate? Who the hell carries their marriage certificate around? TANDY Maurice and Ellen Parker... it was issued in Philly... Mr. Maurice Parker has come a long way from home. Why?Hansen returns the certificate and folder to the bag andleaves the booth quickly. CUT TO:LATERMaurice returns to the table to find only Tandy seated.Maurice sees Hansen in the phone booth at the far end of thediner. TANDY Hansen's whipped. Has to call his wife every two hours or she'll go ballistic when he gets home. CUT TO:PHONE BOOTH HANSEN P-A-R-K-E-R. Right. Get on the horn with Philly. Call me here. CUT TO:INT. PHILADELPHIA POLICE STATION - EVENINGSergeant Dally packs his things to leave. He sees the lighton LINE 1 LIGHT UP on his phone. He ignores it. The clerksticks her head around the corner. CLERK Line one Sarg. DALLY I'm not here.Dally zips his coat. CLERK It's the Nebraska state police. DALLY Nebraska? CLERK You know somebody named -- Maurice Parker?Dally freezes. He shakes his head as he unzips his jacket. DALLY (smiles) That son of a bitch made it to Nebraska.Dally grabs the phone. CUT TO:INT. GAZETTE BUILDING - EVENINGThe C.B. CRACKLES WITH THE VOICE OF SERGEANT DALLY AND THENEBRASKA POLICE.MICHELLE, a very introverted intern, stares at the radioastonished. CUT TO:A SMALL SIDE OFFICEIt now has "KRIS REDDY" etched on it's door. Kris looks upfrom his desk at Michelle who stands in the doorway brightred. KRIS What is it?Michelle just points down the hall. CUT TO:OFFICEMichelle scribbles down notes. C.B./NEBRASKA POLICE ... He saved a little girl, and her mother. Pulled them right out of the car...Kris stands, jaw hanging wide open. KRIS Where is he?Michelle checks her notes. MICHELLE (very soft voice) Umm, Elm Creek, Nebraska.Kris practically falls over. Michelle scribbles down morequotes. MICHELLE This story is big huh? KRIS Mammoth. MICHELLE The Gazette's small huh?Beat. KRIS What are you saying? This story is too big for this paper? MICHELLE (flustered again) Umm, no. It's just that -- KRIS God damn, you're right... You don't say much Michelle, but what you say is golden.Kris' mind is racing as the C.B. conversation continues. CUT TO:INT. DINER - NIGHTHansen scoffs down his third dessert. Maurice stares at himoddly.The PAY PHONE RINGS. Hansen jumps to his feet too quickly.He tries to recover. HANSEN (too excited) I was expecting a call.Hansen moves to the phone.Tandy winks at Maurice with a smile. TANDY Whipped. CUT TO:PHONE BOOTHHansen listens carefully to the officer on the line. OFFICER (ON PHONE) ... I'm on first name basis with half the city of Philadelphia... Hansen, apparently this guy Parker lost his wife and went a little fruity. I spoke with his niece, Adelle Matlin and she says to restrain him. That he's dangerous to himself. She says to call when we have him in the station. HANSEN Good work. CUT TO:EXT. POLICE CAR - NIGHTThe ride progresses in silence. Hansen and Tandy in thefront seat. Maurice's head is pressed against the back-seatwindow. His eyes begin to shut slightly as sleep overcomeshim. The car goes over a BUMP. Maurice jars awake. Heglances out the window to see a highway sign swish by in theHEADLIGHTS. 'ROUTE 80 EAST'.East? Maurice looks around quickly at the passing scenery. MAURICE Where are you taking me?Hansen and Tandy exchange looks. HANSEN I'm going to drop off Tandy at the station and then drop you back. TANDY That's all right isn't it? MAURICE Sure.Hansen looks back to the road. The drive continues insilence. Tandy checks his watch just when a CLICK -- A HARDWIND -- AND A METALLIC SLAM in quick succession shakes thecar. HANSEN What the hell was that?Tandy looks back -- Maurice is GONE. The back seat empty.Tandy stares out the blackness of the back window. TANDY Shit! He jumped! HANSEN Jumped where? TANDY Out of the car. He jumped out of the god damn car! CUT TO:EXT. FOREST - NIGHTMaurice staggers through the naked trees. Thin trees everyfew feet with no branches. The snow ankle deep.Maurice braces himself against a trunk, checking his hands.His vision blurs as he stares down at his scraped bloodypalms.The forest clears quickly into an open field. Far in thedistance across the field of white is a small pointedbuilding standing alone. The glow of a LIGHT can be seenthrough the windows.Maurice trudges through the deeper snow. Stumbling manytimes. The frigid wind pushing him to his knees. Mauricekeeps moving -- the field seems endless... CUT TO:DRIVEWAYMaurice's feet hit the snow of the driveway, just as his legsbuckle -- his face HITS the snow hard. He manages to rollover on his back with great effort. He stares up at thepointed building -- the dull light becoming duller...something blocks the light. A man. Maurice feels himselfrise into the air as two powerful arms scoop him off the ice.A PRIEST carries him into the doors of a CHURCH. CUT TO:INT. BACK ROOM OF CHURCH - NIGHTA dimly lit cathedral. Six foot six, FATHER BERCHMAN walksdown the center isle of the cathedral, through a clothcurtain and into aBACK ROOMwhere Maurice is sitting in a chair wrapped in a blanket. MAURICE What did they ask? FATHER If I had seen you. By the way I'm sorry about your wife. They told me. MAURICE Thank you... I'm sorry you had to lie. It must have been difficult. FATHER I asked the officers if you had committed some crime... If they had said 'yes', you would be speaking with them right now.This is the father's own room. Very sparse as one wouldexpect. He moves to his bureau and retrieves some pills. FATHER Take these, and if you're up to it, try to explain how it is you came to be sitting here.Maurice follows the father's instructions and tightens theblanket around his shoulders. MAURICE I'm walking for my wife.Beat. FATHER To where? MAURICE Pacifica, California. FATHER From where? MAURICE Philadelphia, Pennsylvania. FATHER I see.Beat. The father nods as if this is not shocking news. FATHER Why? MAURICE Do you believe a person's soul lives on after their death? FATHER Most certainly. MAURICE And that that soul takes part of the person they were on this earth with them. FATHER That's a reasonable assumption. MAURICE I don't want my wife's soul having any doubts. FATHER Doubts? About what? MAURICE About my love for her.The father nods with understanding as if everything becamevery clear with that statement. FATHER You don't have to prove anything to her. MAURICE I'm not proving to her. I'm showing her. And I know I don't have to. I want to. I've realized, love is about giving. I'm alive, I can still give to her. I want to give her everything I can.The father studies this stranger before him with greatadmiration. MAURICE There are some people, including those officers, that are trying to stop me. They mean well. But they don't understand. I wouldn't either if I were them.Maurice struggles with the last words. He slumps back --physically drained.The father gets up and takes the empty glass of water fromMaurice's hands. FATHER I want you to stay here a few days until you're better. You're no use to your wife in this condition.The father moves for the curtain. MAURICE You think I'm crazy too.The father turns and smiles warmly. FATHER I have spent my life dedicated to love. Love of God. Love of humanity. And here you are living through love. Bathing in it. Using its strength, its magic, its ability to overcome any barrier... If you are crazy, I hope my insanity is not far off.Maurice's eyes well up instantly. CUT TO:EXT. CHURCH - WESTERN HIGHWAY - DAYFather Berchman wraps one powerful hand around a tiny silvercross dangling from his neck. The other hand waves high intothe air at the shrinking figure of Maurice Parker walkingthrough the snow. DISSOLVE TO:HIGHWAYThe long trek continues. The black tar of the roads peek outin spots as the SUN BEATS down on the flatlands. Mauricedrapes his worn scarf around a melting snowman. DISSOLVE TO:RESTAURANTWe are looking inside a fancy Center-City Philadelphiarestaurant. Adelle and Gerald are seated by an enormous baywindow. A waiter comes to their table with their maincourse. Gerald watches the food being served with greatanticipation.Gerald's eyes drift out the window to the magazine stand onthe sidewalk... He squints to see better. Realization hitshard... His eyes light up. He looks to Adelle and back tothe magazine stand.In a mad race for time, Gerald begins to devour the food onhis plate. The waiter and Adelle watch him in shock. Adelleglances out the window. Her eyes squint... then light up.She jumps to her feet and grabs Gerald by the arm, a forkfull of food drops to his plate. Gerald looks back at hisfull plate longingly as Adelle pulls him out of therestaurant.The waiter looks out the window to the magazine stand. Hesquints. CUT TO:MAGAZINE STANDThe NEW YORK TIMES are hung like stockings around the borderof the stand. On the front pages, a singular headline standsout among the others: "A JOURNEY OF THE HEART"A large PHOTO OF MAURICE is next to the headline. DISSOLVE TO:DINERA red-headed waitress slices a credit card through themachine and waits... Green computer letters blink - "Thisaccount has been closed."The waitress returns with the card -- she shakes her head"No" at Maurice who digs into his wallet for cash. DISSOLVE TO:MOTELMaurice slides two twenties across the counter to the motelmanager. Maurice checks the remaining bills in his wallet...only a few bills left.In the motel room we find Maurice sitting over the edge of abed buckled over in a coughing attack. It finally stops.Maurice flops back to the pillows, completely drained. DISSOLVE TO:ROADSThe flatlands have vanished. The roads now serpentinethrough mountain ranges.VIEW FROM THE MOUNTAIN RANGE; Maurice moves like a grain ofdust over the black line of the road.Maurice rests every half mile. He labors up every inclinewith ultimate effort. He braces himself with a branchserving as a make due crutch.Maurice spots a small town nestled in the arms of themountain range. He begins the journey to rest. DISSOLVE TO:GROCERIESMaurice pays for his food with the last few bills in hiswallet. DISSOLVE TO:ROADAnother stick serves as a walking cane. The multi layers ofclothes have been shed for a short-sleeve shirt. Mauricefollows a dirt road that breaks free of the mountains andinto the open country again.SUPERIMPOSE: COALVILLE, UTAH... MILE 2,472 CUT TO:EXT. DRIVEWAY - DUSKA dust covered mailbox at the end of a long dirt driveway.Maurice wipes the mailbox clean with his hand. The nameemerges like an ancient inscription from beneath the mud..."CALDWELLS." CUT TO:FRONT DOORMaurice tentatively moving to the front door. His handinstinctively clutches his empty stomach.The wind blows gently. Maurice shuts his eyes and takes adeep breath. He opens his eyes slowly to see a dinner tablebeing set. Potatoes, gravy, fresh baked bread... floatingthrough the half open window to Maurice's thankful smile.THE SOUNDS OF CHILDREN AND ADULTS CAN BE HEARD INSIDE.The first LIGHT KNOCKS go unheard with all the commotion.HARDER. The door squeaks open. Maurice puts on his bestsmile... the door opens wider -- no one stands before him. BOY (O.S.) Hi.Maurice looks down to find an adorable little boy, blackhair, big eyes and an even bigger grin. This is three yearold ISAAC CALDWELL. MAURICE Well, hello. ISAAC I'm Isaac... I'm three. MAURICE I'm Maurice Parker... I'm much older than three. Are your parents home?Beat. Isaac thinks. ISAAC You know what, I can play baseball with my brothers when I'm bigger. MAURICE Is that right? ISAAC You know what... I'm just little now, but I'll be big soon. MAURICE You'll probably be bigger than your brothers. ISAAC Yeah!Isaac is happy with this thought.Maurice looks up as MRS. CALDWELL comes to the door. MRS. CALDWELL Who are you talking to Isaac?Mrs. Caldwell stops as she stares at Maurice. MAURICE Hello, I'm Maurice Parker. I'm just passing through and I need to conserve what little funds I have... I need some food and a roof to sleep under for one night... Now I don't look like much, but if there are any things that need to get done around the house --Mrs. Caldwell doesn't listen, but instead yells behind thedoor. MRS. CALDWELL Dave... you're not going to believe who's here.Maurice looks at her oddly. MR. CALDWELL comes to the door;his face lights up. MRS. CALDWELL This is Maurice Parker -- the one walking for his wife.Mr. Caldwell is completely floored. So, for that matter isMaurice. Mr. Caldwell puts out his hand with awe. MR. CALDWELL If that ain't fate?... Hi, I'm Dave Caldwell. I do the copy for the anchor on the evening news down here. MAURICE Evening News? MR. CALDWELL We did a piece after your story ran in the New York Times.Maurice is truly surprised. MAURICE New York Times?Mrs. Caldwell ushers Maurice in the doorway by the elbow. MRS. CALDWELL Someone said they spotted you in town... Mr. Parker, you're a celebrity. CUT TO:INT. CALDWELL KITCHEN - NIGHTThe Caldwell family dinner... all twelve of them. Tenchildren talk and reach for food. Maurice sits at the endtalking, enjoying and sharing. Isaac sits next to himproudly. Maurice has blended in as another member of thisfamily. CUT TO:INT. CALDWELL GUEST BEDROOM - NIGHTAn inviting room. The kind prepared for visitinggrandmothers and grandfathers to stay in.Maurice checks himself out in the mirror... his borrowedpajamas fit nicely.He moves to the window and stares at the moon litlandscape... enormous, endless, dwarfing.The rocking chair CREAKS as Maurice melts into it. He rubshis calves slowly, the pain evident in his face. His headleans back after a moment... on the verge of sleep.The SOUND OF TINY FOOTSTEPS stirs him. He looks to thedoorway to find Isaac standing quietly at the door in hisbaseball P.J.s. MAURICE I thought you were asleep. ISAAC You know what... I remembered you were here and I woke up.Isaac walks silently to Maurice... Tip-toeing all the way. MAURICE Your parents would want you to be in bed. ISAAC You tell stories? MAURICE Oh no... I'm not good at that. Very bad in fact...Too late. Isaac climbs up into Maurice's lap with greateffort. Maurice looks down at Isaac who waits patiently forhim to begin. MAURICE I would be exceedingly boring.Isaac waits. MAURICE I don't do these type of things.Isaac -- still waiting. MAURICE See there are two kinds of people in this world. (beat) ... Just a short one okay?Isaac gets in position, cradled in Maurice's arms. Mauricesearches for something to say. MAURICE There was a boy named Isaac who wanted to play baseball, but he was too small and no one would let him play... but he kept practicing by himself -- waiting... He went to every game and sat in the stands with his glove. ISAAC You know what... maybe I ran onto the field and hit a home run. MAURICE Who's telling this story?Isaac points to Maurice. MAURICE Good, now the team had this great big player -- Big Billy. He was the best. He had them in the World Super-Bowl-Championship of little kids baseball. But right before the game, the second best player on the team was suspended because he played a prank on a nice man who owned a book store... When that boy grew up he was convicted on burglary charges and spent fifteen years in prison -- where he belongs.Isaac didn't understand that last part. MAURICE Anyway, Big Billy needed another player so he yelled into the stands. 'Who can play baseball?' And there was a little voice that yelled out, 'Me, I can play.' Everyone turned to see a little boy standing with a glove. ISAAC (beaming) That's me. MAURICE Right. But everyone saw how small Isaac was and laughed... but not Big Billy. He stared at Isaac carefully and then told him to join the game. It came to the end of the game. It was the eleventh or twelfth inning or whatever is the last inning of a game... ISAAC Nine. MAURICE Okay nine. Big Billy's team was losing and he was on base. That's when Isaac came up. He could barely hold the bat... Big Billy winked at Isaac... The ball was pitched -- Isaac hit the ball hard. It soared up and out over the stadium. Everyone cheered. Isaac hit a home run and won the game. After the game, Isaac asked Big Billy why he let he play. Big Billy smiled and said, I wasn't always Big Billy, I was Little Billy first... Isaac and Big Billy went off after the game and read a classic book together. The end. ISAAC You know what -- that was a really good story... Tell it again.Maurice has to smile as Isaac looks up anxiously. MAURICE There was a boy named Isaac who liked to play baseball...WE BACK OUT as Maurice rocks back and forth in his chair.Isaac falling asleep in his arms. CUT TO:EXT. CALDWELL DRIVEWAY - MORNINGThe family dog "Max", scurries up and down with greatexcitement. Max can sense something big is happening.The Caldwell clan, one and all has gathered at the end oftheir driveway. Maurice is escorted out by Isaac who clingstightly to his hand. Mr. Caldwell meets Maurice halfway andpulls him aside. MR. CALDWELL That's a nice watch.Maurice looks down at his beat-up Seiko. MR. CALDWELL I've always wanted a watch like that. MAURICE (unstrapping it) It's yours. MR. CALDWELL No. I won't take it unless I pay for it... Let's see, that's a pretty nice watch -- I can see that.Maurice watches him suspiciously as he pulls out an envelopefrom his jacket pocket. MR. CALDWELL Let's say I give you what's in this envelope for that beautiful watch.Maurice is handed the envelope. He opens it to find a thickPILE OF CASH, TENS AND TWENTIES. MR. CALDWELL I really want that watch. MAURICE This isn't right. MR. CALDWELL This is my only chance to get a watch like that. It would mean a lot to me and my family. Please take it. It really isn't that much.Maurice stares into the envelope emotionally and hands overthe watch tentatively. MAURICE This is a loan.Mr. Caldwell straps on the watch and then hugs Maurice.The rest of the family say their good-byes.Isaac won't let go of Maurice's hand as he walks out into thestreet. MR. CALDWELL Isaac, come back here.Isaac just holds on tighter. After Maurice and Isaac havewalked a few steps out into the street, Maurice kneels down. MAURICE I have to go now.Isaac's bottom lip protrudes as he tries not to cry. Mauricehas to hold back a few tears himself. He hugs Isaac tightly. MAURICE (whispers) Why didn't I meet you fifteen years ago?Maurice pulls away from Isaac slowly. Isaac runs to hismother's arms. Maurice waves good-bye to the Caldwells as heheads down the road. CUT TO:EXT. ROAD - DAYMaurice stops, bends down to the road and picks up a TORNWHITE PAPER STREAMER that spiraled its way to his feet.He looks ahead and finds both sides of the street lined withparked cars. Some of the cars are decorated with whitestreamers. CUT TO:OUTDOOR WEDDINGA beautiful canopy of flowers sits at the end of ten rows oflawn chairs. Maurice watches from near the cars. He smilesas the young bride and groom nervously say their vows.Everyone LAUGHS warmly as the groom stumbles over his lines. CUT TO:INT. CHAPEL - DAY (FLASHBACK)Moments before the ceremony. The guests are seated. TheORGAN is PLAYING. CUT TO:SIDE ROOMYoung Maurice sits on a chair in a tuxedo staring out thehalf-open door to an OLD MAN who tries to gain his balance byholding onto the wall. Maurice is upset. He runs hisfingers through his hair.THE DOOR OPENS wide as Young Ellen comes in. She is wearingher WEDDING GOWN. White lace, tight at the arms and waist --she looks stunning. ELLEN What's wrong? They said something was wrong?Maurice stares at his rented shoes. MAURICE I'm fine.Ellen moves to him and kneels before him. She lifts hischin. ELLEN Everyone's here. Everything looks beautiful. They even got the white dove I wanted for the cake -- so what's wrong? What is it?Maurice moves his gaze from her to the half open door. MAURICE It's him.Ellen looks back. ELLEN Your father? MAURICE He's plastered. ELLEN That's okay -- really it is. MAURICE No it's not. He should be here with me now, not trying to find some fucking bottle of Johnny Walker. He's never been there for me. I've always been alone.Maurice looks like he may cry. MAURICE I'm afraid Ellen... I'm scared of being alone again. What if one day you realize how boring I am? What if one day you realize you're not happy? (beat) I could have been alone before, but now you've changed things. I can't be alone anymore Ellen. I'm scared what's going to happen to me.Ellen takes both his hands and squeezes them between hers. ELLEN The day I met you, I gave you my heart. Today, I give you my soul. Where ever you are, where ever you go, I will be with you. Maurice Parker, I promise -- (she shakes him with emphasis) I promise, you will never be alone again. CUT TO:EXT. OUTDOOR MARRIAGE - DAY (PRESENT)The bride and groom run through a shower of rice into theirlimousine. CUT TO:INSIDE LIMOUSINEThey wave through the window as the car pulls away. Theysettle in and look to the seat across from them. On the seatis a fresh flower. Next to the flower is a note. The groompicks it up and shows it to the bride. It reads: "CHERISH EVERYDAY TOGETHER"It is signed "M.P."The bride and groom look at each other curiously. CUT TO:ROADThe limousine passes Maurice on the road as he walks. CUT TO:INT. GAZETTE BUILDING - DAYA fax machine rolls out a tongue of information. Michelle,the intern, snatches it and jogs through the maze of desks. CUT TO:KRIS'S OFFICEMichelle catches the tail end of a telephone conversation. KRIS -- Come on Pete, this is important, this is racism in our backyard... Aw, that's bull... just think about it, okay?Kris hangs up. KRIS They're pushing my Jewish temple vandalism story to the Metro section...Kris notices Michelle's familiar bright red face. KRIS What?Michelle is completely flustered as usual. KRIS Michelle, breathe... that's it, what is it, talk to me. MICHELLE (hands the fax over) Umm, Coalville Utah.Kris studies the fax before jumping up from his desk andmoving to the wall. An enormous U.S. MAP covers threequarters of the wall. RED TACKS mark a trail across theUnited States, beginning with Philadelphia. Kris puts a redtack at the top right corner of Utah.Kris notices through the open officer door that Frank andSeth are listening in. Kris nods to Michelle. Whoimmediately shuts the door on their view. Kris waves byebefore it closes. KRIS He's taking highway 80 all the way.Kris paces the room -- charged with excitement -- eyesoccasionally stopping on the map. Michelle watches Kris'animated expressions. KRIS You know what this is, don't you? It's a miracle. Not like... 'It was a miracle little Johnny passed his math test.' No! This is a real miracle... Turning water to wine kind of miracle. People should know about this, everyone, every single person... It's time for a blitz. Let's see what kind of TV interest we can generate.Michelle enjoys watching Kris when he's like this. MICHELLE Umm, he's going to make it isn't he? KRIS Maybe.Kris studies the map. KRIS But he hasn't hit the toughest miles yet. CUT TO:INT. ADELLE'S LIVING ROOM - NIGHTThe lights are out. The FLICKER FROM THE TV dances overAdelle and Gerald. Adelle is fast asleep. Gerald is havinga late night sandwich. NIGHTLINE comes on the TV. TV ANCHOR What would you do for love? This is the question Americans are starting to ask themselves. The incredible tale of Maurice Parker's walk across the country has caught the imaginations of young and old.Gerald sighs. He puts the sandwich on the plate and hands itto his left -- obediently. PAN TO LEFT to find Adelle wideawake now. She glares at the TV screen silently as she takesthe sandwich and dumps it in the waste basket releasing someof her frustration.A COMPUTER MAP OF THE U.S. trails Maurice's walk on thescreen. TV ANCHOR At 44, this bookstore owner from Wynnewood Pennsylvania has tallied an estimated 2,400 miles. His latest appearance in Coalville Utah brought the spotlight of the country to that small town. GERALD Coalville Utah? ADELLE I can't believe it. TV ANCHOR Whatever has carried Mr. Parker through snow and rain and thousands of miles of this countryside, will have to carry him through the most dangerous part of his trek... The three hundred miles through the sweltering roads of Nevada... ADELLE My God. CUT TO:EXT. HIGHWAY - DAYA merciless sun beats down on a long stretch of highway. Theblack tar from the road melting slightly.No sign of Maurice. WE SEE into the distance, not a soul insight. WE LOOK to a hillside a hundred meters from the road.There we see a figure lying still in the shade of anoverhanging rock formation.Maurice has a towel over his eyes and his feet propped up onhis shoulder bag. He is fast asleep. DISSOLVE TO:DUSKThe SUN TURNS RED for one brilliant moment before hidingbehind the horizon. Like an alarm went off, Maurice wakes upand packs his things. CUT TO:ROADThe MOONLIGHT outlines a line figure hobbling his way step bystep with a walking stick.The air fills with a POWERFUL RUMBLE. Maurice turns to see awave of rocks and sand slide down a hillside to the road.They CAUSE A GREAT THUNDER that settles to dust. Mauricewalks down the center of the highway away from the hillside. DISSOLVE TO:EXT. HIGHWAY - DAWNTHE FIERY NEVADA SUN BEGINS ITS ASCENT INTO THE SKY. Mauricelooks bad. He's breathing heavy as he moves up a steepincline by the side of the road. His feet slide on the loosedirt. Maurice looks like he could collapse at any moment.He makes it to the indentation in the hillside -- just enoughroom to lay down in the shade. Maurice lays out slowly. Hepries off his sneakers, band-aids and blisters cover everyinch of his feet. Maurice dumps the sand out of his sneakersand painfully pulls them back on. His eyes close as he triesto unbutton his jacket... too late he's asleep.Maurice's bed is a rock that juts from the side of thehill... First WE SEE nothing, then some grains of sand escapefrom the crack where the rock meets the hillside. The CRACKBECOMES SLIGHTLY LARGER -- PULLING AWAY FROM THE HILL BY AFRACTION OF AN INCH. It stabilizes there.Maurice unaware of his precarious situation sleeps twentyfive feet above the ground. CUT TO:MID-DAYAnother sizzler. Temperatures in the nineties. The sun isdirectly overhead.Maurice stirs in his sleep, moving closer to the edge of therock.A STEADY STREAM OF SAND POURS FROM THE CRACK...A SLIGHT TREMOR...THEN THE FRIGHTENING SOUND OF ROCK MOVING AGAINST ROCK...Maurice wakes up as he begins to slide off... Hands scrapingat the dirt... He SLIDES OFF THE ROCK... Feet and handsdesperately trying to cling to the hillside... He picks upspeed as he tumbles down... Maurice looks down in time to seea small jut in the rock hurtling towards him... no time forpanic... SLAM! A SICKENING CRACK OF BONE as Maurice HITS therock square in the ribs... Maurice flops down the rest of theslope like a rag doll... he comes to rest in the dirt,clutching his ribs. The sun beats down on his stunned eyes.Maurice stares up at the dizzying slope. Sand stilltrickling down to a stop. He doesn't try to move for thefirst few seconds. His breathing increasingly erratic.Maurice drags himself to sit upright. The sharp painscausing a distorted grimace on his face. A short rest,before working his way to his feet. CUT TO:HIGHWAYMaurice uses a highway guardrail as a backrest. He takes aseat in the dirt. Maurice's hair is damp with sweat. Hisbreathing relegated to slow gasps. His left hand coveringhis rib cage protectively. Blood begins to trickle throughthe spaces between his fingers.Maurice closes his eyes for a moment, before his bent leggoes into spasms... Maurice is forced to straighten the leginstantly... jarring his tender rib cafe... Maurice clings tothe back of his thigh... Maurice is defeated... On the vergeof tears.He glances way down the road and spots a TINY CLOUD OF SMOKEmiles away in the distance. A car is moving in hisdirection.Maurice looks up into the DAZZLING WHITE SKY. Drops of sweatfalling into his eyes. MAURICE (whisper) It's over Ellen... I failed you again.Maurice looks down the road at the cloud of dust growinglarger. MAURICE I tried Ellen, I really tried... I don't have the strength.The cloud is now clearly a car... Maurice stares up into thesky again... The tears racing the sweat down his cheeks.Maurice YELLS TO THE HEAVENS. MAURICE You said I would never be alone!... You promised... (his yelling turns to sobs) ... You promised.Maurice's is interrupted by A SLIGHT RUSTLING BEHIND HISHEAD. Maurice turns and looks through his tears...There, a few feet from him, perched quietly and majesticallyon the guardrail is a GOLDEN EAGLE. It stands two and halffeet tall. It spreads it's great wings. The feathers expandlike a blanket, spanning six feet, and throwing a gentleshade on Maurice's face.Maurice is frozen in wonder. The MAGIC of the moment glowsin his eyes. Maurice's face gains life... The dark featheredeagle stands like a god before Maurice. The moment isbreathtaking. CUT TO:ROADThe car on the road, takes the last quarter mile inseconds... SCREECHING IT'S BRAKES at the sight of Maurice onthe side of the road.Maurice turns away from the bird as the car pulls up. Thedriver gets out and calls over the hood. DRIVER Hey, man are you okay?Maurice's face filled with strength. He grins through thepain. MAURICE I'm fine. DRIVER What the hell are you doing out here? You need a ride somewhere? MAURICE No thank you.The driver is concerned. He opens the driver door. DRIVER You by yourself?Beat. MAURICE No.This pacifies the driver somewhat. He nods and gets in thecar. Maurice watches as the car pulls away.He turns back to the guardrail -- the eagle is gone. Mauricelooks up into the sky. The Golden Eagle is flyingoverhead... a tiny dot against the blazing sun.Maurice struggles to his feet using the guardrail as support.Maurice takes his first step... DISSOLVE TO:EXT. SUBURBAN STREET - DAYSuburbia. Rows of similar houses with small lawns and custommailboxes. Beautiful trees line the streets creating acanopy over the roadway.Two women sit on a swing on the front porch of a smallsuburban home. JANIS AND AMMIE'S conversation is cut in midsentence. JANIS Who is that? AMMIE I don't know. What's the matter with him?Janis and Ammie stare to the street where a sunburnt MAURICEstaggers in a daze.MAURICE'S POVMaurice is on the edge of darkness... the trees and facesswimming -- mixed with the colors of red and blue clothwaving in the wind... Images come in and out of focus... twowomen walking towards him... Maurice clutches his head as thetrees start to swim faster -- color, lights, houses... DISSOLVING TO BLACK:Maurice collapses in the middle of this suburban street.Janis and Ammie run to his side.SUPERIMPOSED: "ROSEVILLE, CALIFORNIA... MILE 3,205" DISSOLVE TO:INT. HOSPITAL ROOM - DAYMaurice lays still on a hospital bed. His eyes slowly forcethemselves open. NURSE (O.S.) Good morning Mr. Parker.Maurice turns his head to the side. A pretty woman in herlate twenties, with LARGE LOCKS OF BROWN HAIR smiles back.This is STEPHANIE. STEPHANIE There are a lot of people worried about you. MAURICE (softly) Where am I? STEPHANIE In a hospital. MAURICE Which hospital? Did you take me back?Stephanie understands his worry. STEPHANIE You are in St. Vincent's Hospital in Roseville California. You've been here three days.Maurice closes his eyes in relief. MAURICE Thank God. CUT TO:INT. HOSPITAL - AFTERNOONThe room is crowded. Maurice is now propped up in a seatedposition. He tries to digest a set of fish sticks on a tray. MAURICE I can't believe you're here. I'm touched.Maurice looks across to ADELLE AND GERALD. MAURICE Are you two planning kids? ADELLE Maybe later. MAURICE You should definitely have children. They're really special.Adelle and Gerald are in shock. Maurice forks another fishstick with a smile. ADELLE I don't think you realize how serious this is Uncle. MAURICE How serious is it?DR. RAY, who has been standing by the window listening, stepsforward. DR. RAY You have two broken ribs, a punctured spleen and Acute Rheumatoid Arthritis.Maurice gives a comforting smile to Adelle. DR. RAY The normal amount of build up in your arteries has been aggravated by over exertion. This is called, "Claudication," As a result, there isn't enough circulation to your body. That accounts for the discoloration in your extremities and the muscle spasms I'm sure you've encountered. MAURICE Can it kill me? DR. RAY It can, but it'll have to wait in line.This surprises Maurice. DR. RAY We ran a C.T. and an M.R.I. We found bleeding in your brain. Your collapse was caused by "Transient Cerebral-Ischemia"... a sudden loss of blood circulation to the brain. In other words, Mr. Parker, you had a mild stroke.There is dead silence in the room. MAURICE (scared) I suppose I over did it.Adelle moves over to Maurice's side and holds his hand. MAURICE What steps do we take now? DR. RAY We operate. We find the artery in the brain and close the bleeding... I just did this procedure on a Senator and he's doing fine. MAURICE What are the odds? Do I have a fifty-fifty chance of surviving the operation? DR. RAY It's hard to say. It's a delicate surgery. There's no getting around the fact that it's a very high-risk situation.Adelle strokes Maurice's hair. Maurice stares down at hisfood before looking up with great resolve. MAURICE Then it'll have to wait until I finish. ADELLE What? MAURICE I finish the walk, and then we may take all the chances we want.The room is stunned. Adelle gets off the bed and collectsherself. ADELLE Listen to me very carefully, because I don't want you to misunderstand me... The walk is over Uncle Maurice. Done. Finished. You've made it to California, it was a miracle, now let's try to save your life. MAURICE (louder) I'm completing the walk. I'm almost there. DR. RAY Okay, Maurice keep it calm... (beat) We can talk about this again, but just so you know, we have a guard on this floor who's sole job it is to keep an eye on you.Maurice is crushed. DR. RAY There are a lot of people out there who would like to see you finish, including me, but I'm not willing to put your life in anymore risk than it is... We do the operation, and when you're better, you finish the walk.The room is dead again. Maurice drowns in his thoughts. CUT TO:INT. HOSPITAL CHAPEL - AFTERNOONA small chapel. Stain glass windows overlooking the parkinglot. Maurice sits in his wheel chair at the back of theroom. A few other patients are scattered in the four smallpews.Maurice has his hands folded tightly and stares up at thestatue of Mary. His concentration is broken as a man in afull black suit and black shirt sits next to him. Mauricenods at the priest. PRIEST Hello, Mr. Parker. MAURICE Hello. PRIEST How are you feeling? MAURICE Confused. I'm not sure what to do now. I'm not sure what he wants for me. PRIEST He wants to reward you... That's why I'm here. MAURICE (a little confused) What do you mean? PRIEST I mean you've done a great thing. You should be rewarded monetarily.Maurice is lost. PRIEST What's your shoe size? MAURICE What? Who are you?The priest reaches into his jacket -- for the first time WESEE a Polo design on his shirt and a gaudy gold chain aroundhis neck. PRIEST Clive Silver -- Marketing Executive at Reebok.Maurice stares at the card in disbelief. CLIVE We want you to do some spots for us. MAURICE What the hell is this?Some of the patients turn around. CLIVE I'm talking six figures, pay or play -- for two spots. We want to push a new line with you... America's New Hero.Maurice is flustered. He can't take this. His eyes becomedesperate.Clive waves his hands in the air excitedly. CLIVE Imagine grainy black and white shots of long stretches of highway -- quick cuts with a slow pounding beat underneath... Then we see a man walking up a steep incline -- it's you Maurice. We see shots of you walking. Cut. Cut. Cut. Fast... Music crescendoes -- Bham! Close up -- and you say... 'Reebok, Because There's Nothing You Can't Do.'Clive finishes. He is surprised to find Maurice in tears.Clive is thrown totally off as Maurice stares at him angrilythrough streaming tears. MAURICE My wife is dead.Maurice continues his powerful gaze until Clive looks away.Clive gathers his things and leaves the chapel withoutanother word. Maurice drops his head into his hands andcries quietly. CUT TO:INT. HOSPITAL ROOM - NIGHTA change of shifts. Stephanie gathers her things. She liftsher coat off the counter. Underneath is a paper. She spinsthe paper to face her. The headline reads, "The End of aJourney - Parker Hospitalized." CUT TO:HOSPITAL ROOMStephanie peeks into the dark room. STEPHANIE (whispers) Good night Mr. Parker. I'll see you tomorrow.Stephanie waits for a response from the motionless figure onthe bed. She leaves the room a little disappointed.WE MOVE CLOSER TO THE BED. We see Maurice laying still --the battered photo of Ellen clutches to his chest. CUT TO:INT. HOSPITAL HALL - DAYStephanie is wheeling Maurice down the hall. Maurice has aglint of happiness in his eye. They move through the doorsmarked "Visitor's Area."Maurice stretches a huge grin as KRIS REDDY gets up from achair. Kris bends down and hugs Maurice emotionally. KRIS Tom Joad? MAURICE ... The Grapes of Wrath. KRIS You're amazing. CUT TO:LATERMaurice and Kris seated in the corner of the room. MAURICE I missed you Kris. KRIS I missed you to Mr. Parker. MAURICE Adelle told me, your writing is going well. The Crusader for social issues and all. KRIS You were right. From the heart is always better.Beat. KRIS I drove by the bookstore -- it's boarded up now. There's a sign over the wood -- "Office space available."The loss is evident on Maurice's eyes. MAURICE I haven't been too punctual with the rent. KRIS I was thinking you could open another store with investors. I'm sure a lot of people would want to get involved with you now.Maurice forces a smile. MAURICE Actually, I'm not worried about my career right now... I'm more worried about how you're getting me out of here?Beat. Kris glances at the hair on his forearm. MAURICE Are they standing? KRIS (running his hand over his arm) Saluting.Beat. KRIS Come on Mr. Parker. MAURICE What, come on? KRIS I can't do it. I want you to finish, but I want you to live more.Maurice sits back straight. He looks upset. MAURICE We do the operation after I finish. I can't risk not finishing... I thought you understood what I was doing. KRIS I do. MAURICE Why in God's name did you fly all the way here then? KRIS Don't do this. MAURICE ... To look me in the eye and say what's important to you isn't as important to me? To tell me you know what's best? To tell me life is more precious than what I feel for my wife?Kris gets very emotional. He rises from this chair. KRIS Mr. Parker, you can yell at me, if it'll help. But I'm not risking your life. MAURICE It's mine to risk.Maurice turns to the window away from Kris. KRIS Your operation is scheduled for Friday. I'll be back before then.Kris walks to the door and stops. KRIS She knows you love her Mr. Parker. She knows now. MAURICE (not looking at Kris) No more words. Until I touch the ocean with my hands... it's all just words.Kris is tortured. He leaves the room. CUT TO:INT. HOSPITAL HALL - DAYMaurice wheels himself into the hall from the waiting area.He looks around. His eyes lock on the EXIT SIGN over thedoor at the end of the hall. His eyes scan the area quickly.He immediately finds the guard on the floor staring at him.The guard nods ever so slightly as if to say, "I know whatyou're thinking." Maurice turns his attention to a small boyin a hospital gown, being scolded by a head nurse. HEAD NURSE You cooperate with us about taking your medicine and maybe we'll talk about candy.The head nurse takes a chocolate bar out of the boy's tinyhands. The boy offers no response. Maurice watchescuriously as STEPHANIE walks over and pats the boys head.Maurice catches a small exchange -- Stephanie slips anothercandy bar into his pocket. The boy breaks into a warm smile.Stephanie puts her fingers against her lips and winks.Maurice takes this exchange in with great interest. CUT TO:INT. HOSPITAL ROOM - DAYStephanie steps into the room and prepares a tray of food.The SILHOUETTED FIGURE of Maurice seated near the bay windowturns to face her. STEPHANIE You should be in bed.The face stares back from the shadows. She feels himwatching. MAURICE What do your friends call you? STEPHANIE Steph. MAURICE Do you have a car, Steph?Beat. STEPHANIE You should be in bed...Stephanie moves to Maurice... She stops short when his facecomes into view. His eyes are raw -- red. His face puffy. STEPHANIE You're in pain. MAURICE I need your help. STEPHANIE They told me, you might try to talk me into something... You need to rest Mr. Parker... It's for your own good. (beat) I've been following your story for a long while. It's a beautiful thing you did. MAURICE You ever lose somebody Stephanie? STEPHANIE Mr. Parker, I'm supposed to give you your fish sticks.Beat. Maurice melts her with his expression. STEPHANIE ... My father. MAURICE Did you tell him everything you wanted to? Did you do everything you could while he was here?She shakes her head "No" -- the tears welling up in her eyes. MAURICE If I don't do this Steph, my life isn't worth saving.Maurice reaches out and squeezes her soft trembling hand. MAURICE Please, help me. CUT TO:INT. HOSPITAL HALLWAY - DAYStephanie throws a nervous smile to the guard as she escortsa doctor down the hall... The doctor's oversized while labcoat almost drags on the floor as he tries to hide the painof being on his feet. MAURICE PARKER studies a bogus chartin his hands. His new glasses, sliding off his nose. Beadsof sweat -- revealing his agony. CUT TO:ELEVATORThree people in the elevator; Stephanie, Dr. Maurice Parker,and a female physician. The female doctor looks at Mauricecuriously, studying his demeanor -- she can't place him.The ELEVATOR DOORS OPEN on the third floor... The SOUND OF ATV FLOODS THE ELEVATOR COMPARTMENT. Maurice looks up inhorror to see a close-up of his FACE superimposed on the TVscreen seated on the receptionist's desk. A man gets on theelevator.The female doctor stares at the TV as the doors close -- sheimmediately turns to Maurice... her view is blocked by thenew passenger... the elevator progresses down 2... 1...The female doctor leans forward trying to get a glimpse ofMaurice... THE BELL DINGS as the doors open on the groundfloor.Doctor Maurice Parker and Stephanie quickly exit... thefemale doctor stays in the elevator and watches carefully. FEMALE DOCTOR (yells) Excuse me, doctor...DOWN THE HALL... Maurice pauses and turns around -- fearetched across his face. The female doctor looks around thebarren hall then turns back to Maurice. FEMALE DOCTOR Good luck.The female doctor smiles as the doors shut. After a fewmoments of shock -- Maurice smiles back.Stephanie yanks Maurice down the hall and out the EMERGENCYROOM EXIT. CUT TO:EXT. STREET - DAYA colorful canopy of leaves... a familiar torn American flag.Stephanie's white VW Rabbit pulls to a stop. MAURICE This is it... This is where I fell.He turns back to Stephanie who stares back at himemotionally. STEPHANIE I never thanked my father. He did so much for me... I never thanked him.Maurice holds her sad face in his scared hands. MAURICE (whispering) It's not too late.Maurice gets out of the car painfully slow. He pulls hisshoulder back upright with a laborious breath. A sense ofpride returns to his face. He turns back to Stephanie andcatches a horrified look. He follows her stare...She is staring at his shirt... He looks down to see a DARKCRIMSON STAIN GROWING beneath the surface. He covers thearea with his hand. MAURICE You're going to have a lot of work to do when I get back. STEPHANIE Someone should be with you.Beat. MAURICE Someone is.He gives her his best smile and begins shuffling his feetover the loose gravel of the road... one step at a time. CUT TO:INT. HOSPITAL STAIRS - AFTERNOONA black man -- grey, balding hair walks hurriedly up thestairs. This is STAN NEWTON.Keeping in step with Newton is a police officer. SERGEANTEMORY, jet white hair, army cut, gives him an intimidatingappearance. CUT TO:OUTSIDE DOORNewton stops Emory before entering. NEWTON I'm afraid Mrs. Matlin is very upset.Emory lets the warning sink in before opening the door.Adelle's VOICE IS BOOMING. CUT TO:HOSPITAL ROOMAdelle YELLS at Dr. Ray, a few nurses, and the guard who wason duty. ADELLE ... "American Journal of Psychology", "Psychological Review", and "Science", so I think it's safe to say my opinion is valid.She catches her breath. ADELLE How does a grown man who can barely walk, just stroll out?... This is not James Bond here, this is my uncle who owns a bookstore, and gets outwitted by grade school kids pulling pranks!Adelle notices the new people in the room. NEWTON Mrs. Matlin, this is Sergeant Emory. He'll help us find your uncle.Adelle walks up to Emory. ADELLE Let me tell you a story Sergeant. There was a patient of mine who had a Golden Retriever, Mac... She loved Mac, not like a pet, but like a family member. One day, she had to leave Mac with 'friends', and wouldn't you know it, Mac gets away and ends up falling into a sewer. My patient comes back -- goes nuts when she hears that Mac has been in the sewer for over 48 hours. Apparently the cop who found the dog didn't want to get his pants dirty. And neither did anyone else. So of course, my patient decides to go in after it... she falls... breaks her hip and lands next to her dead dog, who died of toxic fumes down there...Adelle looks around at all the engrossed faces. ADELLE The moral of the story is... She sued for a lot of money! She sued the friends, the city, and the officer for negligence on duty. She has no Mac, no happiness, but she's very rich now... That was a dog. We're talking about a human being... (beat) I hope everyone clearly understands the chain of events that will occur if something should happen to my uncle, whom I love more than you can possibly imagine... Now Sergeant I would like to know right now, if you're willing to get your pants dirty for my uncle?Adelle and Emory have a staring contest. Adelle wins.Adelle stands alone in a room with four men, and she isclearly the one in charge.The door flies open. A police officer walks in pushing KRISREDDY through the door. OFFICER I found him sneaking up the back stairs with this.The officer holds out a long coat and hat. Emory walks up toKris. EMORY Did you help Mr. Parker leave this hospital?Kris looks to the empty bed and smiles... a BIG SMILE. KRIS No... But I was going to.Beat. Emory turns to the officer and ushers him to the door. EMORY Forget him. It's time to get our pants dirty.Adelle smiles. EMORY I want three black and whites from here to Handley Avenue. And no communication with the station. The press monitors the transmissions. KRIS (a born actor) They can do that? EMORY That goes for all of you. Not a word about this disappearance to anyone. Absolutely no press.Kris smiles innocently. CUT TO:EXT. STREET - NIGHTPolice vehicles roam the city streets -- slowing to a crawlat every white male over forty, walking the sidewalks. CUT TO:ADELLEscanning the crowded intersections through the open window ofher moving taxi. CUT TO:KRISpatrolling the streets on foot. He stops at a hot dog vendorand flashes a picture of Maurice from his wallet. The vendorshakes his head, "No."A COMMOTION BREAKS OUT ONE BLOCK DOWN... Kris spins in thatdirection... sees a crowd forming at the corner of thesidewalk... Starts toward them... Kris sees something throughthe thinner parts of the crowd... something laying on thesidewalk... A man! Kris' walk turns into a sprint.Kris works his way through the growing crowd, puncturing thecenter of the circle... Kris gazes down at the man writhingon the concrete... A black man, shaking uncontrollably. Awomen standing over the fallen man waves the crowd back. WOMAN He has Epilepsy, just give him room... An ambulance is on the way.The crowd spreads out. Kris looks down at the unconsciousman on the sidewalk sadly -- Kris' thoughts race. He moveson with newfound concern. CUT TO:INT. HOMELESS SHELTER - EVENINGA converted gymnasium. The room is splintered into rows offolding tables and chairs. Against the wall, is the servingstand. Groups of volunteers dispense sandwiches and soup.IN THE CORNERThe room is crowded with homeless men and women and a fewchildren. In the back we find MAURICE. In his old clothes,and tired disheveled appearance -- Maurice is virtuallyinvisible in this crowd. He presses something to his injuredside. His condition has worsened.He eyes the entrance where a POLICE OFFICER walks in andmoves to the serving counter. The officer asks the servinglady something, and shows her a picture. She shrugs hershoulders and continues serving. The cop takes one last lookaround the hundreds of hungry people leaving the room.Maurice pulls up his hand from underneath his shirt. Thenapkin he was holding at his side is SATURATED WITH BLOOD.Maurice replaces it with a clean napkin. DISSOLVE TO:EXT. POLICE STATION - MORNINGSUNRISE ON SOUTHERN CALIFORNIA. CUT TO:INT. POLICE STATION - MORNINGEmory rubs his eyes as the papers pile up on his desk.OFFICER KLEIN lays out the newspapers one after the other. KLEIN ... L.A. Times -- 'He's Back.'... San Francisco Chronicle -- 'Have You Seen Maurice?'... New York Post 'Unstoppable!'Klein lays the last paper on the table. EMORY Is that all? KLEIN No. The Mayor sent word, that he wants this thing handled quickly, before anything unfortunate happens. He said he doesn't want to be known as the 'Mayor of the City Where Maurice Parker Died!' EMORY Is that all? KLEIN No. Mrs. Matlin's waiting for you.Klein opens the door. Adelle walks in and stands at adistance from Emory. She looks beat. Her eyes arebloodshot, and tired. ADELLE What happened with the museum sighting? EMORY False alarm.Adelle is visibly dejected. EMORY It's been a long couple of days for all of us. So let me be honest. If he hasn't turned up yet, he's probably -- ADELLE No... No. EMORY I spoke with Dr. Ray this morning, and he said it was highly unlikely that someone in his condition could survive this long without medical attention, let alone walk sixty miles -- in fact his exact word was, 'Impossible'.Adelle fiddles with her coat. EMORY If I knew where he was, I'd get him off the street, but I think it's time that you, the Mayor, and everyone else be braced for the inevitable. CUT TO:EXT. JUNIPERO SERRA FREEWAY - DAYThe freeway is packed -- bumper to bumper. Cars standingstill in the hot sun.A hispanic man in his late forties, JUAN is seated in hisDodge Caravan when he sees someone in his rearview mirror. Aman is using a stick as a cane. The struggling man makes hisway along the shoulder very slowly.Juan reaches over to his passenger seat and turns over theL.A. Times. Under the heading, "He's Back!" is Maurice'spicture. Juan quickly rolls down his window as Mauricepasses by on the shoulder. JUAN (yelling) Hey, Maurice man -- keep going buddy!Maurice is startled at the man's yell, but then smiles whenthe words register. Maurice struggles forward.Juan keeps yelling encouragements... This grabs the attentionof other drivers who realize who is walking past them. Oneby one, car doors open and people call to Maurice. OVERWEIGHT WOMAN Don't stop Maurice! YOUNG MAN Go Mr. Parker!Cars start to HONK... More and more people turn to see thecommotion... The YELLING AND HONKING IS JOINED BY WHISTLESAND CHEERS --Maurice can't believe it -- he tries to smile but can't holdit. His face tightens with every step. His shirt is soiledwith blood. He raises his hand and gives a weak wave to awoman who holds up her little boy through the sunroof of thecar. CUT TO:A WCAU NEWS VANparked in the traffic. A NEWSREPORTER stares throughbinoculars. REPORTER Thank you God!The crew quickly prepares their cameras and equipment. Theymove like lightning. In seconds they are shooting the crowdand their hero.The air is CHARGED... THE NOISE GROWING, MORE AND MORE PEOPLEJOIN IN... LOUDER... People stand on top of their cars to geta better view... CUT TO:A POLICE CARstuck in traffic. OFFICER DAWSON looks around as the PARADEOF NOISE SURGES TOWARDS HIM. He looks out his window andcatches a GLIMPSE OF MAURICE LIMPING UP THE FREEWAY. DAWSON Sweet Jesus! CUT TO:INT. POLICE STATION - DAYOfficer Klein busts into Emory's office just as Adelle isabout to leave. KLEIN They found him.Adelle is instantly charged with life. KLEIN Dawson's on the C.B. -- wants to talk with you Sarg. CUT TO:RADIO ROOMAdelle and as many officers that will fit in the room arelistening to the radio conversation. EMORY What's going on? Where is he?Emory CLICKS TO LISTEN. THE SPEAKERS EXPLODE WITH HONKINGAND CHEERING -- IT SOUNDS LIKE A CARNIVAL. DAWSON YELLS OVERTHE COMMOTION. DAWSON (V.O.) He's just getting off 280. It's amazing Sarg... everybody's out of their cars and cheering him on. EMORY Shit, get him in your car and take him to St. Vincents.Beat. DAWSON (V.O.) You ever see that concert footage of the Doors, Sarg?Adelle and the room of officers look confused. EMORY What the hell are you talking about? DAWSON (V.O.) The Doors, the musical group. I saw a documentary where the police stopped one of their concerts, snatched Jim Morrison right off the stage... the crowd went frickin nuts -- they tore up the place -- it turned into a war. (beat) ... I'm not stopping this concert by myself. And there's no way you're getting backup here -- it's jammed up for miles.Emory is thinking fast. DAWSON (V.O.) Why don't we just let him finish Sarg?Beat. Emory looks at Adelle's expectant face. He talks intothe C.B. without taking his eyes off her. EMORY How does he look? DAWSON (V.O.) Like shit. He's bleeding heavily. He's having breathing problems and he's as pale as stone. If he wasn't moving, I'd swear he was dead.Emory thinks. He talks to the other officers in the room. EMORY Bring him in. Now! If he dies out there, who the hell knows what that crowd will do... (to himself) Let alone the Mayor.The room empties fast. Emory talks to Adelle. EMORY He'll be in a hospital within a half an hour.Somehow, Adelle's face doesn't convey much confidence. CUT TO:INT. PACIFICA MALL - DAYThe shops are empty. The food court abandoned.Close to five hundred people are huddled at the center of themall. The HI-FI HOUSE has four large screen TV's in theirbay windows and speakers on the outside of the doors to lurepassing shoppers in.All four sets have the same program on -- A NEWSBREAK onMaurice Parker. The crowd listening anxiously. TV ANCHOR ... He's headed West on Sharp Park Road... Witnesses describe him as seriously injured.A shock of concern shoots through the crowd. TV ANCHOR Lynn McCay and our Highway Cam -- has just spotted him...The picture cuts to a HELICOPTER SHOT OF DOWNTOWN PACIFICA --at first it just looks like an aerial of buildings, then thecamera ZOOMS. It catches a tiny figure struggling through astreet intersection. CUT TO:EXT. STREET - DAYNewspapers spiral through the air. Maurice stretches hisneck up, squinting at the sun. The SILHOUETTE OF AHELICOPTER hovers above him. The NOISE is overpowering.Maurice's fatigue grows, every muscle, every ounce of energygoes into each step. Maurice clutches the side of hishead... the steps halted... hands trembling, teeth clenched,eyes squeezed shut. A surge of intense pain tries to bucklehim... Maurice fights it off as he moves his feet again.The helicopter SWOOPS above as he makes his turn onto a FINALSTRETCH OF ROAD adjacent to the BEACH.Maurice stops dead in his tracks as he turns the corner tofind a SEA OF PEOPLE WAITING FOR HIM. A momentous sight...people lined along the street for as far as the eye can see.AN EXPLOSION OF YELLING, CHEERING CALIFORNIAN'S ENGULFS THEAIR as they spot Maurice standing at the end of the street.The CROWD SURGES TOWARDS HIM.Maurice is dazed... the noise, the pain, the faces swirl inhis head as thousands of people surround him. Maurice isoverwhelmed. He is about to collapse when someone takes holdof his arm. Maurice turns to see KRIS REDDY STANDING NEXT TOHIM. In the midst of this chaos and growing madness.Maurice and Kris have an entire conversation with oneemotional look.The SOUNDS of SIRENS BREAK the moment. Kris turns to see twopolice cars turn on the street behind them.Kris turns to Maurice. KRIS Don't stop walking.Kris lets go of his arm and moves like lightning. He jumpsatop a fire-hydrant and yells to the crowd. KRIS The police are here. They're coming to take Mr. Parker away. He needs our help.Kris points to the squad cars inching their way up thestreet. KRIS Help Mr. Parker! Don't let them end the walk. CUT TO:THE SQUAD CARSAS THEY COME TO A HALT as a wall of people stand in theirway. The SPEAKER ON THE POLICE CAR BLARES THROUGH THE AIR. SPEAKER Step aside now! You are ordered to step aside now!The people don't move. A WOMAN carrying a BABY makes thebaby move her little hand in a waving gesture to the officersbehind the wheel of the police cars. The officers look ateach other in disbelief. CUT TO:EXT. STREET - DAYThe far end of the beach road. A POLICE CAR SCREECHES TO ASTOP. Sergeant Emory and Adelle get out.Adelle is completely blown away. She looks around at thePANDEMONIUM. Thousands of men, women and childrencelebrating with APPLAUSE AND CHEERS, HELICOPTERS IN THE AIR,camera crews standing on raised platforms. Adelle drinks inthe ELECTRIC ATMOSPHERE with awe.Emory yells orders into his WALKIE-TALKIE as Adelle breaksthe outer edge of the crowd and disappears into the field ofspectators. EMORY (yelling) What the hell is going on? It's frickin wall to wall people and they're way too emotional. We need mucho backup -- now!... Officers are to bring in Mr. Parker on sight, don't ask questions, don't hesitate, bring him in... I want a barricade placed along the entire beach area... Now God damn it, now!Emory CLICKS OFF and looks around at the growing crowd -- heturns to see a PUBLIC BUS UNLOADING PASSENGERS -- fifty morespectators rush off the bus and rush toward the crowdedstreet. EMORY Holy shit. CUT TO:EXT. STREET - DAYMaurice stares down at the ground... willing each new step.THE CHEERS AND WORDS OF ENCOURAGEMENT BLURRING INTO AUNDISTINGUISHABLE SOUND.Maurice looks up for a moment as something grabs hisattention -- Maurice gasps for air as his eyes focus... Thesmall faces become clearer... Maurice stands twenty feet fromthe entire population of PACIFICA HIGH SCHOOL. They coverone side of the street for an entire block. Stretched overtheir heads, held up by twenty students is a HUGE HANDPAINTED BANNER. Maurice reads the words: "ELLEN IS WATCHING!" CUT TO:EXT. BEACH - DAYTrucks unload dozens upon dozens of blue-wooden barricades.An assembly line of officers place the barricades end to endat the place where the sand meets the pavement.Emory yells orders as a new truck arrives. CUT TO:INT. NEWS MONTAGE - DAYSHOTS OF THE PULSATING CROWD... GLIMPSES OF MAURICE MOVINGTHROUGH THE CENTER OF THIS MASS. OVER THESE PICTURES WE HEARSNIPPETS OF VOICES OF TV ANCHOR PEOPLE, RADIO PERSONALITIESAND ANNOUNCERS ALL OVER THE COUNTRY, DISSOLVING INTO EACHOTHER ONE AFTER THE OTHER... TV ANCHOR (V.O.) ... Through ten states and over three thousand miles... TV ANCHOR 2 (V.O.) ... A bookstore owner from Philadelphia Pennsylvania... CUT TO:FATHER BERCHMANthe father that brought Maurice in out of the cold in theMidwest, praying intensely in his chapel. AN OLD HAND-HELDRADIO IS ON THE PEW NEXT TO HIM. He listens to the updates. RADIO D.J. (V.O.) ... Ellen Parker killed by a drunk driver September 2nd... CUT TO:MR. CALDWELLIsaac's father, sitting in a TV station watching the monitorsas the feeds come in from California. Mr. Caldwell watcheswith great emotion, eyes glued to the screen. TV ANCHOR 3 (V.O.) ... A seven month odyssey through the heart of the country... CUT TO:SERGEANT DALLYthe police officer from Philadelphia who worked with Adelle.He listens with the rest of the precinct to a portable stereoon a windowsill. The room is silent -- everyone hangs on thewords coming from the speakers. RADIO D.J. 2 (V.O.) ... the power of the human spirit... CUT TO:GERALDin a hotel room. The TV FILLING THE ROOM WITH NEWS. Geraldsits behind two large room-service carts of food. He takes abig bite of a sandwich with an emotional smile to thetelevision. TV ANCHOR 4 (V.O.) ... A life threatening condition, Transient Cerebral Ischemia... CUT TO:ST. VINCENT'S HOSPITALwhere STEPHANIE watches in the jam packed recreation roomwith about thirty patients watching a TV screen mounted highin the corner of the room. Stephanie looks a mess, she'sbeen crying for a while. TV ANCHOR 5 ... a journey he began by himself, will end with a family of millions at his side... CUT TO:EXT. STREET - DAYThe BOISTEROUS crowd parts like a ripple effect as Mauricewalks through. The eyes fall emotionally on him as he staresdown at the ground trying to keep moving.Maurice gasps harder now, his eyes stinging with drops ofsweat falling from his brow. People in the crowd cover theirmouths in shock as they get a clear view of him... His shirtsoaked on one side with blood, his entire body shaking withpain, and exhaustion, his face hollow and pale -- ghostly.Maurice stops in his tracks. He looks up at a wooden sign,worn from the years of salt water air. The sign reads: "PACIFICA BEACH - 1/2 MILE"Maurice's thoughts fade away from this place, this time... CUT TO:EXT. PHILADELPHIA - FIFTEEN YEARS AGO - NIGHT (FLASHBACK)WE ARE IN THE PARKER BEDROOM. The lights are off. TheMOONLIGHT FROM THE WINDOWS BLANKETS Young Maurice and YoungEllen as they lay in bed. Ellen is cradled in Maurice'sarms. She is awake and watching the shadows dance on theceiling. She speaks in whispers. ELLEN What do you think heaven is like?Maurice opens his eyes and stares at his beautiful wife. MAURICE I don't know. ELLEN I think it's a different place for each person. MAURICE Did you have a dream?Beat. ELLEN I know where my heaven is. MAURICE Where? ELLEN Pacifica, California.Maurice chuckles. MAURICE Why there? ELLEN When I was ten, my family lived in Pacifica for a year. I used to go to the beach everyday that summer. I never felt so happy, carefree. It was a magic place for me... That's where my heaven will be.Beat. ELLEN Maurice? MAURICE Yes. ELLEN If I die, you'll know where to look for me? MAURICE Go to sleep Ellen. ELLEN No really, if God takes us away from each other, you know where to look now?Beat. MAURICE (pacifying her) The beach of Pacifica, California. ELLEN Good.Beat. MAURICE Go to sleep Ellen.Ellen smiles as she cradles deeper into Maurice's arms.Husband and wife fall asleep together. CUT TO:EXT. PACIFICA BEACH SIGN - DAY (PRESENT)Maurice snaps back to the present, the PAIN AND COMMOTIONcome back in a tidal wave of reality.Maurice wipes the tears in his eyes and tries to take a step.Someone blocks his way. ADELLE Uncle Maurice, please, we have to get you to a hospital.Adelle looks at her wounded Uncle sadly. She touches hisshirt and her hand comes away with blood. MAURICE I have to finish first. ADELLE I won't let you die.The inner circle of people bursts open, as KRIS BREAKSTHROUGH. KRIS Let him finish Adelle. He's almost there. ADELLE (yelling) He's almost dead. Can't you see that! This has nothing to do with you.Maurice touches Adelle's cheek turning her attention back tohim. He barely manages to get the words out. MAURICE It has nothing to do with you either... This is between Ellen and me.Beat. Maurice begins crying uncontrollably. MAURICE I'm begging you...Maurice takes her hand and bends down putting his forehead toher hand as if getting blessings from her. MAURICE Let me do this for Ellen, let me do this for my wife.Adelle's heart is breaking. She weeps openly as shestraightens her Uncle to an upright position. She wipes thetears from his eyes with her hand gently.AT THAT MOMENT THE INNER CIRCLE BREAKS OPEN AS TWO OFFICERSRUSH IN. They reach for Maurice. ADELLE Touch him, and they'll be a riot...Adelle stands firm, the strength in her growing with eachsecond. ADELLE ... and I'll start it.The officers are taken off guard. They look around at thecountless sea of eyes on them. Adelle sees they won't doanything and moves to Maurice's side.Maurice begins to walk again. Adelle to one side, Kris tothe other and thousands of people following in step. CUT TO:EXT. BEACH FRONT - DAYThe wave of people led by Maurice walk toward the beach. Thebeach is blocked off by barricades all along it's perimeter.Police officers stand every ten feet along it's edge.A young officer watches fearfully as the ocean of people movetowards him. OFFICER GANTZ TALKS INTO HIS WALKIE-TALKIE. GANTZ He's coming. What should I do? CUT TO:SERGEANT EMORYat the other end of the beach barricade, holding backhundreds of people trying to get to the beach. Emory holdshis walkie-talkie and looks around at the sea of anxiousfaces. He makes eye contact with a woman in tears. CUT TO:OFFICER GANTZclicking off his walkie-talkie as the crowd presses up to thebarricade. Officer Gantz is in awe as Maurice appears fromthe crowd -- looking like a ghost of war... a holyapparition. Maurice works his way painfully to Gantz.Gantz looks into Maurice's pleading eyes. Maurice tries tosay something, but nothing can come out...Gantz turns away from Maurice and picks up one of thebarricades. He makes an opening about three feet wide.Gantz turns back to Maurice, stands at attention, and stepsaside. GANTZ (with unspeakable admiration) Watch your step Mr. Parker.Adelle and Kris watch in amazement as Maurice TAKES HIS FIRSTSTEP ONTO THE SAND. CUT TO:EXT. BEACH - DAYAn empty beach. ALL SOUND AND CHAOS DISAPPEARS. THE GENTLEHISS OF THE OCEAN FILLS THE AIR.The last fifty yards...The steps in the sand, heavy, torturous. Each step, a stepcloser to her...Maurice picks up the pace. His numb feet making prints inthe sand. His lungs on fire...Twenty feet left... Ten... Five...The COOL WATER engulfs his feet and ankles. Maurice falls tohis knees like a man falling before God.Kneeling in the water, Maurice raises his hands to his eyes.The water spills between his fingers... clear, pure, magical.Maurice GASPS hard as he falls onto his back. The watercomes in and washes over him... Gasping harder... He'sstaring into the sky... Another wave of ocean gently blanketshim... Gasp... He spots something above him, fluttering...his vision BLURS... WHITE FLUTTERING... SLOW-MOTION. THEIMAGE CLEARS... Maurice smiles as he makes out the image of aWHITE DOVE FLYING ABOVE HIM...Maurice takes a short breath, very short. His body goesstill -- his eyes stay fixes at one point... No more pain, nomore loss, no more words...The water washes over Maurice A. Parker...Over his lifeless body...And over his smile... FADE TO BLACK. \ No newline at end of file diff --git a/unformated_scripts/Script_Ladykillers, The.txt b/unformated_scripts/Script_Ladykillers, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..5084041e6f7206826afa67443d2d8d9bae1f4e7c --- /dev/null +++ b/unformated_scripts/Script_Ladykillers, The.txt @@ -0,0 +1 @@ + "THE LADYKILLERS" Screenplay by Joel Coen and Ethan Coen Based on the 1955 movie "The Ladykillers" by William Rose EXT. MISSISSIPPI RIVER - DAY A BOAT Specifically, a garbage scow. We see it from ON HIGH, chugging down the placid but mighty Mississippi. Head credits play over COVERAGE of the garbage scow. No sound, except for an incongruously heroic score. The COVERAGE is a little rough, coarse-grained; along with the overbearing score it almost suggests an industrial film rather than a feature. One piece of sound -- the toot of the boat's horn -- is obviously library. And not a new library either. The garbage scow passes under a bridge spanning the broad, sluggish waters, and proceeds on to its landfill, a steaming river island. Disturbed gulls and other scavenger birds rise from where they were picking through trash. Their squawks, like the boat horn, are not quite believable as SYNC. The head credits end as the anthemic music resolves. EXT. SAUCIER, MISSISSIPPI - DAY AN OLD HOUND DOG lies on the weather-grayed and -roughened planking of a front porch. The porch is half-shaded from the noonday sun. It is quiet except for the chirr of heat bugs, close by, and, very distant, many voices in chorus, engaged in divine worship in a Baptist church sufficiently far away that vagaries of breeze fan them in and out of audibility. We once again hear the toot of the scow's horn, distant now and played as real, not slapdash effect. At this, the dog lifts his nose to catch the breeze, sniffs, and then, whining, lowers his head to the floor and covers his snout with his forepaws. He huffs briefly and goes to sleep. We DRIFT UP to show that the dog is sleeping before the SAUCIER WORM STORE Your source for worms, lures, etcetera, etcetera... We TRAVEL OVER TO REVEAL that the modest one-story structure houses two establishments; its other front door leads to the SAUCIER MUNICIPAL BUILDING. A campaign sign in the window on the municipal side shows a black man of late middle-age beaming and giving the viewer a thumbs-up: RE-ELECT WAYNE WYNER SHERIFF/He Is Too Old to Go to Work. INT. SAUCIER MUNICIPAL BUILDING - DAY We hear snoring on top of a low, steady hissing sound. We are DRIFTING toward the door of the lock-up, which stands open. The small cell is empty, its bed neatly made. A KEY We are ARCING slowly around a jailer's key on a ring that hangs from a nail. The OFFSCREEN snoring and whirring continues. The TRACK'S SHIFTING ANGLE now makes the light catch a spider web spun between the key and the wall. POLICE SCANNER We DRIFT across the face of the radio. The peaceful steady hissing jumps in louder at the CUT: it is uninterrupted: a transmissionless, crimeless, misdemeanorless idle radio hiss. The snoring is also louder here. As we TRAVEL OFF the radio we are COMING ONTO a pair of feet propped up on the desktop. They belong to SHERIFF WYNER, tipped back in his chair, fingers laced on his chest, head lolling forward. As the MOVING CAMERA FINALLY ENDS on him, there is the ring of a telephone -- muffled, not present. It nevertheless rouses the sheriff who almost strangles on a snore as he awakes, and then rocks forward to pick up his phone. SHERIFF WYNER Sheriff Wyner... The muffled ringing continues; the sheriff looks, puzzled, at the phone. Now the ringing stops and we hear a muffled voice next door: VOICE (O.S.) Worms. The sheriff replaces the phone, leans back again, adjusts his hat, and is about to go back to sleep when we hear the front door open. The sheriff looks and reacts with genuine, if momentary, fear. He manages to compose himself and give the intruder a smile: SHERIFF WYNER Afternoon, Miz Munson. Entering is an elderly black woman in a floral print dress and fruited bonnet. MRS. MUNSON Afternoon, Sheriff. You know the Funthes boy? SHERIFF WYNER ...Mackatee Funthes? MRS. MUNSON No no, WeeMack! Mackatee's eldest! SHERIFF WYNER Oh yeah, believe I do. MRS. MUNSON Well, he's a good boy but he done gone down to the Costco in Pascagoula and got hisself a blastah -- and he been playin' that music! Wyner is not sure where this is going: SHERIFF WYNER Uh-huh... MRS. MUNSON Loud! SHERIFF WYNER Well-- MRS. MUNSON "Left my wallet in El Segundo!" SHERIFF WYNER He-- MRS. MUNSON Songs like that! SHERIFF WYNER Uh-huh... MRS. MUNSON Hippity-hop music! SHERIFF WYNER I could-- MRS. MUNSON You know they call it hippity-hop music, but it don't make me wanna go hippity-hop! SHERIFF WYNER No ma'am-- MRS. MUNSON And Othar don't like that music neither! Sheriff Wyner now displays an exaggerated solicitousness: SHERIFF WYNER It's been disturbin' Othar then, has it? MRS. MUNSON How could it help but do! That kind of music! You know what they call colored folks in them songs? Have you got any idea? SHERIFF WYNER I don't think I-- MRS. MUNSON NIGGAZ! I don't wanna say the word. I won't say it twice, I'll tell you that. I say it one time. SHERIFF WYNER Yes ma'am. MRS. MUNSON In the course a swearin' out my complaint. SHERIFF WYNER Yes'm-- MRS. MUNSON NIGGAZ! Two thousand years after Jesus! Thirty years after Martin Luther King! The age of Montel! Sweet lord a-mercy, izzat where we at? SHERIFF WYNER Mm-mm-- MRS. MUNSON WeeMack down to Pascagoula buyin' a big thumpy stereo player?! So he can listen to that word in the house next to mine? Sheriff, you gotta help that boy! SHERIFF WYNER Help him? MRS. MUNSON You gotta take an innarest! EXTEND that helpin' hand! SHERIFF WYNER (dubious) Well, we're here to help... MRS. MUNSON Well God bless ya. Don't wanna be tried and found wantin'. SHERIFF WYNER No ma'am. MRS. MUNSON Many many tunkalow parzen, Sheriff Wyner. Many many tunkalow parzen! SHERIFF WYNER Many what ma'am? MRS. MUNSON You have been tried and found wanting. Don't want that writin' on the wall! SHERIFF WYNER No ma'am-- MRS. MUNSON Feast a Balthazar! SHERIFF WYNER Mm-hm. MRS. MUNSON John The Apostle said: Behold there is a stranger in our midst, come to destroy us! SHERIFF WYNER Yes ma'am. EXT. SAUCIER MUNICIPAL BUILDING - DAY Mrs. Munson closes the door behind her. She wags a paper fan and mutters: MRS. MUNSON He's a good man. Just needs instruction. Dog, you in peoples' way. The dog stirs with a whine and ambles off. EXT. MUNSON HOUSE - DAY With a neatly tended garden. It is the last house on a street of other similarly modest but well maintained homes; beyond it the street disappears down a bluff. The empty space beyond suggests a wide river, and indeed we can see the top of an anchored, gaudily painted paddle-boat poking over the rise. The paddle-boat is apparently anchored at the near bank of the river. Mrs. Munson is entering by the gate. She stops in the garden and stoops to pull a tiny weed marring the otherwise perfect row of flowers. I/E. MUNSON HOUSE - FOYER - DAY Mrs. Munson lets herself in. A cat lopes up to her, the bell around its neck tinkling, and leans mewing into her leg. MRS. MUNSON You need somethin' to eat, Angel? INT. MUNSON HOUSE - KITCHEN - DAY Mrs. Munson hand-cranks a can opener around a tin of cat food. MRS. MUNSON Mm... gizzards... The cat paces back and forth between her legs, leaning into them and purring, responding to the snap of tin as the cover comes off the can. The can contains cubed processed gizzard in a gelatinous medium like the stuff that clings to gefilte fish. INT. MUNSON HOUSE - LIVING ROOM - NIGHT Above the fireplace is an oil portrait of a serious-looking black man of late middle-age with a neatly groomed mustache starting to gray. A couple of candles sit on the mantel below the portrait, giving it the semblance of a shrine. Mrs. Munson enters and lights the candles. MRS. MUNSON Othar, I went'n complained about WeeMack, I hope it'll do some good. That boy hangin' by a thread! Over the pit! Fiery pit! "I Left My Wallet in El Segundo"! She shakes out the match and sits in a rocker and takes up her knitting. As she sits she gives an audible groan. MRS. MUNSON ...Sixty-seven years of life, forty- six years of marriage, you mean to tell me you never one time suffered from piles? It's the human condition, most humans anyway. Like that ball player said: world's got two kinds of folks -- them that's got piles and them that's gonna get 'em. But you was always healthy as an ox... There is the distant moan of a riverboat horn. MRS. MUNSON ...Passed on before you got piles. Mmmmhmm. Thank the Lord you wasn't sick. You don't wanna sicken 'n die. No, you wanna pass nice 'n peaceful... go to sleep one night, wake up in the glory land... woof... A gust of wind hums under the eaves; the candles below the portrait flicker. As Mrs. Munson looks around the room, vaguely towards the ceiling, sensing a negative aura, the cat arches its back and hisses. At this moment the doorbell rings. MRS. MUNSON ...Well who's that now, Pickles? She grunts as she hoists herself out of the chair. I/E. MUNSON HOUSE - FOYER - NIGHT She opens the door-- A draft-- INT. MUNSON HOUSE - LIVING ROOM - NIGHT The candles below the portrait of Othar go out, sending up thin wisps of smoke. I/E. MUNSON HOUSE - FOYER - NIGHT The cat shrieks and bolts out the door, past the man on the stoop: GOLDTHWAIT HIGGINSON DORR, III. He is a middle-aged Southern gentleman wearing a panama hat and a cape over a cream-colored suit. He has dark circles under his eyes. The smile he attempts, mournful yet courtly, is wiped away by: MRS. MUNSON PICKLES! DORR Ma'am? MRS. MUNSON Go get 'im! DORR I do beg your pardon? MRS. MUNSON Go get Pickles, I didn't let 'im out! DORR (tasting the name) Pickles... EXT. MUNSON HOUSE - NIGHT Dorr walks down the stoop followed by the old lady. MRS. MUNSON Oh, he's up the tree again. Your gonna have to shimmy on up. DORR I am so terribly sorry, madam. But won't the feline eventually tire of his lonely perch and, pining for his master's affection, return on his own initiative? MRS. MUNSON Huh? No, he won't come down less you fetch him. He'd set there til Gabriel blows his horn if someone didn't shimmy up. Up with you now! DORR Well then couldn't we perhaps offer him kitty treats and enticements, or if not foodstuffs perhaps squeaky little toys of the kind formerly manufactured in Hong Kong but now produced in the other so-called "Little Tigers"... His fingers form the quotes. DORR ...of the Pacific Rim? The point bein', do we have to actually ascend the tree-- MRS. MUNSON Look, I don't want no doubletalk. If you ain't gonna fetch him down I guess I gotta call the po-lice... DORR Police... His face darkens. MRS. MUNSON They ain't gonna be happy. Every time they come fetch him down they swear they won't do it no more... Dorr casts his hat aside and starts awkwardly climbing the tree. He gasps as he climbs: DORR No need to call the authorities. I did this often as a youth -- why, I was a positive lemur... Here, kitty... The cat backs away down a branch, arching its back and hissing. MRS. MUNSON Don't upset him, now! Dorr, on his stomach, inches after the cat, grunting: DORR I wouldn't dream of it... harmless little felix domesticus... Come to G.H... The branch breaks, hinging down to slam Dorr face-first into the trunk, from where he drops the rest of the way to the ground. INT. MUNSON HOUSE - LIVING ROOM - NIGHT Othar's portrait, upside-down, seems to be looking bemusedly down on us. An OBJECTIVE ANGLE shows Dorr lying on the couch, a damp washcloth on his forehead, eyes rolled back to look at the picture. Mrs. Munson is entering with a cup of tea. Dorr swings his feet out to sit up and accept the tea. DORR I thank you, madam, for your act of kindness. MRS. MUNSON Well you let him out. DORR I certainly did and I do apologize no end. Allow me to present myself, uh, formally: Goldthwait Higginson Dorr, Ph.D. MRS. MUNSON What, like Elmer? DORR Beg your pardon, ma'am? MRS. MUNSON Fudd? DORR No no, Ph.D. is a mark of academic attainment. It is a degree of higher learning bestowed, in my case, in recognition of my mastery of the antique languages of Latin and Greek. I also hold a number of other advanced degrees including the baccalaureate from a school in Paris, France, called the Sorbonne. Munson chuckles. MRS. MUNSON Sore bone, well I guess that's appropriate. You ever study at Bob Jones University? DORR I have not had that privilege. MRS. MUNSON It's a bible school, only the finest in the country. I send them five dollars every month. DORR That's very gener-- MRS. MUNSON I'm on their mailing list. I'm an Angel. DORR Indeed. MRS. MUNSON They list my name in the newsletter, every issue. I got the literature here, you wanna examine it. DORR Perhaps when my head has recovered from its... buffeting. Mrs. Munson, are you at all curious as to why I darkened your door, as the expression has it, on this lovely camelia-scented morn? MRS. MUNSON I was wondering, til you let Pickles out. Then in all the excitement-- DORR I quite understand. The fact is that I saw the sign on your window advertising a room to let, and it is the only such sign among the houses of this charming, charming street. MRS. MUNSON Yeah, I got a room. I'm lookin' for a quiet tenant. Fifteen dollars a week DORR I quite understand. Madam, you are addressing a man who is quiet -- and yet not quiet, if I may offer a riddle... He sets down the teacup and rises. DORR ...Perhaps you can show me the room, Mrs. Munson, and allow me to explain. MRS. MUNSON Well you can see the room, but I don't like double-talk. Mrs. Munson precedes him... INT. MUNSON HOUSE - STAIRCASE - NIGHT ...up the stairs. DORR You see, madam, I am currently on sabbatical from the institution where I teach -- the University of Mississippi at Hattiesburg. I am taking a year off to indulge my passion -- I don't believe that is too strong a word -- for the music of the Renaissance. I perform in -- and have the honor of directing -- a period instrument ensemble that performs at Renaissance fairs and other cultural fora... INT. MUNSON HOUSE - DORR'S BEDROOM - NIGHT They enter a small bedroom. There is a small bed on a brass frame, a chair, a wash basin, and cheerful yellow chintz drapes on the window. Dorr appreciatively takes it in. DORR ...thoo-out central and southern Mississippi. We perform on the instruments for which the music was originally composed, in the belief that... that... Why, this is lovely... MRS. MUNSON Wait a minute. You got some kind of band? Dorr once again wiggles quotes with his fingers: DORR The word "band" would be, in this context, something of an anachronism. Though we do play together -- hence the word "ensemble" -- the nature of the music is such that one would hesitate to apply the epithet "band" with its connotations of jangling rhythm and ear-popping amplification. MRS. MUNSON So you don't play hippity-hop, "I Left My Wallet in El Segundo," songs with the titles spelt all funny? DORR Madam, I shudder. I quake. The revulsion I feel for modern popular music, and all other manifestations of contemporary decay, is, I have no doubt, the equal of y'own. Why, we play music that was composed to the greater glory of God. Devotional music. Church music. MRS. MUNSON Gospel music? DORR Well-inspired by the gospels, certainly. The vintage, of course, is no more recent than the Rococo. MRS. MUNSON Rococo, huh? Well, I guess that'd be okay. DORR But I certainly don't propose to inflict our rehearsals on you. May I enquire -- do you have a root cellar? INT. MUNSON HOUSE - CELLAR - NIGHT Dorr ducks while descending the steep, narrow stair in order to avoid an overhead beam. He is followed by Mrs. Munson. DORR Yes, yes, yes, this looks promising... He pulls on a hanging string to light a bare bulb overhead. MRS. MUNSON Little dank, ain't it? DORR Oh, indeed, but that only improves the acoustics... He experimentally claps his hands. DORR ...Marvelous. These earthen walls are ideal for baffling the higher registers of the, uh, lute and, uh, sackbutt. That's why so much music of the cinquecento was played in crypts and catacombs. Yes, this will do nicely... He dry-washes his hands with enthusiasm, but his tone remains mournful. DORR ...This is perfect. This is more than perfect. I can scarcely contain my glee. MRS. MUNSON You containing it okay. He starts to peel cash out of a large, well-worn billfold: DORR Allow me to pay you a week in advance. Allow me to pay you two weeks in advance. Allow me to pay you a month in advance. I cannot countenance the thought of these charming apartments being tenanted by someone unappreciative of their special je ne sais quoi. MRS. MUNSON That would be a shame. INT. CASINO - DAY TRACKING ON A GARBAGE CART On the cart is a boombox. It is playing "I Left My Wallet in El Segundo." It is being pushed through a casino empty of customers. As the cart stops and a wastebasket is emptied into it: VOICE (V.O.) You gotta peel this shit out sticks to the bottom. WIDER shows two youngish black men in the khaki uniforms of custodians. Emptying the wastebasket is WEEMACK-MACKATEE FUNTHES. He is instructing GAWAIN MACSAM. WEEMACK ...You wouldn't believe this shit, sometimes even out here on the casino floor you gonna find sanitary napkin shit stuck there, Tucks, I don't know what the fuck people do while they're gambling here man. GAWAIN I ain't peelin' funky shit with my human hands, man. That's a prescription for disease and viruses and shit, attackin' y'insides. As they roll on we see more of the gambling floor, which is on something less than the scale of a Las Vegas casino. The floor is not yet open and dealers stack and count chips at the tables, pit bosses with clipboards looking over their shoulders. Other dealers strap on visors and sleeve garters, preparing to work. WEEMACK You gotta do it. Mr. Gudge checks everything. Man is a motherfuck. Shit -- looka this. After a furtive look around he plucks a chip from the next wastebasket and slips it in his pocket. WEEMACK ...You keep an eye out, man. I found a hundred-dollar chip once. GAWAIN Fuck that, man. I ain't pawin' through used Tucks for a fi' dollar chip. WEEMACK I said it was a hundred. GAWAIN Man, your guts gonna turn to soup'n leak outcha fuckin' asshole. SERVICE HALL The cart jitters loudly on the dimpled plastic floor. WEEMACK This tunnel leads back onto land. To the office for all the people work for Mannex. Mannex Corporation. Owns the Lady Luck 'n three other boats... INT. CASINO - SERVICE HALL - DAY The two men are entering a windowless fluorescent-lit office area. A row of wooden office doors and one heavy steel door. WEEMACK ...This is where they think on their corporate shit, Gudge and them. He stops to empty a wastebasket. WEEMACK ...The lights is ugly but it ain't as many Tucks. He bangs on the steel door: WEEMACK ...YO, motherfuck! Lemme in! MUFFLED VOICE (O.S.) What's the password? WEEMACK Kiss my ass. We hear a deep chuckle and the door, steel reinforced, swings open. INT. CASINO - COUNTING ROOM - DAY The two men enter, WeeMack nodding at the security man (ELRON). WEEMACK This is where they count the dough. You try to take any of it Elron there shoot your ass. Again the security man chuckles. WeeMack picks up some fast- food wrappers. WEEMACK ...This place is a fuckin' pigsty. You a pig, man, nothin' but a squeaky ol' motherfuckin' pig... Elron chuckles. He is an enormously fat man; his chuckles come from deep, deep in his chest. WEEMACK ...You got fuckin' Kocoa Krispies in ya uniform man, still got breakfast there and you eatin' motherfuckin' lunch. Elron uses one hand to swipe crumbs off his uniform shirt, chuckling. WEEMACK ...You a disgrace before motherfuckin' God... Elron chuckles. WEEMACK ...You a motherfuck-- oh, hello Mr. Gudge, how we be this mornin'? A man in a buttoned white shirt nods at him. GUDGE Funthes. How's the new man? WEEMACK He is a cleaning motherfucker, man! GUDGE Is that a fact. INT. SOUNDSTAGE - SMOKING FIELD SET - DAY HIGH ANGLE It is a ruin of a field; charred trees point bare and gnarled limbs toward a gray sky; smoke drifts across the desolate waste. Something is bounding towards us from the deep background. We BOOM DOWN as it approaches: a bulldog, running avidly toward us on its stumpy little legs. An OFFSCREEN male voice (CLARK PANCAKE): PANCAKE (O.S.) One, Mountain! There is an explosion that showers dirt in front of the dog and makes it veer. Something strapped around the dog's neck bounces as he runs. PANCAKE ...Scrub two! Scrub three! Four, Mountain! Another explosion makes the dog veer back so that it once again bears on us. The thing that has been bouncing around its neck flies off. Our CONTINUING BOOM DOWN has brought us to ground level just as the dog arrives in front of us to feed at a dog food bowl in the foreground. The yellow plastic bowl has a K-Ration logo facing us. We hear another OFFSCREEN voice (DIRECTOR): DIRECTOR (O.S.) Cut, goddamnit. His canteen fell off. The Director's feet enter in the foreground. He hooks the dogs belly with one foot and hoists it roughly away from the bowl. We CUT UP TO: The DIRECTOR. He scowls down at the animal. DIRECTOR ...Props! A man in a Hemingway field-jacket with multiple pockets, and also a loaded utility belt, trots up toward him, his belt jangling as he runs. This is CLARK PANCAKE. Pancake is a florid beer-bellied man in his late fifties. He has a full blond-grey Grizzly Adams beard and wears multi- pocketed shorts that form an ensemble with his Hemingway jacket. The director is angry. DIRECTOR ...The goddamn thing's canteen fell off. It would have been a good take. Pancake is unperturbed. PANCAKE Okay. Okay. We're prepared for that... He hits a button on the radio on his belt and talks into his headset: PANCAKE ... Mountain, bring Otto with the apparatus. PULLING ANOTHER BULLDOG He strains at his lead, muscling forward as quickly as his minder and his own stumpy little legs will allow. He peers through the two goggly eyeholes of an antique leather gas mask, its pignose breathing apparatus covering his own snout. His phlegmy breathing is amplified by the device. We TILT UP the lead to show his minder, MOUNTAIN GIRL. She is a solid woman in her late forties with freckles beginning to merge into age spots. Her long straw-colored hair is tightly braided into Heidi pigtails bound with red ribbon. Otherwise her dress is unadorned. The director squints at the dog. DIRECTOR What the hell is this? Pancake's manner is professorial: PANCAKE World War I vintage gas mask. It's authentic. Strapped on, of course, so it can't fall off. The animal is free to be as active as he wants, doesn't inhibit his movement, and I think it really sells the whole doughboy thing-- DIRECTOR It looks like a fucking joke. Pancake stares at the director for a moment and, though not doing anything, makes a sound of concentrated effort: PANCAKE ...Nnnnrnff! The director squints at him: DIRECTOR What? Pancake comes out of his trance, or whatever it was: PANCAKE No, nothing, uh... you're absolutely right, the gas mask is a whimsical concept-- DIRECTOR How the hell does it eat when it gets to the Kennel Rations? The dog looks up from person to person as each speaks, twisting its neck to peer through the eyeholes. Its breathing is growing louder. PANCAKE Well, you're absolutely rightñ- DIRECTOR Don't let the client see this. PANCAKE Of course not, that would be inappropriate-- DIRECTOR Or the Humane fucker. PANCAKE No no-- The dog gets down on its knees, slowly, like a camel, breathing ever more loudly. DIRECTOR They'll shut the fucking spot down, Pancake. Put the goddamn canteen back on. That says he's a soldier. Dented tin canteen. Just tie the damn thing to his collar. The dog flops over into the mud. PANCAKE Easiest thing in the world. I just thought -- but the canteen is much better. Good concept. Let's go with that-- DIRECTOR What's he doing? The dog has started to convulse. PANCAKE Well, he's uh... Just breathe normally, Otto. DIRECTOR The fucking dog can't breathe. PANCAKE Oh, he can breathe, that thing is -- just breathe normally, Otto. The dog's breath is rasping and horrible. DIRECTOR The fucking dog cannot breathe! Get that fucking thing off him! PANCAKE Of course. Easiest thing in the world. He stoops and fiddles at the straps. PANCAKE ...It's on good and tight, I, uh... Just breathe normally, Otto. He starts thumping at his pockets. DIRECTOR Get the fucking thing off him! PANCAKE Don't have my Leatherman. Mountain! Give me your Leatherman! Chop chop! DIRECTOR Get the fucking thing off him! Chitra, make sure the Humane fucker doesn't come over here! Bring him to craft services! As he makes to scoop up the dog: PANCAKE Good idea! Ice water, treats-ñ DIRECTOR Not the dog, you idiot! The Humane fucker! Distract him! PANCAKE Right! Of course! He goes back to work on the mask. DIRECTOR Oh my god, he's bleeding! PANCAKE No, that's me -- I -- the Leatherman... here we go. His hand gouting blood, he finally manages to get the gas mask off. A crowd is starting to gather and gape. The director barks at a grip: DIRECTOR Put up a couple solids here -- I don't want the client seeing this! Pancake thumps on the inert dog's chest. PANCAKE Come on, Otto! DIRECTOR Otto is fucking dead! PANCAKE Mountain, have electric run me a stinger! Don't give up on me, Otto! Mountain, I need two live leads! More people crowd in to look. MOUNTAIN GIRL Clark, the gennie's a hundred yards away! PANCAKE Goddamnit! Otto's gonna have brain damage in about ninety seconds! Okay! He pulls the dog's lips back, exposing its teeth and slobbered tongue. PANCAKE ...Kiss of life! He sucks in a deep breath and starts mouth-to-mouthing the beast. EXT. FOOTBALL FIELD - DAY POV We are looking out from inside a football helmet; we hear the super-present breathing of the helmet's occupant. Just over the breathing we can hear the muffled shouting of a snap count. We are in a crouch position looking downfield. At the call of "Hike!" we and everyone on the field spring into action. We sprint downfield, the breathing becoming even louder. A very big person downfield is sprinting toward us. After several yards, still on the move, we PAN quickly around to look back for the quarterback. Barely visible among converging bodies, he is releasing the football toward someone else. Easing up on the run we PAN BACK around to look downfield just as the oncoming defender is upon us and -- CRUNCH -- slams into us. A STROBING PAN leaves us looking up at the sky. Our loud breathing has stopped. After a long beat the breathing resumes with a raggedy labored inhale. It continues irregularly. Another helmeted player appears above us to peer down into our helmet. He extends a hand to help us up. HUDDLE We are looking back and forth around the circle at our gathered teammates. QUARTERBACK Delta thirty-seven. On four! All, with a simultaneous hand clap: TEAM Huh! LINE OF SCRIMMAGE Lined up opposite us is a snarling defender. Once again, over loud breathing, we can just hear the shouted count. At "Hike!" we straighten to meet the defensive lineman lunging at us. His mouthpiece clatters against ours and in horrific CLOSE-UP he strains against us, his animal gurgles of effort audible over our own ragged breath. With a primal roar from the defenseman our POV tips back and up, BOOMING DOWN to stop with a CRUNCH against the ground, staring up. Once again our breathing has stopped. After a beat a foot is planted on our helmet as a looming running back steps on us in his charge downfield. He is pursued by defenders some of whom leap over us and some of whom by the sound of it step on various body parts. HUDDLE The same back-and-forth PAN. QUARTERBACK Okay, Epsilon twenty-two! You the man!... Hey! BUTTHEAD! This brings our wandering attention PANNING back to the quarterback: QUARTERBACK You the man! A very, very present VOICE (HUDSON): HUDSON (O.S.) Me the man? TEAM Huh! LINE OF SCRIMMAGE The same breathing and count. On "Hike!" we sprint downfield. The same distant defender sprinting toward us. We hear low but very present a dismayed: HUDSON (O.S.) Unh... oh no... Our breathing is torn by rasping wheezes of effort as we continue to run. We look back. Every player is looking directly at us. A huge spiralling football coming at us -- too close, too soon -- and-- BONK! It bounces off our mouth guard and flies up. HUDSON (O.S.) ...shit... We are looking forward just as CRUNCH! We are hit by the defender. We once again land face-up. Very steeply FORESHORTENED, right over us, we see the defender juggling the live ball. With a moan, our own hand reaches weakly up towards the ball and the high, distant defender. He finally gathers in the ball and securely tucks it, and starts back upfield. We climb wearily to our feet. We look back upfield just in time to see the defender start an elaborate victory dance in the end zone. He pauses for a moment to point a gloved hand directly at us, then resumes his strut. Shouting from the sidelines brings our PANNING attention over. The coach, face twisted with fury, is shouting at us and using his clipboard to wave us off the field. We trot toward the sidelines. All of our teammates stare at us ñ- some in shock, some in anger, some in pity. At the sideline bench our POV swings round as we seat ourself. A hand reaches up to the mouth guard to pull off the helmet and we MATCH CUT TO: Our first OBJECTIVE SHOT as the player (HUDSON) finishes pulling off his helmet. He is a big blond boy. His entire body, including his face, is solidly built. An offscreen Voice: COACH (O.S.) Hudson! The boy, Hudson, turns to look, and we cut to one last POV The COACH is striding up, swinging his clipboard at the camera: with a loud CRUNCH! it brings on: BLACK EXT. MINI-MALL / HI-HO DONUT - DAY HIGH ANGLE It is a typical sunbaked concrete strip mall with a Seven- Eleven, a launderette, and a Hi-Ho Donut. The Hi-Ho Donut sign shows a pink donut with sprinkles and says in much smaller lettering: And Croissants. A beat-up Impala pulls into the lot, pulsing hip-hop music. After a long rumbling idle the ignition is killed. Both front doors open. Two BLACK KIDS get out and look around with a manner that is if anything too casual. INT. HI-HO DONUT - DAY There is faint muzak and loud air-conditioner hum. Glass cases display donuts identified as GLAZED, JELLY, and FANCIES. Fancies ooze yellow goo. The jelly on the jelly donuts is developing a crust of age. The glazed also look moth-eaten. One customer, a disheveled older man, sits at one of the little formica tables staring into a coffee cup. Next to the coffee is a brown paper bag from which a straw protrudes. Behind the counter is a middle-aged VIETNAMESE WOMAN in a neat white blouse. The two youths enter pulling out enormous handguns from underneath their windbreakers. YOUTH #1 All right Dragon Lady, give us all the fuckin' money! The woman stares blankly. YOUTH #1 We want that donut money! VIETNAMESE WOMAN Yao gin nyap! A man appears from the kitchen in back. He is a middle-aged Vietnamese gentleman in a crisply pressed khaki leisure suit. An ascot is knotted at his neck. He wears aviator eyeglasses. In his mouth smolders a half-burned-down filterless cigarette. This, we shall learn later, is THE GENERAL. YOUTH #2 Okay papa-san, we want that donut money. YOUTH #1 And we ain't fuckin' around, Mr. Hi- Ho. VIETNAMESE WOMAN Hi-Ho. The two youths look at her briefly. Nothing else is forthcoming. The drunk looks up from his paper bag. YOUTH #2 Look, this fuckin' thing, it ain't complicated. You give us all the fuckin money, you don't get shot in the head, you make more donuts, get more money. That's how it works, see? The General stares at him. As with his wife, none of it seems to register; unlike his wife, he seems unperturbed. YOUTH #1 Give us the money! He is pointing the gun directly at the General's head. YOUTH #1 ...You got three fuckin' seconds. You understand one-two-three? I'm gonna count one-two-three and then shoot. Okay? Three secñ- huh! The General has swung his fist up to hook two fingers inside the youth's nostrils. His gun clatters to the floor. The fingers are way, way up his nose. Only one knuckle shows on each finger. The youth is staring cross-eyed at his own nose. His friend is also stupefied. YOUTH #1 (very nasal) His fingers are way the fuck up my nose. YOUTH #2 GET... YA FINGAS... OUT... THE MAN'S... NOSE! The General still impassively sucks on his cigarette. The first youth is on the verge of tears: YOUTH #1 I think they're in my brain, man... YOUTH #2 MOTHERFUCK! He raises his gun to start firing. As he does so the General uses his hook-hold on the other youth's nose to slam his head backwards, down into some Fancies. The door opens and a customer walks in, a semi-elderly lady with a cane. Youth #2, eyes rolling, wildly swings to cover the door, then back to the General who has his friend's head pressed into the Fancies, then uncertainly over to the Vietnamese woman who is loudly yelling at him in Vietnamese. Cigarette still dangling from his lower lip, the General calmly plucks a pot of coffee from the coffee warmer and tosses it into Youth #2's face. Youth #2 screams. EXT. HI-HO DONUT - DAY HIGH ANGLE The car is still pulsing hip-hop music. Youth #2 stumbles out of the Hi-Ho, hands covering his face and sinks to his knees. INT. HI-HO DONUT - DAY The General now has the first youth's face pressed into the Fancies from behind. Without disturbing his smoking, the General repeatedly kicks the youth in the ass. His wife, muttering irritably in Vietnamese, is wheeling a water bucket and mop to where the floor is covered with coffee. INT. CHURCH - DAY At the CUT many voices are swelling in a song of worship. It is a black Baptist church, and the music has great energy. The white-robed choir finishes singing; a preacher takes the podium. PREACHER I know you all remember that when Moses came down the mountain, carrying the word a God, come down that Sinai peak, he caught those Israelites red- handed. What he catch 'em doin'? He caught 'em worshipping a golden calf. Shouts of "That's right!" PREACHER ...He caught 'em with their backs turned on God! More shouts of "That's right!" PREACHER ...He caught 'em worshipping a FALSE God! A God of EARTHLY things! He caught them Israelites in DECLINE! "He caught 'em!" PREACHER ...Because backslidin' is DECLINE, brothers and sisters! You hear talk these days, and I know you've heard this talk, you hear talk of DECLINE, well all that means is we done turned our back on God! "That's right!" PREACHER ...People say civilization doin' this, civilization doin' that, civilization in DECLINE! Well it ain't no civilization! It ain't no them! It's US, brothers and sisters! "Amen!" We are TRACKING among the congregants, disproportionately women, mostly of middle age and elderly, mostly wearing elaborate go-to-church hats. PREACHER ...It's what's in our hearts, each and every one of us when we like them Israelites! Slidin' awa-a-a-ay down that Godly slope, slippin' and slidin' toward the mire and muck a the stinkhole of greed -- that's DECLINE! "That's decline!" The CONTINUING TRACK brings us onto Mrs. Munson, wearing, like most of her peers, an oversized hat; hers is adorned with a great deal of plastic fruit. PREACHER ...And what did Moses do when he saw those declinin' backslidin' never- mindin' sinners? "What he do?" PREACHER ...Moses SMOTE those sinners in his wrath yes he did! "Yes he did!" PREACHER ...Y'all know what smote is! I smite! You smite! He smites! We done smote! "That's right!" PREACHER ...To smite is to go UPSIDE the head! "Uh-huh!" PREACHER ...Because sometimes, brothers and sisters, that is the ONLY way! "Yes it is!" PREACHER ...To smite is to reMIND! We got to STOP that decline! And scramble back UP to the face a the almighty Gyod! "Amen!" PREACHER ...'Stead a worshippin' that GOLDEN calf, that earthly TRASH on that GARBAGE island! That GARBAGE island in that shadowland WAY outside the Kingdom a God! "Way outside!" PREACHER ...That GARBAGE island where scavenger birds feast on the bones a the backslidin' damned! "Yes they do!" PREACHER ...And so, let us pray... EXT. CHURCH - DAY It is a white clapboard country church. The preacher stands at the door chatting with the congregants filing out. WOMAN #1 You preach a wonderful sermon, Brother Cleothus. PREACHER Why thank you, Sister Rose. MRS. MUNSON That man has a lot to say. WOMAN #1 Yes he does. MRS. MUNSON And every word of it the truth. WOMAN #2 Mm-mm. Jesus well pleased with him. WOMAN #3 Deed he is. PREACHER Oh now ladies... WOMAN #3 Pleased as he can be. WOMAN #1 Mm-mm. MRS. MUNSON Stout, too. WOMAN #1 Mm-mm. PREACHER Oh now you gracious ladies. INT. MUNSON HOUSE - KITCHEN - DAY Mrs. Munson is at the kitchen table. She folds a five dollar bill into a sheet of paper, raising her voice as she does so: MRS. MUNSON It was a good sermon. That man has a lot to say. INT. MUNSON HOUSE - LIVING ROOM - DAY We have CUT to the portrait of Othar over the mantel. He does not answer. From the kitchen: MRS. MUNSON'S VOICE (O.S.) ...Stout, too. It would've been a comfort to you... INT. MUNSON HOUSE - KITCHEN - DAY Mrs. Munson has stuffed the paper-enclosed bill into an envelope, which she is now laboriously addressing to Bob Jones University. MRS. MUNSON And the choir was all in good voice. Mm-mm- There is a knock at the door. MRS. MUNSON ...Who could that-- The cat yowls and hisses. I/E. MUNSON HOUSE - FOYER - DAY As Mrs. Munson swings open the door. G.H. Dorr stands on the stoop mournfully dry-washing his hands and obsequiously ducking his head. DORR My dear Mrs. Munson, I do so hope this is not an inopportune time for our first practice-- MRS. MUNSON Somebody die? DORR I beg your-- Oh! He looks back at the long black vintage Lincoln hearse parked at the curb behind him. DORR ...No no, no bereavement, though it is so kind of you to enquire. No, the hearse is simply a vehicle commodious enough to accommodate all of the members of our ensemble. And of course our instruments, contrived in an age ignorant of miniaturization... He turns and gestures at the vehicle. At his sign, Gawain, the custodian, emerges from the driver's side. Clark Pancake emerges from the front passenger side. The General, wearing a different but equally pressed khaki suit and ascot, and with a smoking cigarette in his lips, emerges from a back door. Gawain goes to the back of the hearse and opens its hatch to let out Lump Hudson, the football player. Lump helps unload five large and oddly shaped instrument cases, each man taking one except for Lump himself, who carries two. As the parade of losers and misfits winds its way up the walk: DORR ...Let me introduce you to my friends, my colleagues, these devoted and passionate musicians... This is Gawain MacSam, our bassoonist... Gawain nods as he passes by. DORR ...General Nguyen Pham Doc, viola da gamba... MRS. MUNSON No smoking in this house. The General tosses his cigarette away and bows stiffly as he passes. GENERAL So sorry. DORR ...Clark Pancake -- a multi- instrumentalist, but with his remarkable embosser Clark specializes in wind instruments, and is especially accomplished on the French horn... He nods, passes. DORR ...And, finally, Aloysius "Lump" Hudson. Lump is our sackbuttist and -- thank you, Lump -- I see you've also brought my fiddle... As he hands Dorr the violin case: LUMP Here's your fiddle, Doctor. Mrs. Munson sizes up the group. MRS. MUNSON You ain't gonna make a racket, are ya? DORR Oh no. Oh no no no no no. No, we shall recuse ourselves to the basement where we shall be -- I think here the expression is uniquely appropriate... He gives a sickly smile. DORR ...as quiet as the crypt. MRS. MUNSON Hmph. INT. MUNSON HOUSE - CELLAR - DAY The General stands stock still, his nose an inch away from the earthen wall, studying it, squinting through the smoke of the cigarette pinched between his lips. The rest of the men are opening their cases and taking out the instruments. Gawain's case contains, however, not a musical instrument but a boombox and several tapes. He loads one of the tapes into the machine. DORR What do you think, General? Present any problems? After a beat the General turns away from the wall to give Dorr a look into which one might read anything, or nothing. Gawain hits play on the boombox and the cellar is filled with the fussy strains of baroque chamber music. Dorr nods. DORR ...Good then. He spreads a map open on the sackbutt case. DORR ...All right, gentlemen, why don't we all crowd around and go over the plan. The biggest feature on the map is a wavy, roughly north-south pair of lines: a river. A boat icon sits at one edge and from it a dotted rectangle extends inland. Dorr taps at the boat icon with his fiddle bow. DORR ...This, gentlemen, is the Lady Luck, gambling den, cash cow, Sodom of the Mississippi delta -- and the focus of our little exercise. Here is Orchard Street... He is tracing a street that parallels the dotted rectangle extending from the boat. The street is lined by small house icons on either side; the bow comes to rest on one of those icons. DORR ...and here is the residence of Marva Munson, the charming lady whom y'all met moments ago. Gentlemen... Bow taps emphasize: DORR ...You... are... here. Now. This brings us to this square... The bow indicates it, and then withdraws. Dorr uses the bow as a swagger stick to punctuate as he begins to pace. DORR ...Gentlemen, I believe you are all aware that the Solons of the State of Mississippi, to wit, its legislature, have decreed that no gaming establishment shall be erected within its borders upon dry land. They may, however, legally float upon any watercourse defining a state boundary. But while the gambling activity itself is restricted to riverboats, no such restriction applies to the functions ancillary to this cash besotted bidnis. The casino's offices, locker rooms, facilities to cook and clean, and most importantly its counting houses- the reinforced, secret, and super secure repositories of the lucre -- may all be situated... wherever. Gawain -- where is wherever? GAWAIN Say wha? Dorr's smug smile fades. Testily: DORR Where is the money? GAWAIN Oh. End of every shift pit boss brings the cash down to the hold of the ship in the locked cash box; once a day all the cash boxes're moved to the counting room. DORR And where is the counting room? GAWAIN Well, uh... in that square there. Where you pointing. DORR And what, to flog a horse that if not at this point dead is in mortal danger of expirin', does the dotted square represent? Gawain hesitates, the question's obviousness suggesting to him some trick. GAWAIN ...Offices. Underground. Dorr's eyes close. A smile of feline contentment curls his lips. He murmurs: DORR Underground... Mmm... During the casino's hours of operation the door to the counting room is fiercely guarded, and the door itself is of redoubtable Pittsburgh steel; when the casino is closed the entire underground complex is locked up and the armed guard retreats to the casino's main entrance. There, then, far from the guard, reposes the money, cosseted behind a five-inch-thick steel portal, yes, but the walls, gentlemen, the walls of that room, are but humble masonry, behind which is only the soft loamy soil deposited over the centuries by Ol' Man, the meanderin' Mississip', as it fanned its way back and forth across this great alluvial plain... He has pried a fistfull of dirt from the cellar wall. DORR ...This earth. He crumbles it, letting it sift to the floor, and then, pleased with himself, he smiles. DORR ...Any questions? Lump looks around, then hesitantly raises his hand. DORR ...Yes, Lump? LUMP What, uh... what does "cosseted" mean? Once again Dorr's smile fades. He does not dignify the question with answer. DORR The General here, whose curriculum vitae compahends massive tunneling experience thoo the soil of his native French-Indochina, will direct our little ol' tunnelin' operation. The General acknowledges with a curt nod. DORR ...Clark Pancake, while a master of none, is a jack of all those trades corollary to our aim. He will be doin' such fabricatin' and demolition work as our little caper shall require. Clark acknowledges verbally: PANCAKE Happy to be on board. DORR Gawain is the proverbial "inside man". He has managed to secure a berth on the custodial staff of the Lady Luck, thereby placin' himself in a position to perform certain chores whose precise nature needn't detain us here, but whose performance shall guide this expedition to its happy conclusion. GAWAIN Ya damn skippy. DORR And this brings us to Lump. To look at Lump you might wonder, what function could he possibly fill, what specialized expertise could he possibly offer, to our merry little ol' band a miscreants. Well gentlemen, in a project of such magnitude and such risks, it is traditional -- nay, it is imperative -- to enlist the services of a hooligan, a goon, an ape, a physical brute, who will be our security, our fist, our batterin' ram. Lump is our blunt instrument, and on all our behalfs I wish him a warm Mississippi welcome. LUMP Thanks, Professor. DORR Well gentlemen, here you are, men of different backgrounds and differing talents, men with, in fact only two things in common: one, you all saw fit to answer my little advertisement in the Memphis Scimitar, and, two, you are all going to be, in consequence, very very incredibly rich. Let us revel in our adventure, gentlemen. Let us make beautiful music together. And above all, gentlemen, let us keep it to ourselves. What we say in this root cellar, let it stay in this root cellar. LUMP There's no "I" in "team". All stare at him. DORR ...Lump has a very excellent point. The music swells, supported now by a male chorus that has the spirited manliness of the Red Army choir. We DISSOLVE TO: INT. MUNSON HOUSE - BASEMENT - NIGHT The men at work, tunneling. The cat sits on the cellar floor, head cocked, gazing at the hole now opened in the wall. Lump, in a sleeveless undershirt, glistening with sweat, wields a pickaxe at the forward point. At the mouth of the hole Clark Pancake shovels dirt into a heavy plastic refuse bag held open by Gawain. G.H. Dorr sits on a camp chair, one hand idly waving time to the music, reading an old and yellowed tome with half-glasses perched midway down his nose. The General hops nimbly out of the tunnel and unzips and steps out of his all-in-one to reveal, underneath, his neatly pressed leisure suit and ascot. INT. MUNSON HOUSE - LIVING ROOM - NIGHT Later, Dorr stands at the head of the cellar stairs, looking around the empty parlor. He gives a nod down the stairs and the men troop up past him, carrying sacks of earth. Over the mantelpiece, the eternal flame of the devotional candle almost animating his features, Othar seems to watch the men as they cross to the front door. EXT. MUNSON HOUSE - NIGHT The men load the earth into the hearse. EXT. MISSISSIPPI RIVER - NIGHT We are at the Mississippi bridge that we saw in the prologue to the movie, but now, in dead of night, deserted. The hearse is pulling up at the middle of the bridge and dimming its lights. The men emerge; when they open the back of the hearse to pull out the sacks, the cat bounds out to watch from a distance. We watch the men from HIGH, ANGLED DOWN along the masonry of a tower that stands in the middle of the suspension bridge. An ornamental gargoyle leers in the foreground. The garbage scow is approaching. We hear the low toot of its horn as it nears the bridge. Lump is poised with the first sack hugged to his chest, leaning over the railing. The nose of the barge enters below us. Lump releases the sack. We watch it drop dead away like a bomb from an airplane. It thuds distantly onto the barge. The next sack has been passed up to Lump and is released. The cat watches. Its orange eyes blink. Its pupils adjust. INT. MUNSON HOUSE - CELLAR - NIGHT A PULL BACK shows that the cat is in fact back in the basement. Its POV: continued tunneling. Back to the cat, watching, then turning its head at a noise: At the head of the stairs, the cellar door is opening. A whistle from the General and Lump and Clark Pancake scramble from the tunnel. They whip a curtain over its opening and all men grab up their instruments as Dorr, covering with a cough, turns off the CD player. The General, his ever-present cigarette smoldering between his lips, tongue-and-lips it up and backwards so that it is inside his mouth, which he now closes. Marva Munson is heavily and carefully descending the stairs. As the men come into view they are looking up at her, Lump holding his sackbutt but still glistening with sweat and smeared with dirt. MRS. MUNSON That's okay, don't stop on account of me. Lump looks around, saucer-eyed, then blows gamely into his sackbutt. It sounds like goose farts until Dorr waves him down. DORR No no, madam, we were about to take a break anyway. The glissandi on this particular piece are technically very demanding and I think we would all welcome a moment of relaxation. MRS. MUNSON Huh. I just thought you might like to see-what a you gotten up to, honey? Why you sweatin' like that. It is directed at Lump, who looks down at his own sweat- stained undershirt. LUMP I, uh... GAWAIN That man plays one bitch barrelful a sackbutt. Ain't no one can blow the tenor sackbutt like Lump, hoowee! goes at that thing like it was a pu-- uh, like it was a woman! Goddamn! He-- She cuffs him on the head. MRS. MUNSON You mind! I don't want that kind of talk in my home, even in the root cellar. This is a Christian house, boy, none of that hippity-hop language. DORR Sadly, Gawain is given to-- WHAP! She slaps Gawain again. MRS. MUNSON Sometimes it's the only way! He untenses after what seemed like the final blow, but -- WHAP! -- she slaps him again. MRS. MUNSON ...I'm tryin' to help you, son! WHAP! MRS. MUNSON ...Better yaself! DORR As well you should, ma'am. But Gawain at times is so far transported by his love of the music of the early Renaissance as to-- MRS. MUNSON Don't make no never-mind he's transported! Dorr has her by the elbow and is ushering her back up the stairs. DORR I understand your-- She pulls her elbow away and sniffs. MRS. MUNSON You been smokin'? DORR Certainly not, madam. I understand your indignation. And I was offering explanation, not excuse. I myself am offended by those who cannot find the proper words to express themselves and have recourse to-- Gawain calls up the stairs: GAWAIN Don't you be explainin' me, dawg! You can't look into my mind, cape man! DORR Yes, yes... Dorr's tone is soothing as he shuts the door at the top of the stairs. DORR ...A fiery lad! But then Youth is fiery! A fact often remarked upon by the poets of the Romantic era. MRS. MUNSON My youth I was in church, I wasn't walkin' around fiery. Youth ain't no excuse for nothin'! Well, anyway... only came down to show you the fife. She hands him a thick, roughly whittled piece of cane. Dorr holds it, looks at it dumbly. He is, for the first time that we have seen anyway, non-plussed. MRS. MUNSON ...Othar's fife. He burned his own. Dorr tries to summon conversation as the two sit with their backs to the fireplace: DORR ...Did he? MRS. MUNSON Mm-hm. I thought maybe bein' a musical man you'd be interested. DORR Oh, I am indeed-- MRS. MUNSON Cut it himself and burned the holes. Israelites called it a kalil. DORR Ah. MRS. MUNSON Kalil, fife, same thing. You can read about it in the Bible. Ain't nothin' new under the sun. DORR Indeed not. MRS. MUNSON Gone these twenty years. He was some kind of man. From Othar's POV, slightly high, we see them both twist in their chairs to look up at the portrait. REVERSE of the portrait, LOW ANGLE. Othar looks down at us with what appears to be bemusement. Marva Munson and Dorr gaze up at the portrait for a motionless beat. At length, Marva Munson sighs: MRS. MUNSON ...Blowed the kalil. Dorr's eyes remain on the picture as he inquires: DORR ...I don't suppose Othar ever turned his hand -- or, uh, heh-heh-heh, turned his lip -- to the shofar? Prompted by her silence, he adds: DORR ...The ceremonial ram's horn, sounded by the priests of the Hebrews? MRS. MUNSON I don't know nothin' 'bout that. Othar didn't study no shofar, to the extent a my knowledge. The kalil was good enough for my Othar... She gazes at the portrait. MRS. MUNSON ...Some kind of man. INT. CASINO - DAY TRACKING BEHIND A SASHAYING ASS following a woman in a red dress. GAWAIN (O.S.) Hey baby, don't be cruel. Jus' sneak one little peek... The woman looks back over her shoulder, smiling, as she continues to walk. GAWAIN ...Don't let this uniform fool ya-- REVERSE PULLING TRACK leads Gawain MacSam, pushing his wheeled trash bin. GAWAIN You don't need to be gamblin', honey, you lookin' at a sure thing. They call me Mr. 21, baby, 'cause that's how I measure up. I am the original black Jack, honey, accept no substitutions. You can pull my lever all day long, sweet mama, I ain't never gonna come up lemons. That's right, sugar, you can blow on my dice any ol' time. INT. CASINO - GUDGE'S OFFICE - DAY Gudge has his feet up on the desk and is filing his nails with an emery board. GAWAIN But Mr. Gudge, she had an ass that could pull a bus. This lady was fine, fine, dandy, divine. GUDGE I don't care how big her ass was, MacSam. You're fired. GAWAIN Say what? GUDGE There is no fraternizing with customers on the Lady Luck. Clean out your locker. GAWAIN But Gudgeñ- GUDGE Get out of here. You're fired. GAWAIN You can't fire me. I sue your ass! GUDGE Sue me? For what? GAWAIN Sue you for fuckin' punitive damages, man! GUDGE Punitive damages. GAWAIN Ya damn skippy. I know you firin' my ass 'cause I'm black! GUDGE Everyone on the custodial staff is black, MacSam. Your replacement's gonna be black. His replacement will no doubt be black. GAWAIN Fuckin' judge is gonna be black, motherfucker, that's who gonna be black! You gonna stand tall before the man! EXT. WAFFLE HOUSE - DAY VERY HIGH ANGLE We are looking down past the distinctive pylon-mounted yellow letters: WAFFLE. INT. WAFFLE HOUSE - DAY The band of miscreants is seated around a table with cups of coffee. Dorr's wardrobe makes no concession to the informality of the setting; he still wears his cape and a black string tie. His manner is more mournful even than usual: DORR Oh my. Oh my my my my my. This is a severe setback. I am distraught. I am more than distraught, I am devastated. Oh my, this is quite the monkey-wrench heaved into the meticulously engineered construct of our little escapade. LUMP Yeah, it fucks things up. DORR I am beside myself. I am at a positive loss for words. GAWAIN You still talkin' okay though. WAITRESS Have you all decided? Dorr's intensely mournful agitation is brought to bear upon her: DORR Oh madam, we must have waffles. We must all have waffles forthwith! They hand in their menus. DORR ...Oh we must think. We must all have waffles and think, each and every one of us to the very best of his ability! Perhaps if you apologized to the man and gave him flowers, or perhaps a fruit basket, with a card depicting a misty seascape and inscribed with a sentiment. GAWAIN Shit, man, it ain't about apologizin'! He fired me 'cause I'm black! PANCAKE He can't do that. You could sue him. Open and shut case. GAWAIN Fuckin' A. PANCAKE This is not 1952. GAWAIN Man's a fuckin' bigot. DORR Well then, perhaps, surely, a chocolate assortment has been known to warm the heart of even the most hardened misanthrope, especially if it's a premium chocolate, imported, say, from Switzerland, or the Netherlands, or some other of the so- called "Low" countries be they Dutch or Flemish or Walloon-- GAWAIN Walloon my ass, the man ain't gonna roll over for a fuckin' candy bar! PANCAKE I'm afraid there's a setback on the tunneling front too. We've run into a pretty large rock, and-- GENERAL -- Rock! All turn to look at the General. He continues to stare at a spot in space. He slowly releases some inhaled cigarette smoke, murmuring: GENERAL ...Very bad. DORR Oh my my, it seems that the poet was right: Troubles never singly come. PANCAKE Oh, we can get through the rock, no worries there. Simplest thing in the world. Why we blow right through it; I've got a pyro license, we bore a hole in the rock, pack in a little plastique; igneous blows pretty good, and we-- LUMP Is he gonna want a piece of the action? All turn to look at Lump. PANCAKE ...Who? Lump hesitates, looking at the inquiring faces that surround him. LUMP ...Igneous? A female Voice: MOUNTAIN GIRL (O.S.) Hello Clark. Am I ordering the prima cord? The men look up at her. PANCAKE Yes, Mountain, we were just talking about that, and some plastique. All the men are staring at her, agog. GAWAIN ...The fuck is this? PANCAKE This is Mountain Girl. Mountain is my right hand. She helps me with ordnance. Helps me with damn near everything. The men stare. GAWAIN ...You brought your bitch to the waffle house?! There is tension in the air. Dorr clears his throat. DORR I confess myself to be puzzled as well. I thought we all understood that, so far as our little enterprise is concerned, mum, as the saying would have it, is the word-- PANCAKE Of course. I understand that. But this is Mountain... He chuckles. PANCAKE ...I don't keep secrets from Mountain. That's not how you maintain a loving, caring relationship. GAWAIN ...You brought your bitch to the waffle house? He looks around. GAWAIN ...Man brings his bitch to the waffle house! PANCAKE Look, you, I'll thank you to stop referring to Mountain that way. She's the other half of my life. GAWAIN Everybody lookin' at me like I'm a fuck-up, losin' that sorry-ass job, and this motherfucker bring his bitch to the waffle house! Pancake lunges across the table, sending dishes clattering to the floor as he grabs Gawain by the shirt. PANCAKE You son of a bitch punk! Shut your goddamn mouth! He shakes him vigorously and rears back to take a swing at him. Gawain draws a gun. GAWAIN Come and get me motherfuck! Come on, baby, let's get it on! Mountain starts screaming. People look, aghast. DORR Gentlemen, please! The other men pry Pancake and Gawain apart. DORR ...Gentlemen, this sort of behavior does you no credit in the eyes of your colleagues, or in those of the other patrons of this waffle house! Pancake grumbles as he composes himself and straighten his clothes. PANCAKE ...Nobody talks to Mountain Girl that way. She had an abusive family! GAWAIN Fuck you, man. PANCAKE Little punk. I got syrup on my safari jacket. He embraces Mountain, who continues to sob quietly. DORR Gentlemen, I propose that we consider the matter of this woman, Mountain Water, to be-- PANCAKE Mountain Girl. DORR I am so very sorry. I propose that we consider this matter to be closed, and we shall chose to trust her, since we now have no choice, and since she shall share only in Mr. Pancake's portion of the booty. Over the shoulder of the quietly weeping Mountain Girl: PANCAKE Of course. Wouldn't have it any other way. GAWAIN Damn right you won't. PANCAKE Up yours, punk. DORR Gentlemen! And the manner of disposing of our igneous impediment is also settled. That leaves only the question of Gawain retrieving his job. LUMP Couldn't you just bribe the guy? All turn to look at Lump. INT. MUNSON LIVING ROOM - NIGHT Othar looks serenely down from his spot over the mantelpiece. Marva Munson knits; G.H. Dorr sits nodding over an ancient volume of half-forgotten lore, reading glasses perched midway down his nose. Curtains waft lazily in the summer night breeze. MRS. MUNSON ...You just a readin' fool, ain't you Mr. Dorr. DORR Yes yes, I must confess, madam, that often I feel more at home in these ancient volumes than I do in the hustle-bustle of our modern world. To me, paradoxically, the literature of the so-called "dead tongues" has more currency than this mornin's newspaper. MRS. MUNSON Mm-mm. DORR In these books... He removes his glasses and lazily twirls them. DORR ...In these volumes, there is the accum'lated wisdom a mankind which succours me when the day is hard or the night lonely and long. MRS. MUNSON Wisdom of mankind, what about the wisdom of the Lord? DORR Oh yes, the Good Book, mm. I have found reward in its pages. But for me there are other good books as well; the heavy volumes of Antiquity, freighted with the insights of Man's glorious age. And then of course I love, love, love the works of Mr. Ed G'Allan Poe. MRS. MUNSON I know who he is. Kinda creepy. DORR Oh no, madam, noooo. Not of this world, true; he lived in a dream, an ancient dream... Dorr himself is lost in a dream: DORR "Helen, they beauty is to me Like those Nicean barks a yore That gently, o'er a perfumed sea, The weary, wayworn wanderer bore To his own native shore... " MRS. MUNSON Who was Helen? She wasn't a loose woman, was she? Some kinda whore a Babylon? Dorr is still lost: DORR One doesn't know who Helen was, though I picture her as bein' very, very extremely... pale. He comes to himself, focuses on Mrs. Munson. DORR ...Miz Munson, I was tryin' to think of some way of expressin' my gratitude to you for takin' in... He chuckles. DORR ...this weary, wayworn wanderer... The Professor takes a small ticket envelope from where it had served as bookmark, and hands it across. DORR ...It's just a modest little ol' present, why it's practically nothing at all. Beaming, she takes two tickets out of the envelope and inspects them. MRS. MUNSON Oh Mr. Dorr, why you are such a gallant man... DORR Oh no madam, I blush. I melt. No, I just happened to hear of this gospel concert tomorrow night, The Mighty Mighty Clouds of Joy, and I thought you and a friend from church, perhaps... MRS. MUNSON Othar loved that music... Yes, I got a widow-lady friend... DORR The concert is up in Memphis, but I have arranged for a car service to transport you thither and, needless to say, back home at the concert's termination. My friends and I will be rehearsing here tomorrow evening so you needn't worry about the security of your charming little old house... There is a knock at the door. MRS. MUNSON Huh? Excuse me. I/E. MUNSON HOUSE - FOYER - NIGHT Mrs. Munson swings the door open to Sheriff Wyner. His squad car is parked at the curb. MRS. MUNSON Sheriff Wyner, how you doin'... INT. MUNSON HOUSE - LIVING ROOM - NIGHT The Professor's eyes widen with concern as he hears the voices, off: SHERIFF (O.S.) Evenin', Miz Munson, I just came by... I/E. MUNSON HOUSE - FOYER - NIGHT The sheriff is tipping his hat and already backing away, trying to make his visit brief: SHERIFF ...to let you know I had a word with WeeMack. He says he gonna comply with your request, keep the music down and neighborly. MRS. MUNSON Mm-hm. He calls from the bottom of the stoop: SHERIFF So you have a pleasant evening now, and just let us know-- MRS. MUNSON Hang on there, Sheriff, somebody I want you to meet. SHERIFF Ma'am, I'm a little pressed for time-- MRS. MUNSON Why, you chasin' a gang of bank robbers? Get on in here say hello. INT. MUNSON HOUSE - LIVING ROOM - NIGHT The Voices approach: MRS. MUNSON ...We was just havin' tea, talkin' about Othar-- The two enter and Mrs. Munson stops short, looking. The living room is empty. Even the Professor's teacup is gone. MRS. MUNSON ...Hm... Bussed his own dishes. You can always tell a gentleman. The sheriff, hat in hand, gazes about. SHERIFF Someone was here, ma'am? MRS. MUNSON Mm-hm, with me'n Othar. Once again, he tries to excuse himself: SHERIFF Well, maybe I'll catch him next time... MRS. MUNSON Come on up to his room. INT. MUNSON HOUSE - DORR'S BEDROOM - NIGHT The door opens and the two look in. The neatly made bed next to the small, barren dresser. MRS. MUNSON Mm, he's neat. SHERIFF Very neat. MRS. MUNSON Probably went down to the cellar to play with his friends. She turns. SHERIFF Ma'am, I really have to... POV FROM UNDER THE BED Top-teased by a dust ruffle in the foreground, we see Mrs. Munson's heavy orthopedic shoes turning to pass Sheriff Wyner's shiny black boots. REVERSE shows Dorr, cheek pressed to the floor, his teacup and saucer under the bed with him. SHERIFF ...be gettin' back... BACK TO NORMAL PERSPECTIVE Mrs. Munson is about to go out the door but notices something: A corner of the Professor's cape, protruding from under the end of the bed. MRS. MUNSON What the... BACK TO DORR fearfully watching. HIS POV The heavy orthopedic shoes approach, and then, with loud Mr. Mogul sounds of effort, Mrs. Munson's hands and knees hit the floor. Her head drops in to view to peer in, her own cheek against the floorboards. MRS. MUNSON ...What the... Why, Professor! We see the Sheriff watching and his HIGH POV of Mrs. Munson's enormous ass. MRS. MUNSON ...What you doin' havin' tea down there?! Dorr makes silent hand waves to disavow his own presence. Mrs. Munson roars with laughter. With difficulty she pushes herself back upright, still laughing. MRS. MUNSON ...Land of Goshen! Get out from under there! SHERIFF Miz Munson, my pager just went off... MRS. MUNSON Why of all the... INT. MUNSON HOUSE - STAIRCASE/FOYER - NIGHT The Sheriff is already backing down the stairs: SHERIFF 'Fraid I gotta respond... He opens the front door and calls up: SHERIFF ...I'll try to meet your friend some other time. INT. MUNSON HOUSE - DORR'S BEDROOM - NIGHT Dorr shimmies out from under the bed. DORR Well that was very... refreshing... As you know... He gets to his feet, slaps dust from the front of his pants. DORR ...we academics are inordinately fond of wedgin' ourselves into confined spaces. At Yale the students will see how many of their number they can enclose in a telephone booth; Harvard, a broom closet. MRS. MUNSON Why I never! DORR There was the goldfish-swallowin' craze, of course, a different but related phenomenon... Ahem... I hope I didn't spill any tea... INT. CASINO - GUDGE'S OFFICE - DAY CLOSE ON A BOX OF CHOCOLATES The box is being pulled open. GUDGE (O.S.) What the hell is this? WIDER shows Gawain in Mr. Gudge's office as Gudge, behind the desk, looks at the gift-wrapped box. GAWAIN It's just my way of sayin', well, goddamnit, I don't know what it's like walkin' in your shoes, bein' all tightass and all, and you don't know what it's like to walk in my shoes, but, well... Gudge is opening a card that was inside the box. Its floral front says in gold script, "I'm Sorry... If I hurt your feelings... " GAWAIN ...You know, there's the custodian, and then there's the man inside the custodian, y'understand what I'm sayin'... Gudge opens the card. Inside is a hundred-dollar bill. GAWAIN ...and that man has needs, dig, and I guess those needs, Mr. Gudge, which they usually involve women with big asses, well those motherfuckin' needs sometimes well up over the custodian like the motherfuckin' Johnstown Flood. But my point is it ain't gonna happen again. Not if it's humanly possible... Gudge reads the card, flips it over to look at its back. GUDGE Hmm... GAWAIN But Jesus, if you'd seen the ass on that girl, Mr. Gudge, you'd a wanted her sitting on your face too. GUDGE Well, we're all human. GAWAIN Ya damn skippy. GUDGE This apology buys you a one-week probationary period. Stay away from the customers, MacSam. INT. TUNNEL - NIGHT Pancake is on his stomach, wearing goggles, boring a hole into a rock face with a power drill. INT. MUNSON HOUSE - CELLAR - NIGHT We hear the whine of the drill faintly here, all but covered by the sound of the chamber music on the boom box. The other men sit around. Dorr gives a casual glance at his watch as the whine subsides. Pancake emerges from the tunnel covered with grime. PANCAKE The drill bit's getting awfully hot. Gawain, maybe you could fill a hudson sprayer and spritz it down while I drill. GAWAIN Fuck you, man, I ain't your house nigger. I'm the inside man! PANCAKE Look, are you gonna have a bug up your ass for the rest of the time we work together? LUMP I'll get the sprayer. PANCAKE No no, me and this gentleman here have to get square. Let me tell you something, MacSam. You wanna know something? GAWAIN I don't wanna know shit from you. Pancake leans against the wall and pushes his goggles up on his forehead, leaving raccoon eyes. PANCAKE I'm gonna tell you how I came down to Mississippi. Wasn't born here, you know. I'm from Scranton, Pennsylvania... Abruptly, he stares off into space. PANCAKE ...Nnnff! GAWAIN Huh? Pancake's eyes regain their focus: PANCAKE ...Scranton, Pennsylvania. Came down here in 1964. Greyhound Bus. With the Freedom Riders. You know who the Freedom Riders were, MacSam? GAWAIN I don't give a shit who they were. Just tell me when they gonna leave. PANCAKE The Freedom Riders, my fine young man, were a group of concerned liberals from up North -- whites, Negros, and yes, Jewish people -- all working together, just like we are here. Concerned citizens who came down here so that local black people could have their civil liberties. So that people like you could have the vote. All look at Pancake. Quiet, except for the delicate chamber music. Gawain's tone softens: GAWAIN ...You know what, man? PANCAKE What, brother? GAWAIN I don't vote. So fuck you. Pancake darkens: PANCAKE Why you fucking-- GAWAIN And the bus you rode in on! PANCAKE That's it! He peels off his coat. PANCAKE ...Let's step outside, MacSam! There is a knock on the cellar door. The men freeze momentarily, then scramble for their instruments. The General flips his cigarette backwards into his mouth. Dorr turns off the boom box, then calls: DORR Yes, madam? The door opens and Mrs. Munson comes down the stairs, holding a large plate covered by a checked napkin. MRS. MUNSON My friend Mrs. Funthes is here so I'm about to go on out. I just wanted to leave y'all with some cinnamon cookies... She takes the napkin off and carries the plate from person to person; each obediently takes a cookie with a murmured "Thank you, ma'am." MRS. MUNSON ...Y'all sound pretty good. It'd be nice if you'd come by the church some day, give us a recital. Dorr takes her by the arm and escorts her back to the stairs. DORR Oh madam, you are too kind. Our music, however, is -- how shall I put it? -- rather Roman in its outlook; many of our pieces were commissioned by the Holy See. MRS. MUNSON Oh, I see all right, but we don't make a big whoop-dee-do about denominations; everybody welcome at our church. We've had Methodists come in. Episcopals. Even had a Jew come in once with a guitar back in the sixties. DORR Indeed. Excuse me, one moment, ma'am, and I shall see you off... They have reached the top of the stairs and the Professor ushers her out but stays behind himself. He turns to address the rest of the men below: DORR ...If you gentlemen can labor harmoniously in the course of my absence, then perhaps upon my return we shall be prepared to explode that vexin' ol' piece a igneous. GAWAIN He's the motherfuckin' piece of igneous. INT. MUNSON HOUSE - LIVING ROOM - NIGHT The Professor emerges from the cellar. Mrs. Munson awaits with her friend who is likewise togged out in fancy Sunday dress and carrying a shiny black purse. MRS. MUNSON Professor, this is Rosalie Funthes, Rosalie, Professor G.H. Dorr, Ph.D. ROSALIE Oh my, that's an awful lot of letters. DORR Well of course in my youth I was simply known as Goldthwait... INT. MUNSON HOUSE - CELLAR - NIGHT Pancake is taking the boom box off the table to clear some space. PANCAKE All right, safety meeting, let's listen up. General, could you hand me the prima cord and the compound there. Before we set the charge we'll run through our procedure. Various paraphernalia are laid out on the table. The cat sits in a corner of the cellar, watching carefully and, it seems, listening attentively. PANCAKE ...I have earplugs for whoever wants them. Just wedge them in your ears. Now here we have -- not yet, Lump. Lump stops putting in his earplugs. PANCAKE ...Now. Prima cord. Gelatinite. C4. Time comes, we pack the hole in the rock with the C4 and insert two leads. A... He holds up one lead. PANCAKE ...and B. He holds up the other lead. PANCAKE ...Charge comes from a battery that is inside this plunger. Ordinary auto battery, you can pick it up at Sears, easiest thing in the world... EXT. MUNSON HOUSE - NIGHT A black town car idles at the curb. Dorr is just escorting the two ladies out the front door and down the stoop. DORR I remember my father telling me -- and it is one of the few memories I retain of the man, from one of his visits home, and how I do cherish it -- he said, "Goldthwait, you are not formed as other little boys." ROSALIE Mm-mm. MRS. MUNSON He a man of learnin'? DORR G.H. number two was self-educated; he had no career, as such, though the state recognized the breadth of his readin' by making him librarian at the state nervous hospital in Meridian, where he was a distinguished inmate. INT. MUNSON HOUSE - CELLAR - NIGHT Pancake sets down the two electrical leads and picks up a hammer. PANCAKE This is the same procedure we will be using when we collapse the tunnel after entering the casino vault and returning to the root cellar. He looks pointedly at Gawain. PANCAKE ...This is for your own protection, so pay close attention. Once these materials are combined only the professionals may handle them. That means me, or the General. Separately they are harmless-completely inert. Why, you could light this stuff on fire, hit it with a hammer-- He swings the hammer down onto the plastique-- EXT. MUNSON HOUSE - NIGHT --and there is the dull thud of an explosion and the house's windows rattle in their frames. The Professor, at the open door of the car into which the two ladies have just sat, looks up at the house, as do the ladies. MRS. MUNSON ...What in the name of heaven was that? Dorr stares at the house, appalled. DORR I'm... quite sure... that there is... no cause for alarm... He struggles for self-possession. DORR ...Why, I'm not even absolutely certain that I heard anything at all. MRS. MUNSON Didn't hear anything?! DORR Well, something, perhaps, but... Marva Munson starts to get out of the car. DORR ...nothing that need discompose us, was the sense I was trying to convey... He urges her back into her seat. DORR ...Miz Munson, I will not have you missing your musical recital. Why, you go ahead now. Miz Funthes, you as well, I beg of you... He is backing up the walk. DORR ...I shall call the gas company, or the water company, or whatever subterranean utility is implicated in this little... occurrence... I shall see to the matter... as only a highly educated classicist could. At the door now, he gives the two women peering out the car window a smiling but vigorous wave away, which they do not heed, and then he enters. INT. MUNSON HOUSE - LIVING ROOM - NIGHT The room is filled with smoke. Othar, slightly askew over the mantel, looks a little huffy. We hear clomping and screaming on the cellar stairs. Lump bursts out, shrieking: LUMP Blood, Professor! Oh my God! Blood! The General comes bounding up the stairs like a panther, a cigarette burning in his lips. He lands catlike in the living room, glides to the blubbering Lump, grabs one shoulder firmly with one hand, and with the other slaps him sharply, once forehand, once backhand. Lump stares at him, shocked, his blubbering cut short. More noise is coming from the stairs: PANCAKE ...why, it's nothing to make a fuss about. Perfectly all right... happens all the time... GAWAIN ...You gotta go find it, dipshit! Pancake emerges from the stairwell, his hair singed, his face and the front of his jumpsuit darkened by the blast. He is clutching one hand with the other. PANCAKE ...No, no. Really, I'm perfectly all right. Gawain has ascended just behind to hector him over his shoulder: GAWAIN Perfectly all right? You just blew your fucking finger off! PANCAKE Sure, but-- GAWAIN Well get back down there and find it, man! I ain't pickin' up your goddamn finger! DORR I gather there was a premature detonation-- GAWAIN They can sew that shit back on, jack! Like that guy his wife cut his dick off! Just sewed that motherfucker back on! PANCAKE Of course. Simplest thing in the world. Microsurgery-- GAWAIN Saw that motherfucker in a porno! Thing still works! Pancake is pale from loss of blood and his pontifications lack full conviction: PANCAKE Oh yes, they have remarkable abilities in the, uh... EXT. MUNSON HOUSE - NIGHT Quiet. The two women sit in the idling car, looking at the house. From the house there is very muted bellowing. Still looking toward the house, Mrs. Munson offers a word of explanation to her friend: MRS. MUNSON They using the house to practice music a the rococo. ROSALIE Mmmm-hm. INT. MUNSON HOUSE - LIVING ROOM - NIGHT The cat, with a human finger in its mouth, sidles cautiously to one side, warily eying someone. VOICES (O.S.) Get him! The General, pluming cigarette in his mouth, tensed arms extended outwards, sidles cautiously to cut him off. DORR I propose that we get our fallen comrade to the hospital, and the General shall follow when he manages to recover the severed digit. PANCAKE I don't know what all the fuss is about. The cat jumps. The General leaps to follow. EXT. MUNSON HOUSE - NIGHT The two women looking. The front door of the house opens. Lump, the Professor, and Gawain emerge, escorting Pancake. Just before Gawain finishes closing the door the cat slips out. MRS. MUNSON PICKLES! The door is yanked fully open and the General races out after the cat. MRS. MUNSON ...You catch Pickles now! The cat races across the lawn and, with no break in stride, up his favorite tree. The General follows and, also without breaking stride, clambers up the tree after it. Tree limbs shake with activity hidden by the leaves. We hear the hiss of the cat. The men are bundling Pancake into the hearse. Dorr calls to the women before climbing in: DORR The house is perfectly in order, but we need medical attention for Mr. Pancake who, during the disturbance, pinched his finger in a valve of the sackbutt. The cat leaps out of the tree and runs away down the road. MRS. MUNSON You let the cat out! The General leaps out of the tree to land catlike on the street, arms tensed, casts a look both ways, and then pursues the animal down the road. We hear the retreating padding footsteps of all six feet. DORR The General is even now exercising every effort to retrieve your mischievous little pet. Please go, go and enjoy your concert, and we shall see you later in the evening. Au revoir, mes dames! EXT. MISSISSIPPI RIVER - NIGHT A new day. The garbage scow chugs down the mighty Mississippi. It toots its horn. INT. MUNSON HOUSE - CELLAR - NIGHT CLOSE ON SCHEMATIC MAP It shows the underground complex and, stretching towards it in a line drawn with a blunt pencil, is the tunnel. It is now almost to the vault. A violin bow enters to tap at the line. DORR (O.S.) Despite our little setback we find ourselves on schedule to penetrate the vault... The bow taps at the vault outline. DORR ...here, this afternoon, having successfully blasted that little ol' rock to pieces during Miz Munson's choir practice. The violin bow withdraws. DORR ...Clark, perhaps you can run us through the game plan for what remains of our tunnelin'. A bandaged hand enters frame and a finger-stump points at the end of the penciled line. PANCAKE (O.S.) Of course. Why, it's child's play now, easiest thing in the world. Only a couple of feet separate us from the vault... WIDER The men are clustered around the map, spread out on the sackbutt case in the cellar. Clark continues: PANCAKE ...Just the usual spadework until we hit the masonry of the vault, and then we drill through. DORR And will you be able to wield the drill with your maimed extremity? PANCAKE Oh, I should think so, it's only one finger. Inhibits me in doing finer work, of course. I'll always have to live with that... Ahem. Maybe, and I'm just thinking out loud here, maybe since, as you say, it will present problems later... DORR Yes, Clark? PANCAKE Well, maybe -- and this is something I've talked over with Mountain Girl, and she agrees with me, so it's not just one person's opinion -- maybe I should get a little extra compensation for the accident. A long, stony silence. PANCAKE ...Somewhat larger share. Why, if this were any other line of work I'd be getting workmen's comp, wouldn't I? Might even have a pretty good lawsuit. GAWAIN You gonna sue yaself for blowin' off your finger? PANCAKE Well that is simply asinine-- DORR Yes but you see, Clark, this is not what you just called "some other line of work." PANCAKE But if it were-- DORR This is a criminal enterprise, not to put too fine a point on it, entailin' all manner a risks not involved in honest labor. Governmental regulations an' civic safeguards cannot be assumed to apply to antisocial pursuits. LUMP Yeah, but he lost his finger. GAWAIN We don't give a shit! Man can blow his own dick off, don't make no nevermind to us! We don't gotta pay the man for goin' around blowin' off body parts! Getcha head outcha ass, man! PANCAKE Look, you-- DORR I think that in this instance Gawain has a very excellent point. I-- GENERAL No extra share! All stop and stare at the General. Clark grumbles: PANCAKE Well, okay, majority rules, like I say, it was just a trial balloon. Hand's not so bad really, I even get some phantom feeling. GAWAIN You pull on your prick you get phantom feeling. Greedy motherfuck. DORR Now that that matter is settled, let us synchronize our watches before Gawain reports to work. In... twenty seconds... it will be twelve-sixteen exactly... fifteen... PANCAKE It will be twelve-fifteen? DORR No, in fifteen seconds -- now eleven seconds -- it will be twelve- sixteen... eight... LUMP Professor? DORR Six... five -- yes, Lump? LUMP I don't have a watch. EXT. CASINO - DAY It is the weathered doorway to the main entrance of the Lady Luck. A hand enters to rap. ELRON (O.S.) Yeah? GAWAIN Me, dickwad. A low, chesty chuckle. The door swings open and Gawain enters. INT. CASINO - DAY RUMBLING WHEELS ON NUBBY FLOOR A garbage bin is being wheeled across the empty casino floor. WIDER Gawain is wheeling it. He is approaching the tunnel to the corporate annex. BACK TO THE WHEELS As they roll down the tunnel. INT. CHURCH - DAY Loud singing at the cut. We are looking at Mrs. Munson in the middle of the choir, holding forth in song. INT. CASINO - SERVICE HALL - DAY Gawain leans back against the wall next to the vault door, arms folded across his chest. Faintly, from inside the vault, we hear the whine of a power tool. Gawain leans over and punches the button on boom box that hangs from the rolling garbage bin. The hallway pulses with "I Left My Wallet In El Segundo." INT. CHURCH - DAY More singing, Mrs. Munson and the rest of the choir now clapping as they sing. INT. CASINO - VAULT - DAY The power-tool whine is louder here. We are looking at a patch of wall. After a beat, and with a loud rev as resistance gives way, a drill bit emerges from the wall, spitting out bits of the masonry. The drill withdraws. After a beat, hammer blows. The chunk of masonry begins to buckle. INT. CASINO - SERVICE HALL - DAY The General opens the door, still somehow immaculately groomed. Gawain enters. INT. CHURCH - DAY The gospel number rising to climax, supported by the organist and the rest of the congregation. INT. CASINO - VAULT - DAY Clark and Lump, covered in dirt and plaster dust, have started stuffing bundled bills and small sacks into large garbage bags. An irregular hole, about three feet across, gapes in the far wall. Gawain punches off the boombox, looking at all the money. GAWAIN Well ain't that somethin'. Clark suddenly freezes in the act of collecting money. He straightens slowly. PANCAKE Hnnnn. Arrunggggh! Rnffff. He stands stock still, wincing, gazing off into space. PANCAKE ...Mmmmnggh! He whispers hoarsely, urgently: PANCAKE ...IBS! The other men look at him. GAWAIN ...Say what? PANCAKE IBS! Irritable Bowel Syndrome! Is there a men's room down here?! GAWAIN Oh man, you shouldn't be using the men's room-- PANCAKE Or a lady's room! IBS! Quickly! GAWAIN You shoulda shit back in the house, man! We don't want Elron finding you in the goddamn crapper! Clark's voice is still hoarse. He does small knee bends of urgency: PANCAKE No choice! Quickly! It's a medical condition! GAWAIN You are disgusting, man. All right, follow me. INT. CASINO - DAY We are CLOSE ON Gawain peering anxiously to one side. He turns and peers the other way. We hear a toilet flush and, after a beat, Clark emerges from the men's room door next to which Gawain stands. His manner is now completely relaxed. PANCAKE Feel thirty pounds lighter. They start walking back to the vault. PANCAKE ...Thank you for being so understanding. Not everyone is, of course, which is why the biggest challenge of IBS is educating the public. Afflicts over two million people yet most of us have never heard of it. And it strikes without regard to age, gender or race. GAWAIN Oh fuck, man, I don't wanna know about it. PANCAKE That's the kind of attitude we're fighting. GAWAIN Well maybe you should sign me up, man, 'cause you startin' to irritate my bowel. INT. CHURCH - DAY The choir finishes a number and sits -- all except for Marva Munson, who unties the knot on her robe at the nape of her neck, slips it off and, with murmured goodbyes, slips away. INT. CASINO - VAULT - DAY As the two men enter Clark is still holding forth: PANCAKE ...I guess I never told you, that's how Mountain Girl and I met. They had an IBS Weekend at Grossinger's, in the Catskills. Of course the tourist business up there has suffered, with the demise of the Borscht Belt. So they have different promotions, mixers, so on. This was a weekend for Irritable Bowel singles to meet and support each other and share stories. GAWAIN Man, I don't wanna hear a single one a them stories. PANCAKE Well, some of them are very-- GAWAIN Not one fuckin' story! You one fucked- up motherfucker! You-- They stop short, looking: The General and Lump are standing in the middle of the floor, stock still, each clutching a bag of money, staring up at the same corner of the ceiling. Lump turns to Clark and Gawain. LUMP Hey, lookit that. Gawain and Clark join them in the middle of the vault and look up at the corner of the ceiling. A small video camera, aimed squarely at the four men. THROUGH THE CAMERA Black-and-white video, very WIDE ANGLE HIGH SHOT, of the four motionless men below goggling up at the lens. Smoke plumes from the General's cigarette. BACK TO NORMAL PERSPECTIVE PANCAKE Huh. Looks like an Ikegami. He slips on his reading glasses as he gets a leg up on a shelf just below the camera and hoists himself. He peers in at the lens. THROUGH THE LENS Clark looming into EXTREME CLOSE SHOT. PANCAKE ...Oh yeah. Mm-hm. I'm not sure whether it's broadcasting... NORMAL PERSPECTIVE PANCAKE ...Um-hm... No... He is fingering the back of the camera. PANCAKE ...Hard wire... Down below, Gawain looks at the wire snaking along the seam of wall and ceiling. At the opposite corner it travels down the joint of the two walls. He traces its path down and then across one wall at chair- rail height towards the door. The other men follow in an anxious herd as he traces one finger along it. Just before reaching the vault door the wire goes through the wall in a hole finished off with a grommet. Gawain goes out the vault door... INT. CASINO - SERVICE HALL - DAY ...and picks up the line where it emerges on the other side, travels down to the joint of wall and floor, and then continues along the floor. Gawain follows it and the other men continue to follow him. He traces it anxiously down the hall in a hunched lope. The other men scuttle behind into... INT. CASINO - MONITOR ROOM - DAY The wire winds around into the room, back up to chair-rail height, along one wall, behind some cabinetry which Gawain hurries past to find it again on the far side, and then down to a video recorder. It is not, however, hooked up to the video recorder: its pronged end swings loose just by where it would be plugged in. Inside the video recorder is a casette, which Gawain ejects. The men crowd to look over his shoulder as he examines it: "Shevann's Schvanz". There is a pile of other videos by the monitor: "Charlayne and the Chocolate Factory," "Big Dick Blaque's Big Night Out," "Lemme Tell Ya 'Bout Black Chicks," "Anus & Andy." Just next to the pile is an old bowl of Kocoa Krispies. INT. CASINO - VAULT - DAY The General climbs into the tunnel with a garbage bagful of money, followed by Lump, likewise encumbered. Lump hands back out a satchel to Gawain, who sets it on the vault floor by the hole. From the way he handles it, it is quite heavy. Pancake, also with a bag of money, is getting ready to climb in: PANCAKE Look, I didn't choose to have IBS-- GAWAIN Shut the fuck up! Lump hands Gawain a smaller, lighter satchel which he likewise sets on the floor. PANCAKE There's no cure, you know. Only control. Lifelong condition. Not complaining, just fact. And I did meet Mountain. GAWAIN Grab your bag and get in that fucking hole! EXT. CHURCH - DAY Mrs. Munson is leaving, with singing still audible from the service that continues inside. INT. MUNSON HOUSE - CELLAR - DAY We are looking from inside the tunnel towards its mouth, where the Professor stoops slightly to peer in, anxiously dry-washing his hands. A REVERSE shows the hunched-over men scuttling along the tunnel towards us, holding large garbage sacks. DORR Welcome back, gentlemen, mission accomplished I see. I am so very very delighted... He gives a hand down to each man as he exits the tunnel. DORR ...Congratulations. Congratulations. I have some cold duck on ice for the occasion. LUMP Maybe we could have something to drink, too. INT. CASINO - VAULT - DAY Gawain, left behind, is muttering to himself as he uses a trowel and other instruments from his satchel to patch up the hole at his end of the tunnel. GAWAIN Motherfucker can't stop talking, can't stop shitting. Motherfucker tell everyone about his motherfuckin' asshole. No one gives a shit about his asshole. Nobody interested in another man's asshole. Or his bitch's. EXT. MUNSON HOUSE - DAY Mrs. Munson is letting herself in. INT. MUNSON HOUSE - CELLAR - DAY The men are sitting around the table, champagne glasses raised. On the table sits the money, stacked in orderly piles. DORR Gentlemen, to we few. We who have shared each other's company, each other's care, each other's joy, and who now reap the fruits of our communal effits, shoulder to shoulder, from each accordin' to his abilities so forth whatnot. We have had our little diffences along the way, it's true, but I like to think they have only made us value one another the more, each coming to understand and appreciate the other's unique qualities, potencies, and, yes, foibles. I suggest that we shall look back upon this caper one day, one distant day, grandchildren dandled upon our knee, and perhaps a tear will form, and we shall say, Well, with wit, and grit, and no small amount of courage, we accomplished something on that day, a feat of derring-do, an enterprise not ignoble -- we, merry band, unbound by the constraints of society and the prejudices of the common ruck, we happy few. Gentlemen -- to us! MEN To us! They clink. INT. MUNSON HOUSE - KITCHEN - DAY Upstairs Mrs. Munson runs water into a teapot, humming to herself. INT. CASINO - VAULT - DAY Having finished patching, Gawain starts painting. He turns on his boombox, and out comes the big bassy "I Left My Wallet in El Segundo." INT. MUNSON HOUSE - CELLAR - DAY The men, having drunk deep, are setting down their glasses. Pancake looks at his watch with some concern. PANCAKE Charge should've gone off already. DORR I do beg your pardon? PANCAKE The charge to collapse the tunnel. I set it for eight minutes. Dorr looks at his watch. DORR Well that time, and more, has most certainly elapsed. FROM INSIDE THE TUNNEL Looking toward the mouth. The men stoop over and peek fearfully in. They again stand upright. A silence. Dorr clears his throat. DORR I need not remind you of the importance of obliterating any trace of a connection between the vault and this house. It was of the essence of this plan that it should appear that the money had simply vanished. Without a trace. Spirited away, as it were, by ghosts. PANCAKE Of course. I understand. DORR The conundrum of the undisturbed yet empty vault, the unsolvable riddle of the sealed yet violated sanctum, is of the utmost importance not only to make our caper innelectually satisfying. It is also exigent as a matter of practical fact: I remind you that if a tunnel is ever found leading to this house, this house's owner knows all of your names. PANCAKE She certainly does. DORR Therefore -- to draw the unavoidable conclusion -- someone shall have to reenter the tunnel to reset that charge. INT. TUNNEL - DAY Pancake, hunched over, scurries along the tunnel. He reaches the remnants of a large rock, where the tunnel grows smaller. He drops to crawl position and elbows his way forward, toolbelt clanking along. We are getting closer and closer to a muffled but thuddingly bassy "I Left My Wallet in El Segundo." INT. CASINO - VAULT - DAY The music loudly present at the cut. Gawain takes a handheld blowdryer out of his satchel and flips it on, directing it at the fresh paint on the wall whose repairs are now invisible. INT. TUNNEL - DAY Music once again muffled. Pancake has reached a little LED- displaying timer with leads trailing off of it. He grabs it, puts on his reading glasses, squints. The display shows: TIME REMAINING: 00:12. The colons in the display rhythmically blink, but the number does not advance. For some reason, stuck. PANCAKE Huh. He reaches to his tool belt, pulls out his Leatherman. INT. MUNSON HOUSE - LIVING ROOM - DAY Mrs. Munson is setting places at a large table. There are about a dozen place settings. INT. TUNNEL - DAY Pancake now has a mini-mag light clenched between his teeth, aimed down at the timer. He opens the phillips head on his Leatherman but abruptly stops and stares off into space. PANCAKE Nnnnrungh... He is squinting with pain. The muffled hip-hop song is beginning to recede. INT. VAULT - DAY Gawain is wheeling his garbage cart out the door. The vault is completely empty but looks completely undisturbed. He closes the heavy vault door behind him, leaving quiet. INT. TUNNEL - DAY Quiet here as well, now. Pancake's moan trails off to nothing. He relaxes. The moment, whatever it was, has passed. He looks back down at the unit, flicks it with his finger, and it emits a soft beep. PANCAKE ...Huh? He squints at the back of the unit. As it beeps again, he turns the unit over to look at its face. The readout now says: 00:10. As he watches, peering down through the bottom of his glasses, it continues to advance with a beep as each second slips by: 9... 8... PANCAKE ...What the-- His eyes widen and he frantically shakes the unit. It continues beeping. He briefly and sloppily tries to fit the phillips head into one of the four screws on the back of the unit but immediately gives up and starts a panicked wriggle back up the tunnel, whimpering. INT. CASINO - DAY Gawain is wheeling his garbage cart past Elron. INT. MUNSON HOUSE - LIVING ROOM - DAY Mrs. Munson is placing the last piece of silverware, just so. INT. TUNNEL - DAY Pancake is in full panicked awkward flight as-- INT. MUNSON HOUSE - CELLAR - DAY --BOOM! We CUT TO the cellar and Pancake is shot out the tunnel like a human cannonball, trailing a comet-tail of dirt, dust, and debris that wafts what were neatly stacked bills up into the air. INT. MUNSON HOUSE - LIVING ROOM - DAY The portrait of Othar jostles back to square. He now looks a little angry. The cat arches her back, emitting a startled yowl. Mrs. Munson stands, frozen, then looks slowly around, trying to assimilate what has just happened. INT. CASINO - DAY Gawain and Elron are staring at each other, frozen, also reacting to what just happened. Finally: GAWAIN ...You just fart? ELRON Heh-heh-heh. INT. MUNSON HOUSE - LIVING ROOM - DAY Mrs. Munson is looking at the cellar door. Dust drifts out from under it. She takes a slow step towards it. Another step. She opens the door. There is no visibility in the cellar due to swirling clay dust. She takes one step down the stairs, waving at the air in front of her face. Paper money wafts in and out of the dust. We hear Voices: PANCAKE (O.S.) Perfectly all right. Not a problem. LUMP (O.S.) Well there sure as shit ain't no tunnel left. The clearing dust reveals the caped Professor anxiously dancing from foot to foot, gathering money out of the air. As he reaches up to grab a bill that has him facing up in Mrs. Munson's direction, he freezes. His POV reveals her through dissipating dust. MRS. MUNSON Professor, I'm surprised. There is a long beat, through which all stare at her. DORR ...Properly speaking, madam, we have been surprised; you are taken aback. Though I acknowledge that the sense you intend is gaining currency through increasing use. Further dissipation of the dust reveals how much money there is, settling now to cover the floor of the cellar. DORR ...You have returned from your devotions betimes. We hear the ring of the doorbell. MRS. MUNSON I hadda fix tea. I wanna talk to you, Professor, don't you be leavin'. And don't make any more noise! And you! She points at the General who, in the excitement, has neglected to hide his ever-present cigarette. MRS. MUNSON ...I told you, I don't want any smokin' in here! She clomps upstairs and shuts the cellar door. INT. MUNSON HOUSE - LIVING ROOM We PULL HER towards the front door, angry and lost in thought. Her look softens somewhat as she opens the door. It is a chattering infestation of hens: all of her friends from church push in wearing church dresses and elaborate hats. INT. MUNSON HOUSE - CELLAR - DAY The men are still frozen looking up toward the door. The muted cackle of church ladies. The men gradually unfreeze. LUMP She saw everything. She saw our hole... He turns to Dorr, near tears: LUMP ...She saw our hole, Professor! Dorr rubs his hands anxiously, thinking: DORR Yes... Yes... LUMP What do we do? DORR Well, first, my dear boy, we follow the General's example... The General remains staring up at the door, frozen but for the smoke pluming from the cigarette in his mouth. DORR ...and refrain from panic. Secondly, we cooly, calmly, collectedly think... think... The gaze of all the men drifts back up to the cellar door, and we look down at them, gazing up. INT. MUNSON HOUSE - LIVING ROOM - DAY The chattering ladies are gathered at the table, Mrs. Munson pouring them tea. The cellar door creaks noisily -- one might almost say gothically -- ajar, and the Professor peers out with an ingratiating smile. DORR Hsst... Madam... The chattering abates and the ladies all look at him. His smile broadens into ghastliness and he crooks a finger toward Mrs. Munson. DORR ...Mrs. Munson, if I might have a word... MRS. MUNSON You get back down those stairs! DORR I assure you I shall be-- MRS. MUNSON Hush! Down those stairs! We havin' tea now! I be down shortly. He nods meekly and retreats, easing the door creakily shut. The ladies look inquisitively at Mrs. Munson as his footsteps are heard descending the stair. MRS. MUNSON ...He's the tenant. LADIES Mm-hm. INT. MUNSON HOUSE - CELLAR DAY As the Professor rejoins the still staring and silent group. The money has been picked up and is once again in stacks upon the table. DORR She shall be down shortly... Explaining, he indicates upstairs with a jerk of the head: DORR ...Tea. Dainties. The men nod, murmuring. The cellar door squeaks open. There is the clomp of careful footsteps on the stair. Using only tongue and teeth, the General flips his smoking cigarette inwards into his mouth and gives Mrs. Munson his usual deadpan look. She halts halfway down the stairs, still wearing an apron and holding a spatula. MRS. MUNSON I don't know what you boys been up to but I wasn't born yesterday and I know mischief when I see it. Now I want an explanation, but first I want you boys to get your fannies up here with y'alls period instruments. I been tellin' the ladies about your music and they wanna hear you play. She turns to head back up the stairs but abruptly stops to turn and give the General a hard look which he innocently returns. MRS. MUNSON ...Hmph. She turns again and clomps back up the stairs. The General opens his mouth and, again without using his hands, restores his cigarette to its usual place on his lower lip. Lump is fretful: LUMP Professor? DORR Yes, Lump? LUMP I can't really play the buttsack. INT. MUNSON HOUSE - LIVING ROOM - DAY The cellar door opens and the men troop out, G.H. Dorr leading and the other men following rather sheepishly behind. DORR Madame -- or rather, mesdames -- you will have to accept our apologies for failing to perform since, as you see, we are shorthanded. Gawain is still at work and we could no more play with one part tacit than a horse could canter shy one leg. LADIES Mm-hmm. MRS. MUNSON Hmph. DORR Perhaps I could offer as a poor but ready substitute a brief poetic recital. Though I don't pretend to great oratorical skills, I will happily present, with your ladies' permission, verse from the unquiet mind of Mr. Ed G'Allan Poe. Lump, Pancake, and the General sit and awkwardly accept dainty teacups. The Professor rises, spreads his hand, and pronounces: DORR ..."Ladies, thy beauty is to me Like those Nicean barks of yore..." CLOSE-UPS of the various ladies, some sipping tea or slowly munching biscuits, but all eyes glued to the declaiming man in the cape. DORR "That gently, o'er a perfumed sea The weary, wayworn wanderer bore To his own native shore... " Murmuring Voice: VOICE Amen. A slurp of tea from another quarter. Dorr bears on: DORR "On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece And the grandeur that was Rome... " A long silence. Then, scattered: VOICES Mm-mm. Glory hallelujah. A lady holding a teacup turns to the General: LADY That was soooome poem. The General stares at her. LADY ...You know any? We hear the front door opening and Gawain enters, still wearing his Lady Luck custodial uniform. He looks. His POV: church ladies with teacups and his comrades seated among them, also holding teacups and scones. GAWAIN Y'all been celebratin'?. INT. MUNSON HOUSE - FOYER - LATER (EVENING) The bustling and chattering ladies are just finishing leaving; Mrs. Munson is seeing them off at the door. Evening is gathering, and we hear the lonely toot of the distant garbage scow. The men as well stand by the door and, affecting good cheer, wave off the departing ladies. DORR Goodbye, ladies. We had such a pleasant time. Mrs. Munson closes the door and her manner instantly darkens. MRS. MUNSON Now, I wanna know what's goin' on. DORR Yes indeed, and the thirst for knowledge is a very commendable thing. Though in this instance, I believe when you hear the explanation, you will laugh riotously, slappin' your knee and perhaps even wipin' away a giddy tear, relieved of your former concern. MRS. MUNSON Hmph. DORR You see Lump here is an enthusiastic collector of Indian arrowheads and, having found one simply lying on your cellar floor, a particularly rare artifact of the Natchez tribe, he enlisted us in an all-out effort to sift through the subsoil in search of others. Well, in doing so, we apparently hit a motherlode of natural gas -- I myself became acutely aware of the smell of "rotten eggs" -- and it was at just this unfortunate moment that the General here violated one of the cardinal rules of this house and lit himself a cigarette. The General stiffly bows: GENERAL So sorry. The Professor, nodding, smiling, and dry-washing his hands, continues to look at Mrs. Munson, though his story, apparently, has ended. She returns his ingratiating look with a stare. MRS. MUNSON ...What about all that money? Dorr's smile fades. DORR ...Ah. The money. The money is... Mr. Pancake's. PANCAKE That's right. DORR He only just re-mortgaged his house in order to pay for the procedure that will correct the wandering eye of his common-law wife, Mountain Water, who suffers from astygmia and strabismus and a general curdling of the vitreous jelly. Mr. Pancake however is an ardent foe of the federal reserve and is in fact one of those eccentrics about whom one occasionally reads, hoarding his entire life savings either under the proverbial mattress or, as in Mr. Pancake's case, in a Hefty bag that is his constant companion. Under her stare, he elaborates: DORR ...Steel Sack. PANCAKE Don't trust the banks. Never have. She thinks, decides. MRS. MUNSON This don't smell right. I'm callin' Sheriff Wyner. A chorus of gasps. DORR Madam -- if you please. Yes! Yes! It was a lie! A fantastic tale! You have us! Dead to rights! But please allow me to tell you the truth -- in private. INT. MUNSON HOUSE - LIVING ROOM - EVENING He escorts her to sit beneath the portrait of Othar, sits across from her, and leans confidentially in. DORR Madam... He agonizes. The words do not come easy. DORR ...What I am about to reveal to you, you may find... shocking. Mrs. Munson, I must tell you that we are not... what we appear. MRS. MUNSON Mm-hm. DORR We are not in fact musicians of the late Renaissance. Nor of the early or mid period. We are, in fact... criminals! Desperate men, madam! We have tunneled into the nearby offices of the Lady Luck gambling emporium and have relieved it of its treasure! MRS. MUNSON Lord have mercy! DORR It is true that the Lady Luck is a den of iniquity, a painted harlot luring people into sin and exciting the vice of greed with her false promise of easy winnings. Oh, her gains are ill-gotten, yes, but I offer no excuses -- save one! We men have each pledged half of our share of the booty to a charitable institution -- the General, to a placement service for Southeast Asian refugees; Mr. Pancake to the Blue Ridge Parkway Conservancy; and Lump to the United Jewish Appeal. As compensation for use of your house we had planned to donate a full share to Bob Jones University, without burdening you with guilty knowledge by informing you of same. But you have wrested the information from me! Now it is all on the table. Now you have it, the whole story, the awful truth. MRS. MUNSON Stolen money! DORR Yes, yes, shamefully I admit it, yes! But find the victim, Mrs. Munson, I challenge you! Even the casino itself, that riparian Gomorra, shall suffer no harm! It has an insurance company, a financial behemoth that will cheerfully replenish its depleted vaults! That is its function! And the insurance company itself is made up of tens and tens of thousands of policy-holders so that -- we have done the calculations, Mrs. Munson! -- so that at the end of the day, at the final reckoning, each policy- holder shall have contributed only one penny -- one single solitary cent -- to the satisfaction of this claim. MRS. MUNSON ...Just one penny? DORR Think of it, Mrs. Munson! One cent from thousands upon thousands of people so that Bob Jones University can continue on its mission! Why, I have no doubt that, were the policy- holders aware of the existence of that august institution, why, each and every one of them would have volunteered some token amount to the furtherance of its aims! MRS. MUNSON Well that's prob'ly true... The Professor, warming, has resumed dry-washing his hands: DORR Yes madam, sadly, the criminal stain is upon my soul, but the benefit shall accrue to any number of worthy causes. As long, that is, as the secret stays with us. And I, surely, shall not be the one to divulge it. Mrs. Munson nods, musing. MRS. MUNSON Well... it's hard to see the harm in it... One penny... Her gaze drifts around the room, a smile beginning to warm her face. The smile freezes, though, as her look catches on something. Her POV: Othar, above the mantle, looks down with a disapproving scowl. MRS. MUNSON ...I'm sorry, Professor. Dorr is taken aback: DORR Excuse me, ma'am? MRS. MUNSON No. It's wrong. Don't you be leadin' me into temptation. DORR Madam, I must strenuously protest-- MRS. MUNSON No, it's just plain wrong. Stealin'. I know your intentions were good, and I won't call the police if you give the money back. But I gotta see that you do it. DORR Madam-- MRS. MUNSON And all a you gotta go to church with me next Sunday. The Professor is incredulous: DORR And... engage in divine worship? MRS. MUNSON I made up my mind. You can double- talk all you want, but its church or the county jail. DORR But-- She rises. MRS. MUNSON You think it over. I gotta feed the cat. INT. MUNSON HOUSE - CELLAR - NIGHT The men all sit around the card table, lit from below by an oil lamp. The General is neatly packing the stacks of banknotes into the sackbutt case. GAWAIN Motherfuck! DORR Yes. Unfortunately, Mrs. Munson has rather complicated the situation-- GAWAIN I know how to discomplicate it! Put a cap in the old lady's head! Then everything simple again! The group lapses into silence, considering. Even Gawain needs a moment to digest the horror that he himself has proposed. The Professor is solemn: DORR ...Not easy to do. Many reasons. Practical ones: a quiet neighborhood, a sleepy town. Reasons of moral repugnance: a harmless woman, a deed conceived and executed in cold blood. No, Gawain; would that it were simple! GAWAIN Well -- fuck, man! What we gonna do, give the money back and go to church?! DORR I shudder. I quake. He turns to the General. DORR ...You sir, are a Buddhist. Is there not a middle way? The General grunts as he closes the clasps on the sackbutt case full of money: GENERAL Must float like a leaf on the river of life. And kill old lady. The men murmur. DORR Well... I suppose you are right. It is the active nature of the crime, though, that so horrifies -- the squeezing of the trigger, the plunging of the knife. But, think a moment -- look at the other tools we have at hand. He looks around. DORR ...We have the cellar. We have masonry and trowel. Perhaps we could simply... immure her. PANCAKE Sure, easiest thing in the world. I could whip up a little mortar in one of those snow saucers, lay the bricks, anchor in some chains, Mountain has a source for the manacles... DORR Ahh but gentlemen, we delude ourselves. Think of the woman's piteous moans as we lay tier upon tier of brick. Think of her lamentations as we fit the last brick into place, appealing to our better selves, the higher angels of our nature, our recollections of our own sainted mothers... No, I fear that we lack the sand to commit such an act. No... no... shortest and most painless is best. Let us confront reality. Gawain's gun... the retort muffled by a pillow... into the brain... the affair of an instant. The only question is... who wields the weapon. He looks around the table. Silence. No volunteers. DORR ...I believe it is traditional, in such circumstances, to draw straws. PANCAKE Well, sure, fair enough. He takes a broom leaning against the wall, bends back and snaps a handful of its bristles. PANCAKE ...I'm thinking, though, that since I lost my finger -- I mean, literally lost it because of that goddamn cat -- maybe I should be excused from this thing. Hard for me to squeeze a trigger anyway-- GAWAIN You one whiney motherfucker! I squeeze your nutsack you keep that up! PANCAKE Listen, punk-- DORR Gentlemen, no special pleading, no exceptions. It's in the nature of the situation that we would all prefer to be excused. Pancake grumbles as he counts out five bristles, takes one and snaps it in half, displaying the short straw to the group, and then hands the four long and one short to the Professor: PANCAKE Well, okay... it was just a trial balloon... With a flap of his cape the professor jumbles the straws and encloses them in one hand. Sweaty CLOSE-UPS. Each man stares at the straws. Some hesitant, some resolute, they draw: First, the General: long straw. His reaction: impassive. Next, Lump: long straw. His reaction: relieved. Next, Pancake. Long straw. PANCAKE Long straw. You all see it. All your fuss over nothing, punk. Two straws left. Gawain stares at them, licks his lips. He reaches for one straw, touches it, hesitates. GAWAIN ...Motherfucker... He touches the other straw, hesitates. He goes back to the first straw, closes his hand around it, closes his eyes, and pulls. He lifts the straw into frame before his squeezed-shut eyes, raises his eyebrows, and slowly opens fluttering eyelids to look: short straw. The Professor, smiling, opens his fist to confirm that he holds the last long one. Gawain moans. INT. MUNSON HOUSE - CELLAR - NIGHT PULLING HIM UP THE STAIRS Slowly, slowly, Gawain mounts the cellar stairs. Behind him, gathered in a semi-circle and looking up from the foot of the stairs, the other men wait. As he plants one plodding foot in front of the other Gawain raises the gun, slides back its primer to make sure there is a round in the chamber, and then slides it shut as he reaches the door. INT. MUNSON - LIVING ROOM - NIGHT In the foreground Mrs. Munson sits knitting, humming an old temperance tune. In the background the cellar door swings open. Marva Munson doesn't notice; her knitting needles continue their rhythmic clack. We PULL Gawain, gun at the ready, as he takes slow, cautious steps across the floor. We INTERCUT his POV of the back of the old lady's head, bowed over her knitting. As Gawain passes the sofa he picks up a cushion and buries in it his hand holding the gun. He looks back up at the old lady. But now, still cautiously approaching, he cocks his head, his expression bemused. HIS POV nearing the old lady is now different somehow. The perspective is somewhat lower; the humming woman sounds not quite the same; the rocking chair and the room itself are subtly different. WHEN WE CUT BACK TO GAWAIN he is a runty, TEN-YEAR-OLD CHILD walking slowly across the floor; he is cradling not a gun in a pillow but a squirming little puppy dog. The dog yips; the woman turns to look at us. It is not Mrs. Munson, but another black woman of about the same age. MAMA What you got there, Gawain? CHILD GAWAIN Why -- nothin', mama. MAMA Nothin' my ass! You got a dog there! CHILD GAWAIN No, Mama! MAMA A filthy noisy little pest of a puppy dog gonna shit all over the house! CHILD GAWAIN He won't shit in the house, Mama, I'm gonna train him, I promise, gonna train him real good-- WHAP! She cuffs him on the side of his head. MAMA I'm gonna train you real good! I told you don't bring no stray dogs into this house! WHAP! Another slap. MAMA ...You wait til your Daddy gets home, he gonna lay into you proper! WHAP! The little boy, weeping, throws his arms around his mother: CHILD GAWAIN Please don't hurt me no more! I love you, Mama! MAMA Daddy gonna kick your ass! WHAP! MAMA ...Bringin' in a filthy dirty dog! WHAP! Gawain's little brothers and sisters, drawn by the commotion, have gathered excitedly to watch. SISTER Mama's whuppin' Gawain's ass! BROTHER (eagerly) Ain't you gonna use the strap, Mama? WHAP! WHAP! Gawain is sobbing: CHILD GAWAIN Please don't hurt me, Mama! Now it is the adult Gawain blubbering. The clack of knitting needles stops and Mrs. Munson turns to look. MRS. MUNSON What you doin'? What you doin' with my pillow there? He surreptitiously slides the gun into his pocket, sniveling: GAWAIN I'm sorry, ma'am, I-- WHAP! She cuffs him on the side of the head. MRS. MUNSON I'm displeased with you! Colored boy like you, falling in with that trash downstairs! WHAP! MRS. MUNSON ...Ashamed a yourself! Didn't your mama raise you right! INT. MUNSON HOUSE - CELLAR - NIGHT Gawain is tramping down the stairs. GAWAIN I can't do it! The men are stunned. DORR Why... this is most... irregular. GAWAIN She reminds me of my mama. I can't shoot my mama! You motherfuckers just draw straws again. PANCAKE Wait a minute. You've got to accept your responsibilities, young man. GAWAIN Fuck you. And your irritated bowel. I can't shoot that old lady. GENERAL Must shoot! PANCAKE Now look here, it's the easiest thing in the world. Pretend her head is a casaba melon, and the gun is a melon- baller, and-- GAWAIN What the fuck you talkin' about, man? You think this a melon-baller, you do it, man! DORR My my, this is most irregular. PANCAKE Look, with equal rights come equal responsibilities-- DORR I'm afraid that Mr. Pancake is right, my dear fellow. We cannot draw straws again; the exercise loses all credibility if you show that the loser can simply beg off doing the job. GENERAL Must shoot! Gawain shoves the gun toward Pancake. GAWAIN She just an old colored lady to you -- you do it, man! PANCAKE Why you sniveling little coward! GAWAIN What you say, you whiney motherfucker? I come up your irritated ass with this -- motherfuckin' gun-- He is waving the gun. PANCAKE You think you scare me, you mewling punk! You don't scare me! Bull Connor and all his dogs didn't scare me! He shoves Gawain. PANCAKE ...Be a man! GAWAIN You fuck! He shoves him back. Pancake shoves: PANCAKE Be a man! GAWAIN You ain't no fuckin' man, fuckin' a sixty-year-old lady in pigtails! PANCAKE WHY YOU BASTARD PUNK! MOUNTAIN GIRL IS FIFTY-THREE! They are shoving each other now, getting into it. PANCAKE ...SHE COULD RIDE YOUR ASS TO JELLY! He lunges at him with a bear hug and his inertia sends both men tumbling to the floor, where they roll and wrestle. DORR Gentlemen, please! GAWAIN I seen Virginia hams I'd rather stick my dick in than your old-- BANG! A muffled gunshot. Quiet. The two men have stopped rolling. They stare at each other where they lie, Pancake on top. At length: PANCAKE ...Oh my god... Horrified, he slowly rises. PANCAKE ...I think he's hit! The men gather round and look down. Gawain still stares up at the ceiling. Pancake stoops, waves his hand in front of his eyes. No reaction. PANCAKE ...I'll just check the carotid artery. He checks the carotid artery. PANCAKE ...That's a negative. LUMP Oh, fuck. DORR Oh my. LUMP Is he dead, Professor? PANCAKE Sure he's dead. I checked his carotid artery. DORR Well this is most irregular. We will need a Hefty bag. INT. MUNSON HOUSE - LIVING ROOM - NIGHT THE CELLAR DOOR Creaking open. The Professor, Lump, and the General peek out. The living room is empty but a sliver of the kitchen is visible; its light is on, and we can hear water running. Dorr hisses: DORR She is in the kitchen. I shall distract her while you steal out with the carcass. INT. MUNSON HOUSE - KITCHEN - NIGHT Dorr enters breezily; Mrs. Munson is at the sink, filling a teapot. Dorr positions himself so that, to talk to him, Mrs. Munson has her back to the living room. DORR Well, my dear Mrs. Munson, I have outlined your position to my colleagues and I now return to you to return our collective verdict. MRS. MUNSON Mm-hmm. Behind her, the General peers around the corner and starts a catlike advance across the living room. DORR There was much spirited discussion and an atmosphere of frank give-and- take. Some of our number were initially appalled at your proposal that we simply return the money; some were more receptive. MRS. MUNSON I don't care they was receptive or not! DORR And that attitude, madam, was a factor in our discussions. To a man, I must say, they were devastated at the prospect of not being able to contribute to their respective charities. The General signals to Lump who now crosses the living room with a big garbage bag slung over one shoulder in a fireman's carry. MRS. MUNSON Well that is a shame. DORR Indeed. But at the end of the day, your position prevailed, and the men have decided that we shall return the money -- every last cent of it! -- and attend Sunday services, rather than spend the remainder of our years wasting away in the Mississippi Men's Correctional Facility. Though that was the original preference of some. MRS. MUNSON Well I'm glad y'all came to see the light, anyway. I'm gonna have some tea and go to bed. The Professor, seeing that the General and Lump have made it out the door, is anxious to wind things up: DORR So the money shall be returned tomorrow at the opening of the casino office. Enjoy your tea, madam... Backing out, he looks to one side. Through the living room window he can see the hearse pulling away from the curb. There is another car -- an old Volkswagon microbus -- slowly tooling the opposite way down the street. Dorr looks back to Mrs. Munson. DORR ...and congratulations on having recalled to the fold five poor, confused sheep who had momentarily strayed. EXT. MISSISSIPPI RIVER - BRIDGE - NIGHT We are at the middle of the bridge, the tower gargoyle looking blankly down at the doings below. In the misty night Lump and the General are braced over the railing, looking down, each holding one of the feet that protrude from the Hefty bag cinched around Gawain's ankles. A cigarette burns on the General's lower lip. Behind the two men we can see the idling hearse. There is the toot of the garbage scow. Lump and the General release Gawain's feet. Their POV shows the sack receding and flumping into the garbage piled onto the scow that slips by below. A flock of scavenger birds, disturbed by the impact, lifts off the scow with angry caws. INT. MUNSON HOUSE - LIVING ROOM - NIGHT Dorr skulks at a corner of the living room's picture window, peering out at the street. EXT. MUNSON HOUSE - NIGHT DOOR'S POV The Volkswagon microbus again cruises slowly down the street in the same direction as previously; apparently it has been circling. INT. MUNSON HOUSE - LIVING ROOM - NIGHT The Professor scowls. EXT. MUNSON HOUSE - NIGHT DORR'S POV The hearse pulls up to the curb. INT. MUNSON HOUSE - CELLAR - NIGHT The Professor clomps down the cellar stairs. Pancake is loading their digging implements into a satchel. PANCAKE They back yet? Dorr is absent: DORR Yes... yes, they just arrived. Pancake straightens from the satchel. PANCAKE Good. I'll go dump these in the hearse. He mounts the stairs with a satchel in either hand. We can hear the front door opening as the other men enter. Dorr, bemused, but apparently moved by a hunch, advances slowly to the sackbutt case. He slides the catch that lets its spring clasp pop up. He lifts the lid. Mother Jones magazine. Piles of Mother Jones magazines. DORR What in heaven's name... He riffles a pile, confirming that it is in fact all magazine, no money. Lump and the General are clomping down the stairs. DORR ...General! EXT. MUNSON HOUSE - NIGHT We are PULLING Clark down the street, a satchel in either hand. HIS POV The microbus, parked halfway down the block, ominously idling. THE BUS We are CLOSE on its side-view mirror. Someone leans from the driver's seat for a view into the mirror, and in the mirror we see her, pigtails swinging: Mountain Girl. HER POV Clark Pancake, still rather small, approaching up the empty street. PANCAKE PULLING him again. A smile is beginning to play at the corners of his mouth. PANCAKE No extra share, huh... The smile abruptly fades. He stops in his tracks for no discernible reason. At length: PANCAKE ...Nnnrnf. He pants. Behind him, in the deep background, we see the General bounding into the street and silently toward us. PANCAKE ...Oof! The moment passes. Pancake shakes his head, as if to clear it, and resumes his walk. HIS POV We are nearing the bus. THE BUS Mountain Girl sits in the idling bus, waiting. With a thunk and a gentle rock of the bus, we hear its back doors opening, and Pancake's voice. PANCAKE Mountain. MOUNTAIN GIRL Clark. We hear an oof! of exertion as Pancake hoists each of the two satchels into the back. The oofs are followed by: PANCAKE ...Nnrungh! Aaarmh... Ninnnff... Offffflleghhll... MOUNTAIN GIRL IBS, dear? WE CUT TO: THE BACK OF THE BUS to show Pancake being garotted by the General. PANCAKE Nnnnnmmmmfffgh! EXT. MISSISSIPPI RIVER - BRIDGE - NIGHT The tower gargoyle stares sightlessly down. Lump and the General are at their accustomed place, each holding a foot shod in a large hiking boot. Behind them we see the hearse idling. Near them on the bridge, both hands grasping the railing as he gazes dreamily out into the night, is the Professor. DORR "...Like those Nicean barks of yore That gently, o'er a perfumed sea..." We hear the toot of the boat's horn and the men drop the body. LUMP Quick! Grab Clark! They quickly stoop and grab another bag-swaddled body out of which even larger hiking boots protrude. DORR "...The weary, wayworn wanderer bore... " They drop the second body. DORR "...To his own native shore." We hear the distant flump and the cawing of scavenger birds. INT. MUNSON HOUSE - CELLAR - NIGHT CLOSE ON A FIST With three protruding straws. SWEATING CLOSE-UPS: Lump picks a long straw: relief. The General picks a short straw. A short grunt. DORR Excellent. I believe, at last, we have the right man for the job. INT. MUNSON HOUSE - MRS. MUNSON'S BEDROOM - NIGHT Mrs. Munson lies on her back gently snoring. At the open window, sheers ripple in the evening breeze. A large clock ticks upon the mantle. It is almost one o'clock. INT. MUNSON HOUSE - LIVING ROOM - NIGHT THE CELLAR DOOR It creaks open. The General looks stealthily out. A cigarette in his mouth plumes smoke. He pushes the door fully open, emerges. INT. MUNSON HOUSE - MRS. MUNSON'S BEDROOM - NIGHT Mrs. Munson's snore catches on an inhale. She mutters something, sighs, and resumes snoring. INT. MUNSON HOUSE - STAIRCASE - NIGHT The General treads lightly, noiselessly, up the stairway leading to the second floor. He slides one hand into his jacket, pulls out a garotte. With the faintest whoosh he whips it in a complicated loop and snags the other handle with his other hand. INT. MUNSON HOUSE - UPSTAIRS HALLWAY - NIGHT The General emerges from the staircase and advances on the closed bedroom door. As he reaches for the knob he performs the no-handed flip of the burning cigarette into his mouth. INT. MUNSON HOUSE - MRS. MUNSON'S BEDROOM - NIGHT The door swings noiselessly open. The General pauses to survey: The still room. The ticking clock. Mrs. Munson, a large sleeping mound upon the bed. The General advances, raising the garotte in both hands. He closes on her sleeping form. The garotte is lowered toward her exposed neck. It is a foot -- half a foot -- inches-away... Somewhere a muted gear ratchets and triggers the toll of-- The clock, striking one. It is a cuckoo clock but, instead of a bird emerging, a berobed Jesus comes out with his hand resting on the head of a child who gazes up in adoration. The General starts at the noise and then suddenly freezes, his eyes widening. Jesus retreats back into the clock. The General has swallowed his cigarette. He reaches up to his throat, panicked. In a silent frenzy, he yanks loose his ascot. He gazes wildly about. He reaches for the water glass at Mrs. Munson's bedside. He tips it back into his mouth. There is a rattling sound. HIS POV The uptilted water glass is sending false teeth -- full uppers and lowers -- rattling toward his face. THE GENERAL He frantically -- but still noiselessly -- sets the glass back down. Wildly looks about, one hand clamped to his throat. A mad but silent dash for the door. INT. MUNSON HOUSE - UPSTAIRS HALLWAY - NIGHT Plunging for the head of the stairs-- --a brief yowl from the cat-- --recoiling from where its tail has been stepped on, a hiss and a flash of its claws at the General's leg-- INT. MUNSON HOUSE - STAIRCASE/LIVING ROOM - NIGHT --and he falls down the stairs, each thudding impact bouncing his body like a rag doll's. At the bottom of the stairs he lies still. A CLOSE-UP shows his head bent at an unnatural angle, unblinking eyes staring. Traces of smoke wisp from each nostril and his open mouth. Over the mantle, Othar returns the dead man's stare. He looks somewhat smug. INT. MUNSON HOUSE - CELLAR - NIGHT The Professor and Lump, responding to the noise, look slowly up toward the ceiling. EXT. MISSISSIPPI RIVER - BRIDGE - NIGHT The body is laid out in a garbage bag by the rail. The Professor stands looking at it, contemplatively. Lump stands looking at it, contemplatively. The cat sits nearby on its haunches looking at it, impassively. The professor muses: DORR ...T'was our atÈ brought us to this pass... LUMP What, Professor? There is the toot! of an approaching scow. Dorr's manner is still absent, his regard still on the corpse: DORR Our overweening pride... The old woman is a more potent antagonist than one had imagined... He rouses himself, goes over to the bagged corpse. Lump follows him and the two men hoist the body over the rail. DORR ...Now, Lump, I'm afraid it falls to you to finish the job. They let the body fall onto the scow passing below. DORR ...The comedy must end. The Professor turns to Lump and tries to hand him Gawain's gun, but Lump, uncomfortable, declines to take it. LUMP ...Professor, I been doing some thinking. DORR Oh dear. Oh dear oh dear oh dear. LUMP Maybe she's right! Maybe we should be going to church! DORR Oh dear, Lump. I feared that those would be your words. Not that I don't appreciate your giving the matter the benefit of your thought. But please recall, young man, our respective functions in this enterprise. I am a professor, the professor as you yourself so often say, the thinker, the "brains of the operation," trained in fact in the arts of cogitation. You, Lump, are the goon, the hooligan, the dumb brute whose actions must be directed by a higher intelligence. LUMP Yeah, I know, but-- DORR No buts, dear boy! Do not repeat the error of thinking! Now is the moment of praxis! Now, my dear boy, you must act! Lump reluctantly takes the gun that the Professor thrusts upon him. LUMP I can't do it, Professor! A nice old lady like that! DORR Think of the riches, Lump, that you and I alone shall divide! Recall the dream of wealth untold that first drew you to this enterprise! LUMP But-- DORR And reflect also that if you decline to act, forcing me to do so, then you shall no longer have any entitlement to the money! Your offices shall have been nugatory! LUMP You mean -- you mean -- you're gonna kill her?! DORR Of course! My hand would be forced! LUMP I can't let you do that, Professor! A nice old lady like that! DORR You?! Allow? Not allow? What presumption! You stupid boy! You very very extremely stupid boy! We hear the toot of an approaching scow -- this one very long, sustained under all of the following: LUMP Oh yeah? He points the gun at the Professor and-- LUMP ...Well who looks stupid now? --squeezes -- click -- on an empty chamber. LUMP ...Huh? He turns the gun to have a look. LUMP ...No bullets? HIS POV shows the foreshortened barrel as he experimentally squeezes the trigger. WE CUT TO: the Professor on the BANG! and, after a sad shake of his head, CUT BACK TO: Lump in time to see him finish toppling back over the rail. The scow-horn ends. DORR Perhaps... it had to be thus. He goes to the railing to look down. Lump, face-up on a pile of garbage, glides away. Disturbed birds flap upward. The professor muses: DORR "...Lo, in yon brilliant window-niche How statue-like I see thee stand..." His gaze rises with the ascending birds. Among the white gulls is one black bird. The Professor eyes it as it rises past him. DORR ...Hm. A raven? FROM VERY HIGH we look down on the Professor, the black bird rising to perch on the gargoyle on the suspension tower in the foreground. The bird settles on a loose, teetering piece of masonry. BACK TO THE PROFESSOR looking at the receding red light on the bridge of the receding scow: DORR "...The agate lamp within thy hand... " BACK HIGH The teetering chunk of masonry tips away and the perchless bird flaps off. BACK TO THE PROFESSOR very dreamy: he sees something in the distance, beyond time and space: DORR ...Ah, Psyche! from the regions which Are Holy land!" This is punctuated by the crunching impact of masonry scoring a direct hit on his head. He falls over the rail. His cape snags on the railing and he hangs limp and lifeless. Directly below his dangling body the stern of Lump's barge is slipping away to leave black waters and the clanking of chains. The fabric of the Professor's cape begins to tear. His body drops in fits and starts as the fabric gives way. Finally the body rips free. It falls away from us. As it does so the clanking chains are pulling into view the second- banger -- a garbage barge being chain-towed by the receding scow. Dorr's body lands neatly on the barge. A gust of wind. The cape flaps free of the railing and is wind-tossed away amidst the cawing birds. The cat, watching, blinks. INT. MUNSON HOUSE - MRS. MUNSON'S BEDROOM - DAY DRINKING GLASS It is resting on the very edge of the night table -- protruding, in fact, past the table's edge. It is morning. We hear rustling from the bed. Hands reach INTO FRAME and hesitate, finding the glass empty of water and precariously perched. MRS. MUNSON (O.S.) Hmm. The hands tip the glass and take the teeth. We hear complicated oral noises. EXT. MUNSON HOUSE - DAY The door opens away to reveal the morning paper lying on the stoop. Mrs. Munson leans INTO FRAME to pick it up and we ADJUST as she straightens to have a look: The headline says: $2.6 MILLION DISAPPEARS FROM LADY LUCK CASINO. The subhead: POLICE BAFFLED. MRS. MUNSON Mm-hm. INT. MUNSON HOUSE - CELLAR - DAY Mrs. Munson is walking down the stairs. MRS. MUNSON Professor! She stops midway down and looks: The empty cellar. Money stacked neatly on the card table. Mrs. Munson sadly shakes her head. MRS. MUNSON ...Hmm. Couldn't face the music. EXT. SAUCIER MUNICIPAL BUILDING - DAY Mrs. Munson is climbing the porch in her Sunday best. She feints at the dog who lies curled in the sun: MRS. MUNSON Scoot now! Outa the way! INT. SAUCIER MUNICIPAL BUILDING - DAY The sheriff is busy on the phone; there is a DEPUTY today also on the phone. The sheriff, seeing Mrs. Munson enter, covers the phone with one hand. SHERIFF WYNER Miz Munson. MRS. MUNSON Sheriff, I gotta make a statement. SHERIFF WYNER Could it possibly wait, ma'am? We're a little busy today. MRS. MUNSON I guess it can wait, but it's about that casino money. The sheriff exchanges a significant look with the deputy, then murmurs into the phone: SHERIFF WYNER Call you right back. He cradles the phone and smiles at Mrs. Munson. SHERIFF WYNER ...You know something about it? MRS. MUNSON Something? Everything! I got it at home. SHERIFF WYNER You... you have what at home, now? MRS. MUNSON The money. Two point six million dollars. Down in my root cellar. All stacked up nice and neat. SHERIFF WYNER Mm-hmm. The deputy pauses to look up from his phone: DEPUTY How'd it get there, Marva? MRS. MUNSON Bunch a desperate men that stole it put it there, that's how! They was musicians of the Renaissance period, played the sackbutt and so on -- well, it turns out they really couldn't play, although they could recite poems to break your heart. Their ringleader speaks in dead tongues. SHERIFF WYNER Does he now. MRS. MUNSON I tried to get you to see him! That night? SHERIFF WYNER Oh yes. MRS. MUNSON I had to yell at 'em 'bout stealin' all that money and I guess I made 'em feel pretty bad 'cause they picked up and left without takin' the money. But I was peeved with 'em, Sheriff, they'd been up to all sorts of mischief, come close to blowin' up the house, disturbed Othar no end. SHERIFF WYNER Angry, was he? MRS. MUNSON Wouldn't you be? All that racket! SHERIFF WYNER I expect so. MRS. MUNSON And they let Pickles out too! The sheriff sighs. SHERIFF WYNER So you want us to go fetch him. MRS. MUNSON No, he's back, but what you want me to do with the money? SHERIFF WYNER Well... He and the deputy exchange looks. The sheriff looks back at Mrs. Munson. SHERIFF WYNER ...Why don't you just keep it, Miz Munson. MRS. MUNSON Keep it? DEPUTY You keep it, Marva. MRS. MUNSON Well... I know it's only a penny offa everybody's policy... SHERIFF WYNER How's that ma'am? MRS. MUNSON I know folks don't much care. Could I... You s'pose I could... SHERIFF WYNER Yes ma'am? MRS. MUNSON Could I give it all to Bob Jones University? SHERIFF WYNER That'd be nice, ma'am. She picks up her handbag and heads for the door. MRS. MUNSON ...Well, long as everybody knows. SHERIFF WYNER Thank you for the information, ma'am. MRS. MUNSON You're welcome, sheriff. Just doin' my duty. EXT. SAUCIER, MISSISSIPPI - DAY Mrs. Munson is walking home. It is a beautiful spring day. From far off, wafting toward us on the breeze, we can hear the church chorus singing. Mrs. Munson joins in. She has a strong voice: MRS. MUNSON Leaning, Leaning, Safe and secure from all harm. Lean on Jesus, Lean on Jesus, Leaning on the everlasting arm. She turns up the walk to her house. MRS. MUNSON ...What a fellowship, What a peace of mind, Safe and secure from all harm. Lean on Jesus, Lean on Jesus, Leaning on the everlasting arm... When she opens the front door the cat slips out. MRS. MUNSON ...Pickles! It races off down the street. MRS. MUNSON ...Pickles! EXT. MISSISSIPPI RIVER - BRIDGE - DAY Pickles scurries along the walkway. We hear the toot! of an approaching scow. The cat reaches the middle of the bridge. He sticks his head through the bars of the railing. When we CUT CLOSE on the cat as he looks down at the water, we see that he holds in his mouth a human finger. As the scow passes underneath, the cat opens its mouth and lets the finger drop. The finger falls away and is barely visible by the time it hits the scow. The cat looks up INTO THE LENS, and blinks. Its sideways irises adjust. The scow is gliding away. With the low mournful toot of its horn we tilt up the river to the great garbage island where scavenger birds pick through the trash. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Lake Placid.txt b/unformated_scripts/Script_Lake Placid.txt new file mode 100644 index 0000000000000000000000000000000000000000..2ac0bc3bffd1dfe81ca2e751586f65937a198bb9 --- /dev/null +++ b/unformated_scripts/Script_Lake Placid.txt @@ -0,0 +1 @@ + LAKE PLACID Written by David E. Kelley May 6, 1998 Full Pink Draft OVER BLACK we HEAR the distant but near melodic CRY of a LOON. SLOWLY FADE IN TO: EXT. BLACK LAKE - NIGHT The loon continues its hypnotic call, as the steamy mist lifts off the dark water, which doesn't even ripple. The loon continues her nocturnal cry, as we savor the beauty of the lake, the elegance of the bird, and the haunting echo of her lonely call... until suddenly the bird is crisply pulled under, silenced forever. A lone feather surfaces and floats as: Credits roll over the black lake to Richie Havens singing "I CAN SEE CLEARLY NOW." Then-- OVER BLACK KEOUGH (O.S.) And they pay you for this? To tag beaver? WALT (O.S.) Imagine. As we FADE IN a face COMES INTO FOCUS from underwater. It is the face of WALT LAWSON (Maine Fish And Game) looking down from a boat. EXT. LAKE - DAY Next to him is SHERIFF HANK KEOUGH, paunch, disposition of an untipped waiter. KEOUGH Ask me, what an animal does in the wild is his own business so long as he doesn't do it to man. I think Mark Twain said that. WALT (dry) I think he didn't. But since you've said it, I guess we're covered. Keough holds a stare. Walt drops overboard. Keough pulls a Twinkie from his pocket. Begins to unwrap. EXT. NEW YORK - MUSEUM OF NATURAL HISTORY INT. MUSEUM - DAY FIND KELLY SCOTT, pretty, thirty, as KEVIN CAMPBELL, forties, approaches. KEVIN Kelly. KELLY (warmly) Kevin, hey. She beams affection, he exudes a little discomfort. KEVIN Hi. Listen. Could I steal you a second? KELLY (great idea) Absolutely. INT. KEVIN'S OFFICE - DAY They enter ON THE CUT, he closes the door. KEVIN I had a great time last night. Again. KELLY Me too. Reading his look, she suddenly smells it. Her face drops. KELLY (CONT'D) (deducing) That's not what you came to say. KEVIN You work for me. I'm not comfortable with-- y'know, "us"... She's a little crushed. KELLY I was working for you when "us" started, what's-- KEVIN I know and I thought I could handle it but work and pleasure along with somebody else, it's a dangerous mix. KELLY Kevin, as long as we... (suddenly) What was that last part? KEVIN (sheepish) The somebody else part? KELLY Yeah, that part. There's... somebody who's um... KEVIN (feels terrible) Else. A beat. KELLY (covering) Oh. Oh. That's okay. Well. This uh... this probably wasn't meant to be, y'know. I mean, I'm... God, I gotta be ten years younger and you, you... you're y'know... KEVIN (reading her mind) A jerk. KELLY (you have no idea) Oh... (then) No, no, I'm not angry I'm not, I'm just thrown, I'm... (checks her watch) I actually have an early lunch, so... KEVIN It's ten after nine. KELLY Yes, well... (smiling) famished. And she rushes out of the room. OFF Kevin, we: CUT TO: EXT. UNDERWATER - DAY Walt dives down, visibility is lousy. Whether it's algae or dense vegetation, the water is extremely murky. EXT. LAKE - CONTINUOUS Keough unwraps the second Twinkie. EXT. UNDERWATER - CONTINUOUS Walt continues to swim. HIS P.O.V. Not much to look at. Then suddenly... no, just a snapping turtle swimming away. Walt descends a little deeper. He loves it beneath the water, there's a tranquility he can find nowhere else. Next best thing to meditation. Suddenly, he stops kicking. HIS EYES FOCUS A black water snake, it must be almost three feet in length. RESUME Walt flippers himself closer, wants a closer look. The snake seems unimpressed. Then suddenly, the snake lunges at him, misses. Shit. Walt's look says "what the fuck?" A beat. Then the snake swims off. Walt relaxes. A beat. But then... he looks around, uneasy. He gets this feeling he's not alone down there. Looks about, nothing but murky water. But he's not alone, we can feel he's not alone. He looks left, right... then... four snakes, swimming, hovering, looking back at him. What's with these snakes? Walt decides he'll go back to the boat. Then... BOOM. Something hits him... and it's no snake. EXT. BOAT - CONTINUOUS Keough. Oblivious. Waiting. Suddenly-- Walt comes thrusting up with a scream! WALT Sheriff!! And Walt is promptly yanked back under. KEOUGH Hey! Upon which Walt surfaces. He swims frantically for a beat before he's suddenly yanked under again. Then he surfaces, thrashing as Keough speeds over with the boat. He takes hold of him and pulls him on board. Actually... what's left of him. There's nothing below the waist. Walt is just a bleeding torso, though still conscious. KEOUGH (CONT'D) (going into shock) Jesus Christ. ANGLE WALT'S REMAINING HAND clenching around Keough's arm. ANGLE WALT'S FACE He knows he's done. OFF Keough's continued horror, we: CUT TO: BLACK AND WHITE A DINOSAUR (T-Rex) is angry and out for blood. REVEAL INT. MOVIE THEATER - DAY We're watching an old classic creature feature. FIND Kelly alone, slowly eating popcorn, rapt, tense... watching the movie. As the suspense builds, her hand freezes halfway between the popcorn bag and her mouth. ANGLE THE SCREEN The monster pursues its human victim. ANGLE KELLY fear on her face. ANGLE THE SCREEN The monster makes its final surge, capturing its prey. ANGLE KELLY as she screams with fear and delight. Her scream is only partially muted by the shrieks of the other moviegoers. After a beat, she calms, daring to eat popcorn again. Wearing gullibility, vulnerability all over her face. Then from behind a hand appears, taps her shoulder, causing her to let loose with the most blood-curdling scream of all. All the moviegoers turn to SEE... as will WE: MYRA OKUBO Thirties, standing mortified; the woman who tapped her shoulder. CUT TO: EXT. NEW YORK CITY - DAY Kelly and Okubo emerge from the movie theater. KELLY What do you expect, mugging me from behind? OKUBO I tapped you. KELLY Well you shouldn't have. How did you even know where I was. OKUBO (sarcastic) Wild guess. KELLY I don't like to be scared, Myra, I have a thing about fright, don't ever scare me. OKUBO Kevin told me you were upset. KELLY Really? I never realized he was so psychic, how could he detect that, did he tell you there's somebody else? OKUBO (sheepish) Well... he didn't have to tell me that part. Kelly freezes. Stares at her. Then: KELLY You? OKUBO It started before you, Kelly, I never would've-- KELLY You? OKUBO It was just a quick thing which we thought was over, and and... KELLY You and Kevin. OKUBO It wasn't suppose to happen, I don't know what to say... A beat. KELLY You don't know what to say, lucky for you action speaks louder than words. OKUBO Kelly-- KELLY I'm not upset, Myra, okay. I just never thought of you as a y'know... OKUBO Backstabber? KELLY (don't be silly) No. OKUBO Liar? KELLY (c'mon) Myra. OKUBO Shitbutt? KELLY I really... I should get back. And Kelly peels off to go on her way. Bumps into a Pedestrian. She then gives him an angry shove, under-- KELLY (CONT'D) (to the pedestrian) Don't fuck with me! And off she goes. The Pedestrian and Okubo exchange a look. CUT TO: EXT. LAKE - DAY Coroner's ambulance. Walt's covered body is being loaded, as JACK WELLS, Fish and Game, thirty, emerges from his truck. He approaches the body. Lifts up the sheet. Stares a beat in disbelief. Turns to Keough. JACK What did this? OFF Keough, we: CUT TO: INT. MUSEUM - DAY Kelly's in her office, working at her desk. Kevin enters. KEVIN Hey. KELLY Kevin. How's it going, what's happenin', family good, great, nice to catch up, get out. KEVIN This is business. (then) There was an accident in Maine, some guy got killed by something in a lake. Probably a bear, but... they found a tooth. KELLY A tooth? KEVIN A tooth they say couldn't have come from any bear. They say it looks prehistoric. Like maybe a dinosaur. KELLY (without looking up) Oh, well then I'm sure that's it, he got killed by a dinosaur, anything else? KEVIN I want you to go there. Now she looks up. KELLY Sorry? KEVIN I'm sure it's nothing, but you're a paleontologist, this is what we do, I-- KELLY This is what we do? KEVIN I'd like you to check out this lake. See-- KELLY Are you on drugs? KEVIN Kelly-- KELLY I'm not going to Maine, I won't even go west of Forty-third Street-- KEVIN Part of our research-- KELLY I'm not even a field person. KEVIN Well on this one I'd like you to be. Kelly stares back. The nickle drops. KELLY This was Myra's idea, wasn't it? Get me out of the office for a few days, until-- KEVIN It has nothing to do with-- KELLY I never do field work and even if I did, Maine, to look at a tooth of a dinosaur who bit somebody, couldn't you dream up something-- KEVIN Kelly-- KELLY I am not going to Maine. That's ridiculous. CUT TO: EXT. MAINE SKIES - DAY A sea helicopter is sailing up against the blue sky, nothing but Evergreens and lakes below. INT. HELICOPTER - CONTINUOUS Kelly with the Pilot. She looks a little white. INT. JACKSON HOSPITAL - DAY Kelly is walking with Keough toward the morgue. KEOUGH He just came up screaming. KELLY Did he say anything? KEOUGH He just kinda gurgled. He was pretty much dead. KELLY And you didn't see anything? KEOUGH The lake was dead calm until up he came. The tooth is in there. KELLY (seeing) There? That's the morgue. KEOUGH Yes. KELLY Is the dead guy in there? KEOUGH That's where they keep them. (then) You want me to bring the tooth out here? KELLY Um. (bravado) No, no. Let's go. CLOSE ON THE TOOTH Reveal-- INT. MORGUE - DAY The Medical Examiner, STEVEN DANIELS, is there with Keough and kelly. Walt's torso is covered. Kelly is examining the tooth. KELLY I need to get a microscopic look at it. DANIELS Fine. (indicating) There you go. KELLY Maybe I should see... (the body) KEOUGH (reading her) I wouldn't. KELLY I'm fine, thank you. KEOUGH Have you ever seen a dead body before, Ms. Scott? KELLY Well. (admits) At wakes. KEOUGH This is a little different. KELLY I can look at dead things. And Daniels is about to pull the sheet back-- KELLY (CONT'D) Wait. She takes a breath. KELLY (CONT'D) Okay. And Daniels peels back the sheet. Kelly strains to disguise her extreme horror. Finally-- KELLY (CONT'D) (fighting off nausea) This... how long did this attack go on for? KEOUGH Seconds. Three, four. KELLY And this is how he came to the boat? KEOUGH Yes. KELLY Okay. (then) And is there a place nearby I could go to vomit? OFF this, we: CUT TO: EXT. INDIGO MAINE - DAY It's a small, almost tiny town; general store, post office, fire station. Kelly and Keough are in front of the general store loading supplies into a van, across the street in front of the Sheriff's Department. KEOUGH Nobody lives within twenty-five miles, 'cept some old couple who live right on the lake. Teenagers trek in every once in a while, none have disappeared, and none have spotted anything unusual. KELLY You talk to the married couple? KEOUGH Not yet. KELLY What kind of backup do we have? KEOUGH We? That strikes a nerve. KELLY (defensive) What? KEOUGH Sorry. I'm just a little unclear as to why the Museum of Natural History would send somebody here. KELLY You have a thing against museums? KEOUGH I got nothing against-- KELLY Ever even been in one? He stares back. Then picks up a huge cannon-like gun. As he loads it-- KELLY What is that? KEOUGH Lightweight Forward Area air device unit. Whatever's out there, one shot with this and he's dead. KELLY (incredulous) And you stock these things for what, to fend off Russia? A beat. KEOUGH You're sort of a rude person. KELLY It's just that-- Suddenly, like a shot, Kelly's arm jerks up as she jet sprays a white fog from a can of Yard Guard. Keough holds a look at her. KELLY (CONT'D) Mosquitos. I have a thing about mosquitos. Upon which a sport utility vehicle pulls up, it's marked "Maine Fish And Game". Jack Wells emerges, Kelly's eyes scan him like radar. JACK We set? KEOUGH Ready. (re Kelly; dry) A museum in New York sent us some additional back up. Kelly shoots Keough a look. Then: KELLY Kelly Scott. JACK Jack Wells. A museum sent you? KELLY Are we all museum bigots in Maine? Jack holds a look, decides to let that pass. JACK Did you make anything of the tooth? KELLY Yes, it did seem prehistoric but I'm sure he just carried the thing for luck. Not that it worked, obviously. It probably somehow got lodged into his body. Jack holds another look. KELLY (CONT'D) Why are you staring at me? (to Keough) Do I have a smudge on my face, it would be so you not to have told me. Keough also lets that pass. KEOUGH (to Jack) I'm ready when you are. JACK Let's go. As they start out, Kelly grabs Jack by the arm. KELLY Excuse me. One other thing, it's a small point, but... I have a thing about being humored, and I'm feeling humored, more by him, but you seemed quick to join in. JACK Ma'am, your first impression isn't going well. As JANINE POST, sixteen, flirtatious little vixen, steps up. JANINE Excuse me? Is it true you're going to look for some kind of monster in Black Lake? KEOUGH We're just going to investigate an accident. There's no monster. JANINE We heard a man got bit in half. KEOUGH There was an accident, that's all. Nothing to worry about. And Janine goes into the store. The men just watch her go. Sixteen going on twenty, nubile. Kelly just looks at the men, gaping at the girl. KELLY Please. CUT TO: EXT. LAKE - DAY Keough, Jack, and Kelly are in a boat motoring towards a farmhouse. No other houses in sight. INT. FARM HOUSE - DAY Jack, Kelly and Keough are questioning DELORES BICKERMAN, mid- sixties, eccentric if not slightly daffy. She's brought out refreshments. BICKERMAN Oh, my husband passed away almost two years ago. KEOUGH My department doesn't have any record of that, Mrs. Bickerman. BICKERMAN (with some attitude) Oh well, I'm sorry. I didn't realize you keep such a firm track of the dead. KELLY (gently) What was the cause of your husband's death, Ma'am, do you know? Off Bickerman's silence-- KELLY (CONT'D) We don't mean to invade your privacy but... was he ill, was he sick? KEOUGH Was he swallowed? KELLY (reprimanding) Sheriff. JACK Mrs. Bickerman, the reason we're up here... a man was fatally attacked yesterday by some animal in this lake. Do you know how your husband died? BICKERMAN (brightly) Oh yes. I killed him. Keough clenches his eyes shut. The old woman's a loon. JACK You killed him. BICKERMAN (happily) Oh, yes. KEOUGH And how would you have accomplished this, Ma'am? BICKERMAN (rattling it off quickly, simply) Well, he was very ill and he refused to go see a doctor and well... I think he had Alzheimer's, he would be coherent one day, incoherent the next and one coherent day, he asked me to end his suffering. I wouldn't do it but he kept insisting and insisting and deteriorating till the point the only cognitive thing he could really do was that I finish him off. Finally I just gave in and hit him on the head with a skillet then buried him under the bulkhead. Jack, Keough, and Kelly just stare back at this crazy woman. Off their looks-- BICKERMAN (CONT'D) (to Keough) Dig him up if you don't believe me, Javert. CUT TO: EXT. LAKE - DAY Keough and Kelly are in the boat slowly traveling along the thickly wooded shoreline. KEOUGH Half mile up, there's a clearing. JACK You gonna dig up that lady's husband? KEOUGH I'll call the coroner. KELLY (looking around) What is with this lake? It looks black and... there are no waves or anything. KEOUGH They wanted to call it Lake Placid. But somebody said that name was taken. KELLY (to Jack) Gee. Jack smiles, gets her sarcasm. KEOUGH The tents were sent ahead, they should already be set-up. KELLY (what?) We're staying in tents? KEOUGH I told you. Two days, we'd have to camp. KELLY Yes, camp, I thought that meant Holiday Inn, I never heard "tents", will there be toilets? KEOUGH (seeing something) What the hell? Keough's attention has been otherwise arrested. He sees something in the water. KELLY What? KEOUGH (slowing the boat) I thought I saw... KELLY It looks like a branch. He leans over to grab something floating in the water. Looks like a branch. He lifts it up, revealing it to be an antler. Connected to the severed head of a moose. Keough, seeing it as he lifts it, screams, throwing it. It hits Kelly and she screams, a blood-curdling scream, as the HEAD hits the floor of the boat with a HEAVY THUD. Kelly rears back, still screaming, and belts Keough in the shoulder. KEOUGH Hey!! KELLY You threw it at me!! KEOUGH (denying) I just let go of it. KELLY JACK You threw it at me!! Alright. (to Jack) Did you see that? She belts him again. KEOUGH JACK (CONT'D) Stop hitting me! Ma'am! KELLY Don't throw heads at me, (to Jack) and stop calling me "Ma'am"! ANGLE THE HEAD RESUME A beat. This head looks ripped off the body. JACK What is going on here? EXT. BEACHSIDE CAMPSITE - AN HOUR LATER A small tent camp is being set up. People unpacking. Two Deputies, BURKE and STEPHENS, present. Kelly is with Jack. KELLY How big do the bears get? JACK Big but... a bear couldn't do that to a moose or man in water. On land maybe. But... KELLY And they're sure he didn't get tangled under the outboard somehow? JACK Hank says he's sure. Kelly takes in the scenic surroundings. KELLY It really is beautiful, isn't it? JACK Never been to Maine before? KELLY I was told they discriminate against people with hygiene. (off Jack) I never believed it. He measure her. Then-- JACK Why are you here? Really. KELLY I told you. JACK The Museum of Natural History doesn't send out investigators to-- KELLY How would you know, what-- JACK And even if they did, I doubt he or she would have problems with tents. KELLY So I don't like tents, why-- JACK You don't like tents, mosquitos, look at your fingernails, you have about as much business being in the woods-- KELLY JACK (CONT'D) What's wrong with my --as Emily Post, it doesn't fingernails these are make sense-- perfectly good-- JACK (CONT'D) (overriding) They sent you out to examine a tooth, why are you out here on the on the lake? A beat. Might as well tell. KELLY I am a paleontologist. (throwing it out) I also was dating my boss he turned out to be involved with a co-worker who was also my friend and for the sake of comfort, theirs, I was shipped off to Maine. (then) I don't feel like going back yet. There. She said it. He stares back. KELLY (CONT'D) I'm not making it up. JACK Well. You don't have to stay out here, why don't-- KELLY I've come, I'm here, I'm staying. Unless there are ticks. We then HEAR the SOUND OF A DESCENDING HELICOPTER. She looks up. Then: KELLY (CONT'D) Oh my God. JACK What? KELLY If this is who I think it is. (as it gets closer) It is. JACK Who? KELLY Hector Cyr. He's a rich kook mythology professor. He's done some work with our museum. He also treks the world to swim with crocodiles. KEOUGH (arriving) With what? KELLY Crocodiles. He's an expert on them. And if he's here... then he must think that's what's in this lake. JACK In Maine? KELLY There have been Northern sightings. But not this North. As HECTOR CYR, this giant ball of life, deboards his chopper-- HECTOR (spotting Kelly; disappointed) You beat me. Balls. (then) I need some of you to help me unpack. (to Burke and Stevens) You and you. (to Keough) Not you. (to Kelly) Who do we have from Fish And Game? KEOUGH JACK (to Kelly) Me. Who is this man? HECTOR (rapid fire) I could see the algae blooms just coming in, how long has this lake been stagnant? (extending his hand to Keough) Hi, Hector Cyr. The Earth is round and so should you be. KEOUGH (to Kelly) --Who is he? HECTOR I'll need any and all topographic studies. KEOUGH Wait just a second. You don't just fly in here and start barking orders. HECTOR I apologize, I just don't want to lose the light, we've got time for a quick scout, (to Kelly) you've had work done. KELLY KEOUGH (flaring) (frustrated) I have not. Who is this man? HECTOR Hector Cyr, I said it once, let me know when it sinks in, (to Kelly) have you seen it? KELLY KEOUGH (CONT'D) No. Mister... KELLY (CONT'D) It couldn't be a crocodile. HECTOR They've been migrating north, Kelly, this lake connects to the ocean,-- KEOUGH (frustrated) Mr. Cyr! HECTOR C'mon, we're losing light, (to Kelly) why does the big one heckle me? Kelly yanks him aside. KELLY (sotto) Hector. The big one has no sense of humor. And since he's the one who decides whether you get to play, try not to be your obnoxious self. HECTOR That hurt my feelings. And it did a little. Hector is a big Teddy Bear. JACK (arriving) If we're gonna go we better go. CUT TO: EXT. LAKE - SUNSET Keough and Kelly are in one canoe, Hector and Jack are alongside in another. Hector is operating one of his sophisticated sonar devices. The calm. The still. The beauty. HECTOR If he's here, I'll find him. (to Jack, re Kelly) Did she tell you we had sex together? KELLY I never had sex with you! HECTOR Even so, you're allowed to boast. You look thin by the way, I've mentally undressed you, I can see your ribcage. KEOUGH I really don't mean to be discourteous. (patronizing) But how is it a person could come to believe that a crocodile is in New England? HECTOR They have saltwater glands, they can swim across oceans, it's only a matter of time. KEOUGH And what would he do come winter? HECTOR They can survive winter. As long as their nostrils don't freeze, they survive, (to Kelly) am I foolish to explain things, he had such trouble with my name? KELLY KEOUGH (scolding) Hey. Hector. HECTOR (to Keough) Is this where it happened? KEOUGH Around here. Yeah. HECTOR (knows his crocodiles) If he's eaten in the area, he shouldn't be far away. Crocs hang around the food source. KELLY But they're nighttime hunters, Hector, he'd probably be on land now anyway. HECTOR 'Cept he wasn't before, was he? (then to Keough) You know, when friends or family members say things, they tend not to register so sometimes it helps to hear it from a total stranger. You're fat. KELLY Hector. Suddenly there are ripples, fish breaking surface about thirty feet away. JACK What's that? KEOUGH White perch. JACK Are they feeding? KEOUGH Doesn't look like it. JACK They look like they're jumping. KELLY They look scared. Upon which something grabs the front of Kelly's canoe and with one crisp yank, flips it over like a spoon on a dinner table, sending them all flying. In an instant, Keough and Kelly are swimming for their lives. Screaming/yelling, they scramble for the canoe, climb onto it's flipped-over back. Breathless, they all exchange confused looks. "What the hell happened"? KELLY (CONT'D) My hair. CUT TO: EXT. CAMPSITE - SUNDOWN Kelly, still in wet clothes, is talking on her portable phone. Keough is there as Hector approaches. Jack is approaching as well. Activity bustles in the b.g. KELLY (into her phone) None of us actually saw anything. (then) I realize this Sir, but something flipped us over, I doubt very much it was a mink. HECTOR What's going on? KEOUGH They don't believe her. KELLY (still into phone) Thank you, it's so rewarding to imagine my tax dollar finding its way to you, you Fucker. (she clicks off) HECTOR Such the flirt. KELLY U.S. Wildlife won't send anybody without a confirmation. JACK Same thing from Fish And Game. KELLY Something's in that water. JACK Well until we see it, we're not gonna be convincing too many people. As DEPUTY SHARON GARE approaches-- GARE (O.S.) (calling) Sheriff. Keough looks over. GARE (pointing to the ground) You might want to see this. They all walk over. ANGLE THE GROUND There's hundreds, maybe a thousand worms squirming, surrounding... a human toe. KELLY (O.S.) Oh God, worms. I got a thing about worms. RESUME GARE It's a human toe. Hector studies it, picks it up. Then-- HECTOR Some decomposition, little acidic, it has been swallowed. (to Keough; holding the toe) Is this the man who was killed? Keough deadpans back. Then-- KEOUGH We'd only just met. HECTOR Well, you've got a croc alright, they're keystone species. KEOUGH Keystone what? HECTOR Species, keystones affect the entire ecosystem, that could explain all these worms, the water. You've got a crocodile. (proffering the toe) Bury your friend. Hector gives the toe to Keough, then heads off. Keough stands there, holding the tow, as we: DISSOLVE TO: EXT. BEACH - NIGHT Kelly is testing a MACHINE that sends out little SQUEAKY SOUNDS, as Jack approaches. He stops. Takes a second to... well, admire her. She's an attractive woman. He then approaches. JACK Baby crocs? KELLY Adult males will charge hatchlings. If there's one out there... JACK If one could be out there... why does Fish And Game tell me it's impossible? KELLY Because they just consult their little indigenous charts. A beat, as she tends to her work. JACK Listen... if you really do know crocs, you should know how stealth like they are. I wouldn't be standing a foot from the water. She looks. JACK (CONT'D) He could be right there and you wouldn't see him. KELLY (still looking at the water) I'd be able to see something. Upon which, Jack tosses a rock over her shoulder. As it makes a splash, she screams and practically jumps into his arms. Then: KELLY (CONT'D) (realizing) Oh that's funny. That was real funny. And she heads off. OFF Jack, we: CUT TO: EXT. HECTOR'S TENT - NIGHT Two deputies are digging deep pits about thirty feet in front of his tent. From within we HEAR MUSIC, the SOUNDS of a PARTY. Keough approaches... looks at Deputy Burke, who's digging. BURKE (shrugs) He paid us. Five hundred. Keough continues on toward the tent. INT. HECTOR'S TENT - CONTINUOUS His tent is on the palatial side. Stereo, generator, he's got a margarita bar going. There's a party. Hector's dancing with Deputy Gare, others are enjoying the drinks and MUSIC. HECTOR You're a beautiful woman. GARE Thank you. HECTOR And law enforcement, such dangerous work. The idea that you could die suddenly with no offspring, disconcerting, let's mate, commit your genes to perpetuity. Upon which, Keough enters, doesn't like what he sees. KEOUGH Hey. He goes, turns OFF the MUSIC. KEOUGH We are here on official business. HECTOR Cocktail? KEOUGH No!! (then) What's with digging the holes? HECTOR They come on land and they're brazen. They're also attracted to noise, you can see I make a lot of it. KEOUGH Everybody out, back to your tents, now! They start to leave. HECTOR (re Gare) Could she stay, we've tentatively scheduled intercourse. KEOUGH No!! Out! And they all go, including Gare, who shrugs to Keough "he's kind of funny". KEOUGH (CONT'D) (to Hector) You listen to me. The only reason I'm letting you be part of this is 'cause you got the helicopter and the radar-- HECTOR And you like me. KEOUGH I do not like you. HECTOR Deep down, gut check. I'm growing fond of you and it's liberating to say so. Keough stares back. KEOUGH You're a whacko. And Keough leaves, to: EXT. CAMPSIGHT - CONTINUOUS As Keough heads off-- HECTOR (O.S.) That hurt my feelings. CUT TO: A CAMPFIRE REVEAL-- EXT. BEACH CAMPSITE - NIGHT Kelly stands, alone, skipping stones. After a beat, Jack approaches. JACK What are you doing? KELLY Skipping stones. Look how flat that water is, you can get ten skips on a good one. A beat. JACK Listen, uh... Hank and I think it best if you stay on shore. KELLY I beg your pardon? JACK Whatever's out there did flip over a canoe-- KELLY I am not staying on shore. JACK It's too dangerous for-- KELLY I didn't fly up here to roast marshmallows-- JACK You flew up here because your boss-- KELLY I am going out on that boat and why are you picking on me, is this some kind of-- KELLY (CONT'D) JACK hazing, new fingernails I'm not picking-- in the woods? JACK (CONT'D) (overriding) I'm beginning to see why you were shipped off. And her face falls. KELLY (wounded; quietly) That was an awful thing to say to me. JACK (feels bad now) I'm sorry but you're... A beat. He doesn't finish the sentence. KELLY (genuine) I do know crocodiles and I won't get in your way. (then) I really do want to be a part of this. Jack reads her, he can see that she does. JACK Okay. (then) We're up at six. KELLY Good. JACK (a beat) 'Night. There's a little chemistry here, though both would probably deny it. He heads off toward his tent, she sits with her book. She gives one last look, watches him go. Then she goes back to her book. DISSOLVE TO: EXT. LAKE - MUCH LATER The lake is still, the campfire is out, the tents are quiet. The quiet SOUNDS of NIGHT. CRICKETS. A LOON. An OWL. A courageous raccoon looks about, seeing what he can rummage. By the water... a black bear takes a drink. ANGLE KEOUGH'S TENT He emerges, compelled by a full bladder, wearing only his trousers, carrying a revolver. He walks into the nearby woods. He removes from his shorts his bladder's connection to the outside world. Proceeds to URINATE. Then... he hears something. The SOUND of RUSTLING LEAVES. He STOPS URINATING, we HEAR a HALF SECOND of MOVEMENT. Then quiet. Must be his imagination. He RESUMES his business. More RUSTLING, it's not just the sound of dense urine against leaves, he stops... something's out there in the darkness. Quiet. He starts up for a second, STOPS QUICKLY, and we HEAR it for sure. Something's RUSTLING TOWARDS him. With his free hand, Keough pulls out his revolver. More RUSTLING... Keough points the gun. Something on the ground is coming toward him. He moves slowly, gun drawn, into the darkness. The RUSTLING is getting LOUDER. It's almost upon him. A beat. CLOSER. CLOSER. Then Keough peels away a bush revealing: HECTOR Looking into a gun barrel. He screams. Keough screams. Then-- HECTOR Jesus Christ!! KEOUGH What the hell are you doing?!! HECTOR What are you doing?! KEOUGH You're crawling around like a-- HECTOR I'm laying a spring trap! KEOUGH A spring trap! HECTOR I keep telling you, they can come on land, I don't wanna wake up in the middle of the night-- KEOUGH I coulda shot you, you-- HECTOR This could end up saving your life,-- HECTOR (CONT'D) KEOUGH You'll be glad you didn't Hey look, I'm sure you shoot me then, you'll be finished first in your tongue massaging my class but I think you need hemorrhoids, just before to be retired to the big rubber running off to get your room, where you can play with sister pregnant, who you soft stuffed reptiles. probably already call mom. And now all the others, awakened, are charging. KELLY (arriving) Hey! What is going on? HECTOR KEOUGH This man takes a pistol He's crawling around-- to pee! KEOUGH (CONT'D) (escalating) This is an official investigation, and this cuckoo bird is a civilian. I don't care how much money he's got, he's a total mental. And Hector storms off. A beat. KELLY You hurt his feelings. I think you should go apologize. KEOUGH Apologize? KELLY KEOUGH (CONT'D) We're a team here. It He's a fruitcake! won't kill you to get along. KELLY (CONT'D) Look. The thing about Hector... he takes this crocodile business very... (how to say it) he thinks they're Godly. A beat. JACK He thinks they're what? KELLY In his defense, every primitive culture known to man deified them. He's a mythology professor, he thinks crocs are divine conduits. KEOUGH Is this 'spose to make me take him more serious? KELLY It's to make you understand him, with understanding comes tolerance. Too bad they don't put proverbs in Twinkies, my load would be lighter. KEOUGH (befuddled) Why does everybody insult my intelligence, I have intelligence, intelligent people eat Twinkies. KELLY I'm sorry. Keough shoots a look to Jack. JACK Let's just all get some sleep. And Keough heads off, under-- KEOUGH I'm an intelligent person. Upon which, he disappears from Earth. He's stepped into one of Hector's pit traps. A beat. KEOUGH (O.S.) (calmly) I shall kill him. DISSOLVE TO: EXT. LAKE - SUNRISE The steam is lifting off the lake. EXT. LAKE - MORNING Keough, Kelly, Hector, and Deputy Burke are cruising in the whaler. Hector and Jack are both in full diving gear. Jack also has a stick gun for protection. Hector does not. KEOUGH Again, I don't mean to be annoying with my questions. But if it is a crocodile which I don't think it is. And if they do charge these baby hatchling sounds... (to Jack) why exactly would you want to be underwater at the time? (to Hector) With you it makes sense. HECTOR They don't really attack underwater and-- KEOUGH That "Walt" guy got hit underwater-- HECTOR No crocodile has ever-- KELLY (to Hector) You should take a flax pole. HECTOR And what if I tranq him Kelly? He drowns. You think about that? KELLY I'm just saying last resort. KEOUGH Again. Not to be disruptive. Do we have a problem with it dying? HECTOR Crocodiles don't sever with their teeth, their molars are blunt. As if that's suppose to clear it up. Keough stares back blankly. Then: KEOUGH Is this a trick? HECTOR What I'm saying is if it's a crocodile that cut a man in half he would have to be over twenty feet which would make him well over a hundred years old, it would be unthinkable to destroy him. JACK (to Burke) Alright, let's just drop here. Burke lowers the anchor, as Keough just continues to stare at Hector. Kelly readies the hatchling recorder. She lowers it into the water. KELLY They respond pretty quick. I'll wait till you get down before I turn it on. JACK Good. (climbing over) See ya soon. KELLY Good luck. There was a twinge of real concern in her voice. He makes eye contact with her. Then drops over. Goes under. HECTOR (to Kelly) Two years married, divorced, used to be a lawyer, quit, I'm still waiting on his sperm count. KELLY What? (off Hector's look) Oh as if I'm interested. HECTOR As if. (as he's about to go overboard; to Keough) Will you miss me? KEOUGH (to Hector) I brought a pork chop, maybe we could hang it around your neck for luck. HECTOR No thank you, but maybe later you can chew the bark off my big fat log. And Hector drops overboard. KEOUGH (to Kelly) Was that like a homo-sexual remark? KELLY (strict) I asked you to be nice to him. Keough rolls his eyes. CUT TO: EXT. UNDERWATER - ANGLE ON JACK - DAY Jack, diving. We HEAR the HIGH PITCH of CROCODILE HATCHLINGS. Visibility is again pretty limited. EXT. LAKE - ANGLE ON HECTOR - UNDERWATER - DAY Hector dives through the dark black water. Visibility is lousy. EXT. UNDERWATER - THIRTY MINUTES LATER Jack dives, searched. Looks ahead, sees something... He moves closer... it's the carcass of the moose, no head. EXT. LAKE - AN HOUR LATER Kelly and Keough onboard. KELLY He may be a kook but he's also been all over the world with them. He even swam in the Grimetti with killer Niles all around him, he never got nipped. KEOUGH And that's why he thinks they're Godly? KELLY He said he knew it when he looked into their eyes. KEOUGH (simple) You like Jack? KELLY (thrown) What? I don't even know the guy. KEOUGH Hector thinks you like him. KELLY Well Hector's a giant cracker. KEOUGH You think Jack's handsome? KELLY What is this? KEOUGH I'm just curious. I can never tell what women think is handsome. Is he handsome? KELLY Well. He's probably rugged handsome I guess. Yeah. A beat. KEOUGH Am I? EXT. UNDERWATER - DAY Jack and Hector, diving together. DISSOLVE TO: EXT. LAKE - TWO HOURS LATER The boats sit still on the dead calm water. Kelly works the RADAR, Keough covertly eats a Twinkie. KELLY It shouldn't be taking so long. They both scan the surface. Dead calm. EXT. UNDERWATER - CONTINUOUS Hector moves about. We can hear the HATCHLING RECORDER, but he's not seeing anything. EXT. UNDERWATER - (ANOTHER AREA) - CONTINUOUS Jack looks about. He looks up. Doesn't see much but he gets an eerie feeling. Something's out there. EXT. LAKE - CONTINUOUS Keough, Kelly, and Burke, standing idly, scanning the calm surface. KEOUGH (into headset) Hector, Jack, we show you with about twelve minutes of oxygen left, and you're on the last tank. Time to go home. KELLY That was a bust. A beat. Another beat. Then... something jerks the boat a little. KELLY (CONT'D) What was that? KEOUGH I don't know. It was like a tug. Something tugged us. Upon which something really yanks the boat. So hard... Kelly flips over the back, into the water. KEOUGH (CONT'D) Hey! The boat is moving, being dragged quickly. BURKE Something's got the anchor line! KEOUGH Kelly!! But Kelly's alone in the water, the boat being pulled away. RESUME KEOUGH (into headset) Jack!! Hector! We're being dragged!! (as he starts the motor; to Burke) Cut the line! Cut the fucking line! Burke goes to work on the anchor line as we ANGLE Kelly, treading water, in the middle of nowhere. She's completely vulnerable. EXT. UNDERWATER - CONTINUOUS Hector, swimming for the surface. EXT. LAKE - CONTINUOUS Kelly, treading water. FIND Keough on the boat, he now has the engine running, fighting against the drag but whatever has that boat has a fucking strong hold. KEOUGH Cut the Goddamn rope! BURKE (working away) I'm trying! And finally, as he severs the rope the boat almost goes airborne with a jump, Burke nearly sails out. Keough's boat then races to Kelly. ANGLE KELLY KELLY Hurry up!! Suddenly about thirty feet away... we SEE fish breaking water. KELLY (CONT'D) Shit!! Hank!! The boat is zooming toward her. It arrives. As Keough and Burke go to pull her aboard, we see a dark shadow rising. BURKE (screaming) Look out!! And Jack explodes out of the water, it was his shadow. Keough and Burke pull them both aboard. KEOUGH (back to Kelly) Are you alright? KELLY I think. My hair. (then) Where's Hector?! (to Jack) Where is he? JACK We went in different directions. That water is thick, you can't see through it! EXT. UNDERWATER - CONTINUOUS Hector is swimming toward the surface. Suddenly... a shadow looms over him. He looks up. HIS P.O.V. There is no boat. We can't see it, just a big shadowy mass. RESUME HECTOR He's scared. CUT TO: EXT. LAKE - CONTINUOUS KEOUGH (into headset) Hector! Hector, we got dragged off position, when you surface, you gotta yell. EXT. UNDERWATER - CONTINUOUS Hector is still charging toward the surface. The lack of visibility is frightening, something could be six feet away and he wouldn't know it. EXT. LAKE - CONTINUOUS KELLY (pointing) There's bubbles over there! Look! Keough quickly maneuvers the boat to where Kelly indicated, under-- KELLY (CONT'D) There he is. Here he comes! And Keough has the boat to him as Hector breaks surface. And they quickly pull Hector on board, all attention is on Hector as they lean over to rescue him. On the far right... two eyes... moving closer to the oblivious rescuers. Slowly moving in, everybody is so preoccupied with Hector, Deputy Burke, at the end of the boat, is leaning way over to see Hector. If only he knew what he's not seeing. The eyes come closer. They're now in the water right below Burke's head. How can he not see it? A beat. Another beat. Then... suddenly, a mouth, a dragon, teeth, something, flashes from the water-- snap. And Deputy Burke's head is simply gone as his limp body hangs over the boat. Kelly screams in horror. In a microsecond, Burke's head and life are both gone. OFF their stunned faces, as Kelly continues to scream we: CUT TO: EXT. CAMPSITE - SUNSET Burke's body is being loaded into an ambulance. People move in silence, the wake of tragedy. A few State Troopers are on the scene. KEOUGH (giving a statement) Nobody actually saw it. It happened sudden. PAN TO FIND Kelly, staring almost blankly, as Jack, finishing a phone call, approaches. He measures her expression, she's still in shock. JACK You okay? (nothing) Kelly? KELLY Yeah. (then) Nobody saw anything? JACK No. (then) U.S. Wildlife is on their way. KELLY That's probably good. JACK Police want to keep it quiet, if the press gets word... lake monster. They just want us to sit tight. ANGLE KELLY She is visibly undone, she appears almost to be fighting off shock. Jack puts his hands on her shoulder to steady her. JACK Are you okay? KELLY Um... y'know... (swallows) Yeah. Jack can see she's willing herself to be stoic. JACK A man died. You don't have to be so tough. She nods, appreciatively. Part of her would love to collapse into him but a bigger part demands that she remain stoic. KELLY I'm fine. I uh... I'm fine. PAN TO FIND Keough, walking. Still visibly shaken. He unwittingly approaches Hector. They hold a look. HECTOR (genuine) I'm sorry. A beat. HECTOR (CONT'D) Was he a good man? KEOUGH Yup. HECTOR Whenever somebody dies I consider it such a waste that I didn't know him better. A beat. Then-- KEOUGH (fighting off disbelief; shock maybe) His head was just... bitten off. HECTOR (sadly) I used to have this recurring nightmare that I was headless. Keough turns to stare at him with incredulity. HECTOR (CONT'D) (quietly rattling it off) I'd be on the ground looking up at my body, no head, walking around bumping into everything. And my parents wouldn't let me in the house 'cause they'd just bought all these new antique lamps and they were afraid I'd knock them over, made sense, and meanwhile, the neighborhood bullies would see my round little head on the ground looking like a ball, and they'd come rushing over to start up a game of soccer. I'd actually feel grateful just for being allowed into the contest, that's esteem for you, what are your thoughts? Keough has had enough of this guy. KEOUGH (a powder keg) You know, Hector, I'm sure you're a fine person in your own mental way. But I think it would be best if you and I didn't speak. And Keough heads off. He takes about four steps... then SNAP. Up goes his upside-down body like a rocket. He's stepped in Hector's spring-bow trap. A beat. He swings upside-down like a pendulum. Another beat. HECTOR This is a setback. KEOUGH You don't want to cut me down. 'Cause I'll kill you. CUT TO: EXT. BEACH - NIGHT Kelly and Jack. KELLY Hard to believe there could be a monster under such peacefulness. JACK I thought I might track the shoreline tomorrow, look for prints. She just stares out as if she didn't hear. And he fixes his own stare on her. Feeling it, she turns, catches him looking at her, he diverts the stare. She feigns a non-reaction. A beat. JACK (CONT'D) You know they say the brain confuses fear for passion. KELLY Excuse me? JACK When you get scared, the brain releases a chemical, same chemical it releases when somebody's... (a beat) in high school, the thing to do was to take the girl to a scary movie. KELLY What are you talking about? JACK I'm saying between the moonlight, a beautiful lake and a monster that bites heads off... you look good. KELLY Gee, that was so poetic, Jack. I'm all moist. JACK Forgive me for trying to be nice. KELLY Nice? Nice would be "you look pretty," nice is not some man- eating monster has tricked my brain into making you look good. JACK I didn't say it like that. KELLY You did, you-- JACK I was trying to pay you a compliment, I was guising it as science 'cause I know you're comfortable in that arena. Science. KELLY A man just died, you're hitting on me with science. JACK Just forget it. HECTOR (arriving) Beg pardon? Sorry to intrude but Hank seems to have gotten himself stuck in a tree. EXT. CAMPSITE - SECONDS LATER Hank hangs still, upside down, from the tree, as Hector, Kelly, and Jack approach. HECTOR I probably could've accomplished freeing him myself but he had a look of mayhem on his upside down face. They arrive. Hank says nothing, he hangs there perfectly still. KELLY Hank? KEOUGH (calmly) Yes. The three exchange looks. KELLY Are you okay? KEOUGH (calmly; almost sweet) Other than feeling slightly embarrassed, I'm perfectly fine. (then) Could you cut me down? HECTOR Promise you won't kill me, first. KEOUGH (calmly) I have no interest in ever looking at you, Hector. (again) Could you please cut me down? Jack gives Kelly a knife. JACK You cut, we'll hold him. Hector and Jack grab hold, Kelly cuts, they lower him to the ground. He rises. KEOUGH (calm) Thank you. (then) I lied. And he charges after Hector, who runs toward the beach. Keough chases, Jack and Kelly pursue, trying to stop him. And suddenly, exploding out of the woods, a ferocious charging GROWL. An attack. Screams all over, a half-second of confusion before we SEE it's a large BLACK BEAR jumping out of the darkness, right at Hector. Hector dives out of its path. Screams, panic, shouting, as the bear rears up on his hind legs. Seemingly about to lunge when... exploding out of the water the giant jaws of a crocodile. In a flash instant, the beast engulfs the bear, twisting it, slamming it on the ground and then pulling it into the water. The bear fights back ferociously for a second but there can only be one outcome here. In a matter of seconds, both bear and crocodile have vanished. And the water is calm again. ANGLE THE FACES Utter catatonia. Shock. Whatever they expected to find in this expedition, they weren't remote prepared for that. There are no words here. Shock is pre-empting every other human sensory. What they just saw... a crocodile head measuring five feet rise up out of the water and gobbled a fucking bear. A beat. Then-- KEOUGH (admitting) Okay. It's a crocodile. I'll admit it. A beat as they gulp air. KELLY (to Jack) You're cut. There is a little blood over Jack's right eye. He dabs it. KELLY (CONT'D) (to Hector) He was an Indo-pacific. HECTOR (daunted) Are you sure? KELLY Scales were oval. It was an Asian crocodile. KEOUGH Asia? How... how could he get here? HECTOR Obviously some asshole in Hong Kong flushed him down a toilet. KELLY He had to be thirty feet long. Another beat. JACK (charged) Hank. The little cannon you brought, get it. Guard the shoreline. Otherwise, we're done. We made the I.D., our job is finished. KEOUGH Alright, Ms. Paleontologist. I wanna know why that monster is here. You got a theory? KELLY Why he's that big, I don't know. Why he's here... the wetlands are being developed, crocodiles are moving. Australia, Fiji, the things have started to cross oceans. JACK But why Maine and why alone? Crocs are social, why's this guy on the move by himself? HECTOR Maybe he doesn't play well with others. KEOUGH Is everything a big fucking joke to you? HECTOR (re his groin) Bite my bishop. And Keough starts for him, but Jack intercedes. KEOUGH I'm sick of him! JACK HECTOR (interceding) Let him go! I'm sick of you C'mon. too, let him go. (then) Thing about being rich, Sheriff, my parents had the added luxury of being able to ditch me off at Karate school, I'm a brown belt. So go ahead. Take your best shot. Keough throws a haymaker, decking Hector. Lays him out. KELLY Hank! KEOUGH (who knew?) He said he knew Karate! HECTOR (shaken) At school they'd always say "go" first. JACK (to Keough) Get your big gun and guard the shore. Hector. Go to your tent. HECTOR (muttering as he goes) He never said "go". JACK (to Keough) Get the gun. KEOUGH (muttering as he goes) If I fall into a hole or get hoisted into a tree... And he's gone. JACK (re Keough and Hector) Like little children. (then) You okay? KELLY Yeah. I got some stuff for your cut. JACK I couldn't believe... did you see the size of that thing's mouth? KELLY I wonder if he's some kind of mutant. (then) That bear had to be surprised. JACK (taking her arm; ushering) Let's get away from the shore. She looks at his hand on her arm, which suddenly makes him self- consious. JACK (CONT'D) Sorry. KELLY It's okay. They hold a look. EXT. LAKE (WESTSIDE) - NIGHT We are at a small clearing on the other side of the lake. A four-wheel-drive of some sort is bumping down a fairly unpassable dirt road into the clearing. TOM (O.S.) Told you I could make it. As the jeep comes more INTO VIEW, we REVEAL its occupants to be six teenagers, including Janine, and TOM, STEVE, DANNY, CAROL, ELLEN. They've been drinking but they're not sloppy drunk. As they climb out, Tom points to a swing rope which extends from the branch of a tree that overhangs the water. TOM There it is. STEVE (stripping) Last one in's a dead man. Could be more like first one in. The teenagers begin to strip off their clothes. As they giggle and laugh we: CUT TO: INT. KELLY'S TENT - NIGHT Kelly is butterflying Jack's wound, necessarily working very close to him. JACK Ow. Shit. KELLY Just gotta pull it a little tighter. JACK Who taught you be be a nurse? KELLY Father's a surgeon. I can even stitch in a pinch, wouldn't be a bad idea here. JACK No thanks. KELLY Keep it dry. No swimming. JACK (dry) Thank you. They hold a look. Then -- JACK (CONT'D) You're having the best time of your life, aren't you? KELLY (caught) What? Why... people have been killed, I hardly think I'm having a good time, why would... (off his look; copping) Does it show? Jack nods slightly. KELLY (CONT'D) This is the first time I've actually... y'know been in the middle of anything. I've never really even gotten dirty before, with me showers have always been preventative. Their eyes are locked now, making her self-conscious and nervous. JACK That's why you're here. To get in the middle of something? KELLY Maybe. I've always read about what's happened. I've never... I know it sounds silly but, it's nice to be someplace while something is actually... y'know... happening. Something is happening right now. A beat. KELLY (CONT'D) We should probably go to bed. (quickly) Get rest, get some rest. Go to our separate beds, get some rest. The Freudian slip of her life. They hold another look. Then he starts to exit. He stops at the door, turns back. JACK Thanks for the... bandaid. KELLY (please don't go) Night. He holds another look, then leaves. OFF her punishing herself for both the slip of the tongue and for cutting the moment short. CUT TO: EXT. LAKE (WESTSIDE) - NIGHT The teenagers are now skinny-dipping, having a grand ol' flirtatious time. As they splash and frolic and cop their feels, we ANGLE... about fifty yards away. Two eyes pop above the surface... followed by the snout. GO TO: THE CROC'S P.O.V. Six fresh delicious teenagers. Midnight buffet. RESUME the croc as he slowly starts to move. The teenagers start to take turns, swinging on a rope from a branch which overhangs the shoreline. As they laugh and yell, Danny swings on a long rope... landing with a splash. About ten feet from the croc, waiting stealth-like, his eyes barely above surface. He could easily go for Danny... but he somehow knows the service will get better. As Danny swims back to shore, Janine takes hold of the rope. JANINE Here I come. Ready or not. And she swings away... a better swing than Danny's... and she splashes down about five feet from the eyes. Again, the eyes don't move. The teenagers cheer Janine's record-setting swing as Tom takes hold of the rope. STEVE All or nothing, Tom. TOM From the jaws of defeat... And he flies away. It's a leap to die for. As he splashes down... gulp. Like a seal grabbing a fish... and Tommy has vanished. The kids, cheering at the leap, stop cheering when Tommy fails to resurface. A beat. They first think he's playing a joke. STEVE Ha ha. Another beat. Still no sign of Tommy. JANINE (still in the water) Tommy? (then) This isn't funny, Tommy. And now they're concerned. They all move down toward the shore. STEVE Tommy? DANNY C'mon, Tommy. And now they're starting to panic. JANINE Where is he? DANNY (yelling) This isn't funny!! Suddenly-- thrusting up out of the water. The crocodile, Tommy in its jaws. Bloodcurdling screams from all as we: CUT TO: EXT. CAMPSITE - NIGHT Hector and Keough both hear the screams of the teenagers. HECTOR What's that? KEOUGH It came from across the lake. EXT. LAKE - NIGHT Keough, Jack, and Deputy Stevens are in the boat, zooming towards the teenagers. JACK (to Keough) You said nobody came in here! KEOUGH Obviously I was wrong! CUT TO: INT. HELICOPTER - NIGHT Hector and Kelly are flying toward the area, the search beams are on. CUT TO: CLOSE ON JANINE JANINE He just took him in his jaws. REVEAL EXT. LAKE (WESTSIDE) - NIGHT The teenagers have some or most of their clothes back on. Hector's chopper is hovering over the area, its beams lighting the water. Lying on the beach, covered... is Tommy. Alive. And basically unhurt! KEOUGH He was in his mouth?! JANINE Yes. JACK (stunned; to Tommy) You're okay? TOMMY (in shock) I think; just cuts. DANNY The thing just came up out of the water and kind of spit him at us. JANINE You should have signs posted, for God's sake! JACK (examining him) You're really okay? Tommy nods. Then-- TOMMY I might need a Tetanus. Keough and Jack exchange a look of disbelief. EXT. CAMPSITE - AN HOUR LATER Hector, Keough, Jack, and Kelly, looking tired, trek toward their tents. HECTOR Just spit him back out. Some shall live, some shall die, arbitrarily, sound like any higher power we know? KEOUGH (dismissive) He didn't eat the kid cause he'd just swallowed a bear. HECTOR Sobek. Half man, half croc, oldest God-- KEOUGH I'm tired, Hector. I know this because you're beginning to not bug me. HECTOR That sounds good but underneath it's hurtful. (then) Nightcap? KEOUGH Raincheck. They're growing on each other. Jack and Kelly exchange a smile. Hector and Keough are developing an odd kinship almost. They continue on as Jack and Kelly stop at her tent. JACK Well. Goodnight. KELLY We seem to say goodnight a lot. JACK We could not say it and... (suddenly a coward) Well, that thing is ambulatory if you want somebody in your tent to... She smiles. Then: KELLY Night. He holds another look. She goes into her tent. He stands there. A beat. Waits to see if she calls him back. She doesn't. He then heads off. Her head pops out. Watches him go. Almost calls after him. Doesn't. EXT. BEACH - NIGHT We see the campsite, looking at it from the water. All is still. After a beat. An eye blink. We are not looking at the campsite. We are CLOSE ON an EYE, REFLECTING the campsite. Another blink. Still another. We HEAR a slight SNARL. Then: DISSOLVE TO: EXT. LAKE - SUNRISE Hector and Deputy Gare, inside the chopper, lifting of, to begin an early morning search. CUT TO: EXT. SHORE - (DIFFERENT PART OF THE LAKE) - SUNRISE Kelly, Jack, Keough, and Stevens searching for tracks along the wooded shoreline, staying a good six feet from the actual shore. Their senses are very heightened. Keough has his cannon gun. JACK Get back from the shore. We know how fast he can leap out. KEOUGH We shouldn't even really be doing this. JACK They won't be here till at least noon. We got a few hours to kill. KEOUGH So does he. KELLY (obsessing) I'm gonna get ticks. I know it. They're drawn to me. I got a thing about ticks. JACK (quickly) Ssssh! KELLY What? JACK I heard something. He's staring at a brush thicket. After a beat, we HEAR a slight RUSTLE. The guns go up quickly. A beat. Nothing. Jack bends down, picks up a stone. Tosses it into the thicket. And out it charges. Kelly screams, they're all about to fire before they realize it's only a beaver. It scurries into the water. KELLY (trying to gather herself) Shit, shit, shit, shit, shit. KEOUGH (suddenly) Look. ANGLE A GIANT PAW PRINT embedded in the mud. It must be two feet in diameter. RESUME JACK (to Keough) Guard the water. Kelly and Jack go quickly to examine the print. JACK (CONT'D) That's pretty big. EXT. LAKE - CONTINUOUS The chopper is descending. Hector and Gare are inside. GARE It seems like we're getting lower. HECTOR It happens when I land. GARE Why are we landing? HECTOR 'Cause this is the cove he obviously lives in. GARE (alarmed) So why are we landing? (then) Hector. EXT. SHORE - CONTINUOUS Kelly and Jack are still working on the footprint. Physical proximity, which they're both a little distracted by. KELLY Thing we can lift it? JACK Maybe. Don't mush it. KELLY (annoyed) I'm not mushing it. JACK You're mushing it a little around the-- KELLY I'm not mushing it. Suddenly another beaver scurries out from underfoot, scaring all of them, but particularly Kelly who jumps. Her foot lands on a long extended branch, and even more suddenly Burke's severed head seesaws out of the shallow water, hitting her in the shin. She screams as they all jump back. ANGLE THE HEAD RESUME They just stare, as Kelly continues to scream. JACK (holding her) Okay. Okay. Okay. KELLY That is it!! JACK Really-- KELLY No. I keep getting hit with heads! JACK (holding her shoulders) Calm down. KELLY You calm down! JACK Calm down. She takes a couple of calming breaths. KELLY I'm being very calm. I'm composed. This is the second time I've been hit with a severed head, I'm entitled to complain. STEVENS (re the head) Is that uh... KEOUGH I can't recognize him from the back. It looks like him. Keough takes a stick. Squeamish, he tentatively pokes the head, trying to turn it over. ANGLE THE HEAD It is Burke. RESUME Keough leans in for a closer look. KEOUGH That's him. (re something) What the...? Something appears to be in his mouth. Keough takes a small twig, pries back a cheek... the mouth is full of worms. KEOUGH (CONT'D) Now I'm gonna puke. JACK (seeing something) You gotta be kidding. KELLY What? JACK (pointing) Look. THEIR P.O.V. About a hundred yards north, Mrs. Bickerman is leading a blindfolded cow to the water. RESUME Kelly raises her binoculars. So does Jack. KELLY What is she doing now? (then) Mother of God. KEOUGH What? KELLY Look ten feet into the water. THEIR P.O.V. There waiting... mouth fully open... is the fucking crocodile. RESUME Kelly, Jack, and Keough, as they lower their scopes. They look at each other, then back at the foregoing. EXT. BICKERMAN HOUSE - CONTINUOUS Mrs. Bickerman, singing "Itsy Bitsy Spider" is happily leading the blinded cow to the shore. The cow, tentative, just allows itself to be led, not knowing what the plan is. As Mrs. Bickerman gets to the water, she looks out to the croc. BICKERMAN Come and get it. And with that, she whips the hind of the cow causing it to jump forward. Almost simultaneously, the croc makes its charge and the cow is dead before it has a clue. CUT TO: ANGLE JACK, KEOUGH, AND KELLY utterly agape. After a long beat: CUT TO: INT. BICKERMAN HOUSE - DAY Keough, Kelly, and Jack are questioning a slightly hostile Mrs. Bickerman. BICKERMAN (indignant) I haven't broken any laws. KEOUGH (bordering on condescension) Oh, but you have, Ma'am. You lied to us, that could be obstruction of justice. A man's been killed in part 'cause of your silence, I could make out a charge of reckless endangerment and I'm sure PETA would be annoyed at how you treat your cows. BICKERMAN The reason I lied is if I'd told you the truth, you'd just hunt it down and kill it which seems to be exactly what you're doing. KELLY How long have you been feeding this thing? BICKERMAN About six years. He first appeared in May of nineteen-ninety-one. Bernie was out fishing and it followed him home. So we threw him some scraps and well... he didn't seem to bother anybody. He became kind of like a pet who lived in the wild. JACK He just appeared. You have no idea how he arrived in this lake? BICKERMAN No. Do you? KEOUGH Ma'am. Your husband, Bernie. You didn't, by any chance, lead him to the lake blindfolded? BICKERMAN (offended) No, I did not. (then) The crocodile did kill him, though. But it was all... it was a mistake. KELLY A mistake. BICKERMAN One of our horses got loose two years ago, went to the lake to drink and... well the crocodile started coming in, Bernie went to intercede and... it was all a terrible misunderstanding. (then) If I reported it, they would've sent people to kill it. Keough, Kelly and Jack can't quite believe what they're hearing. Then-- KEOUGH Ma'am, how could you not report this? He puts human life at risk and-- BICKERMAN Nobody lives on this lake. it's really his lake now. EXT. LAKE - CONTINUOUS The chopper, free-floating, is drifting near a small cove. Hector, in diving gear, is about to go into the water, as Gare tries to dissuade. GARE (getting panicked) C'mon Hector. I know you're crazy but you can't-- HECTOR I need to see his habitat. As he drops in. GARE Please. I'll have sex with you, anything, but get out of the water. HECTOR He's not gonna hurt me. CUT TO: INT. BICKERMAN HOUSE - CONTINUOUS Kelly, Jack and Keough with Bickerman. BICKERMAN Murders and rapes in the cities. People bomb planes... can the police stop them? No. But feed one little cow to a crocodile... KEOUGH You're to wait right here until the police show, you're under full house arrest. BICKERMAN Thank you, Officer Fuckmeat. GARE (O.S.) (through walkie-talkie) Hank! We got a problem with Hector. KEOUGH (into walkie-talkie) What problem? GARE (O.S.) (through walkie-talkie) He went swimming. CUT TO: EXT. LAKE - UNDERWATER - CONTINUOUS Hector is underwater, exploring. ANGLE GARE ON THE CHOPPER Her radar is up, she heard something. But she doesn't see anything. She scans the surface closely. EXT. LAKE - UNDERWATER - CONTINUOUS The water is slightly more visible as Hector swims. Other than the odd school of fish, an otter, a snapping turtle... nothing extraordinary. Then, a flash shadow looms over him. He looks up, but sees nothing. Probably just the sun ducking under a cloud. It does make him sufficiently nervous, however, to head for the surface. He swims upward. EXT. LAKE (SURFACE) - CONTINUOUS Hector breaks the top. Lifts his mask, looks toward the chopper, which he sees about forty yards out. He continues to breaststroke on the surface. Suddenly... the croc's head rises up right behind Hector, who's oblivious. He continues to swim. The croc follows. Then... maybe divine intuition... Hector gets a feeling he's being followed. He then turns to look the other way, upon which his face goes rigid. HIS P.O.V. About three feet from his nose... are two giant eyes staring at him. ANGLE HECTOR ashen. HECTOR (weakly) Oh.... my. The croc doesn't move. It just stares at him. Then end of his snout is almost touching Hector. Hector himself doesn't dare move, for fear of spooking the croc into action. We get the idea that looking into the eyes of this crocodile is not filling any spiritual voids. A beat. HECTOR (CONT'D) I suddenly feel a bit foolish. (then) You're different from the others. The croc raises his head now to reveal the snout. And his deadly smile. Hector just tries to tread water with as little motion as possible. He deathly fears a quick movement will cause his life to be over. Perhaps this is what he came for. To be judged by this symbol of mythology. He backswims ever so slightly. The croc pursues just as slowly, their eyes are locked. He could snap off Hector's head in an instant. HECTOR (CONT'D) (terrified; trying to convince himself) Holy spirit of Sobek. Holy ghost. (swallows) Holy shit. CUT TO: INT. SEA CHOPPER - CONTINUOUS Gare still scans the water's surface, looking for any sign of Hector. And her face freezes. Oh yes, there's the sign. HER P.O.V. Hector continues to backswim slowly to the plane and the croc slowly follows. GARE Hector!! We can hear the quaking fear in Hector's voice. As he continues to slowly backswim. HECTOR (to Gare; forced calm) Just turn the ignition, it's fuel injected. Gare turns the ignition, the ENGINE KICKS and DIES. GARE Come on. She turns it again and the ENGINE TURNS OVER. ANGLE HECTOR The crocodile is still right with him as they inch closer and closer toward the chopper. HECTOR I know under the circumstances, biting off my head might seem viable. It would cheapen you. But nothing's funny about this to Hector now. What he's staring into is death. His own. Gare raises her rifle. GARE I might get a shot. HECTOR (fear in his voice) No. If you don't kill him instantly, I'm dead and you'll only kill him instantly if you get his brain, which is about the size of a cherry. And even if you were on target, a bullet might not penetrate his hide. ANGLE GARE GARE (re the croc) Jesus. (to Hector) About twelve more yards. Keep coming just like that. ANGLE HECTOR craning to see how far away he is and as soon as he breaks eye contact with the CROCODILE, it GROWLS. Hector quickly locks eyes with him again. ANGLE GARE GARE (weakly) Oh my God. RESUME By now Hector is almost to the chopper, the croc is right there too. Hector's right hand then goes slowly for his belt though it's impossible to discern why. The crocodile seems poised to finish him. There's a slight GROWL. And then suddenly, a small underwater POP, followed by an EXPLOSION out of the water. it's an inflatable life vest and as it pop tarts out of the water, the croc lunges for it. As the croc goes for the vest, Hector makes his dash for the chopper. In almost an instant, he's climbing on board as the croc pulls the vest into darkness underwater. Hector's up on the chopper's ski. HECTOR Move over!! The crocodile's head comes thrusting up, its massive jaws snapping shut, missing Hector by an inch, maybe two. Hector dives into the chopper, screaming. GARE Go!! She REVS the CHOPPER. The croc comes up again, chomping down on one of the landing skis. Both Gare and Hector scream as the whole helicopter is jerked mightily. GARE (CONT'D) (screaming) Go!!! HECTOR I'm trying!!! The croc releases and the chopper rights itself and begins to thrust off, when the croc surfaces again, mouth open. Gare FIRES her REVOLVER. It might as well shoot BB's. The croc is undaunted but he does miss the ski and by now the chopper is up and running, finally safely out of the reptile's reach. CUT TO: EXT. CAMPSITE - TWENTY MINUTES LATER Jack is nearly manhandling Hector, pulling him by the elbow towards his tent. Kelly and Keough are there too. JACK (livid) This time, I'm gonna kick your ass. HECTOR Bastard bit my chopper. JACK Hey!! Jack simply grabs his arm and squeezes a pressure point. Hector yelps in pain. JACK (CONT'D) You wanna kill yourself, that it, you looking to commit some kind of divine suicide? KELLY Alright, Jack! JACK No! (back to Hector) You might think they're Godly, you might get some spiritual lift backstrokin' with dragons but you just put a deputy at risk and-- HECTOR (flaring) Let's not overlook he didn't eat me, maybe-- JACK 'Cause he just ate a cow, you stupid-- KELLY Jack! HECTOR I'm a civilian! You don't have any authority-- KEOUGH I can arrest you!! HECTOR Then do it!! KEOUGH You probably do want to be killed by it, that was you trying to meet your maker. HECTOR So profound and fat. Hector, feelings hurt, stomps off again. Kelly looks at Jack. Then Kelly follows Hector. INT. HECTOR'S TENT - A MINUTE LATER Hector enters, sits. A beat. Kelly enters, goes to sit next to him. KELLY (softly) Did you want to be killed by it? HECTOR You think I'm that nuts? KELLY (softly) Hector. (then) What you just did... there was at least some sort of a death wish going on. HECTOR Nothing's real. KELLY Excuse me? HECTOR Nothing's real. (escalating) I'm rich, people are automatically my friends, sycophants ooze out like oil slicks and and and-- He's sounding erratic. HECTOR (CONT'D) With crocodiles... everything's even. KELLY I'm no psychiatrist. But I would think there have to be better places to look for autonomy, than-- HECTOR (pained) I'm an empty man, Kelly, wealth has robbed me of the dream in life, I sit here broken, a hollow sack-- KELLY Oh, bullshit. And Hector drops the act. HECTOR Didn't even sound good? KELLY No. HECTOR (worth a try) Eh. Fuck it. KELLY Can I tell them you won't go back in the water? HECTOR Yes. You may. But maybe... I don't know... He has trouble saying it. KELLY What? HECTOR Could we have intercourse? She just whacks him. Then exits. OFF Hector, "worth a shot", we: CUT TO: EXT. CAMPSITE - DAY Jack and Keough are there to meet Kelly. JACK Just heard from Wildlife and Florida Fish And Game. They should be here by four. KELLY Okay. JACK We might as well pack. KELLY Good idea. HECTOR (O.S.) They'll kill him. They turn to see, Hector is standing there. HECTOR They're not going to be able to snag him in pitmans. Tranq him in water, he drowns. KELLY They could try to tranq him on land. HECTOR (knowing) They won't. He's taken human life, the mission will be to put him down. KEOUGH Gee, that would really disappoint me. HECTOR Forget about him being God, he's thirty feet long, he is a miracle of nature, who somehow made his way to Maine. This is a grand beast. A grand dragon. An attempt should at least be made to capture him alive. JACK Well, you can try talking them into that, if-- HECTOR I have enough flaxedil with me to put him out. And I think I know a way to-- JACK Forget it. HECTOR Look. I know I'm crazy, but when they come, they will kill it. They have to, politically, he's too dangerous, if something were to go wrong... the odds are he will be destroyed,-- KEOUGH HECTOR (CONT'D) Which is exactly Please, Hank, let me finish what... I'm having a sane moment, this is a window. HECTOR (CONT'D) If he were neutralized when they got here... they might consider saving him. KELLY And how would we neutralize him? HECTOR We lure him on land and pump him with the drugs. JACK No way. HECTOR Jack. We've all seen it. He's probably a hundred and fifty years old, he's bigger than an elephant. Hector's impassioned here, he's not fooling around. JACK So maybe Wildlife will try to save him, they're more equipped to-- HECTOR We both know what they'll do. Silence. Admission by silence. Then-- JACK Even if we could tranq him-- how would we get him on land. KEOUGH Other than to eat us? HECTOR He follows anything that moves. You guys can be in the trucks with tranq guns. If he charges, drive off, plus Hank you've got your hand- held cannon. We could do this with no safety risk. If it works, we save a beast that should be saved. A beat. They are sympathetic to the idea. JACK And again. How would you get him on land? HECTOR That's actually the easy part. CUT TO: EXT. BICKERMAN'S HOUSE - AN HOUR LATER We HEAR the CHOPPER. BICKERMAN (to Keough) I'll sue you. KEOUGH Go ahead. And up goes Hector's chopper. And... REVEAL connected to a long cable... a cow. An airborne cow, dangling from the chopper. BICKERMAN (to Jack) You can't take a cow by eminent domain. JACK We won't let him get hurt, Ma'am. BICKERMAN You're all fuckers. Vicious little fuckers. Jack turns to Kelly. JACK Are we crazy? KELLY Well... JACK We've got a cow hanging from a helicopter. She shrugs. KEOUGH Let's get back to camp. CUT TO: INT. CHOPPER - CONTINUOUS Hector pilots. HECTOR Not much drag. As long as I can keep him from swinging, we're okay. EXT. LAKE - CONTINUOUS Hector's chopper is flying the befuddled animal toward the cove. FIND Keough, Kelly, and Jack on the water cruising back to camp. Keough has his gun. EXT. CAMPSITE - TWENTY MINUTES LATER Two pickup trucks have been backed in for a shooting vantage. Kelly, Jack, Keough. Riflemen are ready with tranq guns. ANGLE JACK JACK (into headset) Keep enough tension to hold him up, Hector, we don't know if he can swim. HECTOR (O.S.) (through headset) Right. JACK The more he thrashes, the better. HECTOR (O.S.) (through headset) You ready on shore? JACK We're ready. RESUME The chopper lowers the cow. He starts to kick his legs in anticipation. JACK (O.S.) (through headset) If he tires, lift him out. And the cow goes into the water. He swims frantically a few meters. The chopper lifts him out briefly. JACK It can't work. KELLY He has been going after everything. It could work. (then) But this is not a happy cow. JACK He looks like a giant tea bag. DISSOLVE TO: EXT. LAKE - AN HOUR LATER The cow has been dipped more times than a stale donut now and he just hangs there like pasta. Jack, Keough, and Kelly are poised with tranq guns on the beach. JACK (looking through binoculars) He doesn't seem to be swimming. Is he swimming? KELLY (looking through binoculars) He's floating. Take it home. JACK (into headset) Hector. HECTOR (O.S.) Hold on! INT. CHOPPER - CONTINUOUS HECTOR I got something on the screen. JACK (O.S.) You do? ANGLE THE SCREEN There's a mass... moving toward the cow. HECTOR He's coming. EXT. BEACH - CONTINUOUS JACK (into walkie-talkie; now adrenalized) Where? Where? HECTOR (O.S.) (through walkie talkie) Thirty meters or so. Moving slow, but straight toward Elsie. JACK Can you confirm visually or just radar? HECTOR (O.S.) (through walkie talkie) Radar, he's underwater. But he's definitely coming. JACK Okay. Lead him in. (to the others; barking) Okay, everybody up on the trucks. We aim for the stomach or side... there's little chance the darts will pierce his hide. Everybody up on the trucks. They move into position. INT. HECTOR'S CHOPPER - CONTINUOUS HECTOR (charged) On our way. There, he's surfacing, there's the snout. You little sucker. EXT. LAKE - CONTINUOUS Sure enough... that giant snout breaks the surface. Ever so calmly... it moves toward the cow. EXT. BEACH - CONTINUOUS KELLY (into walkie-talkie) If he gets close, you go up, Hector, don't you endanger that cow. KEOUGH She's worried about the cow now. HECTOR (O.S.) (through walkie-talkie) He's following. Here we come. ANGLE THE RADAR SCREEN Depicting the same. EXT. BEACH - CONTINUOUS JACK (to Hector) Nice and slow. (to the others) Let's get ready. Hector's chopper, cow dangling, is slowly approaching the shore. Behind it... the snout and eyes of a giant croc. Back on the shore, Keough's men ready themselves for action. Tranq guns. rifles... the team is mobilized. We HEAR a DISTRESSED CRY from the COW. KELLY He's mooing. JACK You wouldn't? KEOUGH They're coming right in. KELLY Such a simple idea and it's working. What does that tell you? KEOUGH That it's about to go wrong. JACK (into walkie talkie) Almost here, Hector. Don't forget to lift up the cow. HECTOR (O.S.) (sarcastic, through walkie talkie) Thank you, Jack. JACK (to the team) You shoot on my order. If he charges, I'll be yelling "go" which means drivers take off. And drive fast, they can move on land. (to Keough) You set? KEOUGH Don't worry about me. Incredibly... the plan is working. A giant dragon is following a dangled suspended cow to the shoreline. Hector dangles the cow closer, they're now nearing shore. The big crocodile, eyes on the prize, is moving in for the flank steak. The time is now. INT. CHOPPER - CONTINUOUS HECTOR We're in about four feet of water now. EXT. BEACH - CONTINUOUS JACK Little closer. Three, two, one... The crocodile then suddenly thrusts up after the cow, snapping at air. Hector pulls up with the chopper. JACK (CONT'D) Fire!! Jack, Gare, and other officers pump the beast with tranq darts. But Hector has taken his chopper up too fast, causing the cow to swing like a pendulum. It rocks the chopper. INT. CHOPPER - CONTINUOUS HECTOR Oh, shit. The chopper is in trouble. The cow sways, the helicopter struggles to stay airborne. EXT. BEACH - ANGLE KELLY - CONTINUOUS KELLY (screaming) Watch out!! JACK Keep firing! The men continue to pump the beast with tranquilizing darts. INT. CHOPPER - CONTINUOUS Hector's having trouble righting his chopper. HECTOR Motherfucker. EXT. BEACH - CONTINUOUS Suddenly the croc goes up and grabs the dangling cow, snapping off the cable. JACK Shit!! And down comes to the chopper, Hector cannot control it. It crashes into the lake. KELLY Hector!! JACK (to Keough) Take him. KEOUGH I can't. I'll get Hector!! JACK Where is he?! KELLY We gotta get to Hector!! JACK (to the driver) Back us in a little, we need to get a shot! Hector pops his head out of the overturned chopper. He looks around. HECTOR Where is he? JACK (to the Deputies) Tranq guns down, rifles up! The men switch guns, under-- JACK (CONT'D) (yelling to Hector) Do not go in that water! (to the driver) Back us in!! As the pick-up backs closer to the shore-- JACK (CONT'D) (to Keough) If you get a safe shot... KEOUGH I'll take it! JACK Hector. Do not move. The water is calm again. A beat. JACK (CONT'D) (to Gare) You see anything? GARE (looking through binocs) Nothing. Maybe he swam out. Upon which the croc comes thrusting up out of the water charging the truck. Screams. JACK Go!! Drive!! The pick-up spins dirt, lurches forward, throwing Keough off balance. The croc heads back for the water as Keough regains his balance. JACK (CONT'D) Take him!! And Keough blasts. It detonates the ground near the croc causing him to surge airborne into the water. And he goes under. Silence. A beat. KELLY Did you get him? KEOUGH I don't know. (to the Driver) Back the truck-- ALL No!!! JACK Hector, you see anything? ANGLE HECTOR on the pontoon of his chopper. He's looking about, studying the water. HECTOR No! KEOUGH (sarcastic) I just have this feeling everything's totally safe. HECTOR (yelling) I see blood. Maybe you got him, Hank. And as Hector looks further. Behind him... up surfaces the crocodile in all his stealth. His head is two feet from Hector and nobody knows it. Least of all Hector. HECTOR (CONT'D) I can't see him, but this is definitely blood. Maybe you got him. And as he turns back, he sees it. The croc comes up as Hector screams, jumps off. Screams. Keough leaps off the truck and charges into the shallow water with his gun, looking to give Hector some cover. Hector then resurfaces swimming to his bobbing chopper. He climbs in. KEOUGH Where is he?! HECTOR I don't know! No sooner said than the croc comes launching up. As he springs toward the open chopper cabin, Hector, leaps out on the other side. The croc's head comes crashing clear through the cabin and he becomes wedged. The crocodile is stuck, he protrudes right through the chopper. He's not completely immobilized but wherever he goes now, the helicopter is going with him. KEOUGH Hector!! But now Jack has joined, rifle in hand. Hector surfaces again, swimming for shore. Jack runs to help him onto land. KEOUGH (CONT'D) (taking aim) Alright. Game over. But the croc looks feeble now. He lets out this MOAN of DEATH. And even Keough hesitates to pull the trigger. KEOUGH (CONT'D) (to Kelly) Should I? KELLY Wait. RESUME The croc, unable to dive, is now thrashing toward the beach. But there's no rage in his behavior now. He seems desperate. He's taken some bullets, he's tired, he's wedged inside a two ton piece of metal and he's exhausted. KELLY I think the drugs are kicking in. Breathing heavily, he lumbers into the shallow water, unable to free himself from the mangled wreckage. As unbelievable as that cow looked dangling from this very chopper, the sight is even more astonishing, if not preposterous, now. A thirty foot exhausted crocodile is wearing the broken helicopter. And he just cannot go on anymore. Kelly, Hector, Jack, Keough, stare back. They approach with caution. They all stare at the tired crocodile. ANGLE THE CROC He's now looking back. Bleeding, gasping... beaten. In his eyes... we can see it. The beast is beaten. ANGLE THE PRINCIPLES There's no triumph. In their eyes... sadness. JACK I don't think we really want to wait for him to catch his breath. It continues to breathe heavily. KELLY He's through fighting. Look at him. JACK I don't care. Hank. End it. Keough raises his cannon. HECTOR No. Look. He's got nothing left. JACK Yeah and every time we think there's no more danger-- Upon which, a twenty footer, another croc, thrusts up out of the water, seizing Hector. Screams. It death rolls Hector, flings him out of his mouth and in seconds, he's coming up for more. Keough blasts his Avenger. A direct hit. It takes the smaller croc's head right off sending it sailing into the air. It splashes down, the first head not to hit Kelly. They all then go for Hector, pulling him to shore. He's bleeding. HECTOR I'm okay. KELLY You're not okay, your leg's a mess. JACK Get him onto shore. KELLY He heeds a tourniquet. Keough quickly peels off his shirt. Gives it to Kelly, who goes to work. KELLY (CONT'D) You're gonna be okay. HECTOR Guess I finally got bit. KELLY Yeah, you got bit. I'm gonna fix it. A sudden ROAR. Kelly screams as Jack and Keough wheel to see... the big croc. Maybe his final roar, he looks weak. GASPING in the crashed chopper. Jack and Keough approach. KEOUGH (quietly; re the big croc) He's done. He's dying. JACK Don't count on it. (then) We better take him out. But something about this crocodile... his eyes looking back at them... nobody wants wants to take him out. ANGLE THE CROC looking back at them. He knows he's in their hands now. He knows. ANGLE THE HUMANS A beat. HECTOR (quiet) Flax him under his tail. Two hundred cc's. Under the tail, that'll put him to sleep. Upon which we HEAR the SOUND of TRUCKS. Florida Fish And Game, U.S. Wildlife, arriving on the scene. JACK Thank God. OFFICER COLSON, Florida Fish And Game, emerges, approaches. Stares with utter disbelief. KELLY We need to get it some medical help. (re Hector) And him too. By now the Florida army has moved in. They all stare with the same suspended disbelief. KEOUGH (explaining) We trapped him with our chopper. DISSOLVE TO: EXT. BEACH - AN HOUR LATER A crew, including vets, are working on the sedated croc, trying to free it from the wreckage. FIND the PARAMEDICS with Hector, on a stretcher. Jack, Kelly, and Keough are there. PARAMEDIC We're gonna airvac him to Portland. KELLY Okay. (to Hector) That's where they're taking the croc, Hector, they've got some big tank there. HECTOR He's gonna live? KELLY Yeah. Thanks to you. HECTOR And Hank. (to Keough) I know you weren't really trying to hit him. KEOUGH (gently) I was aiming for you. Hector smiles. HECTOR Thanks for the rescue. Jack leans down. JACK You take care. HECTOR You talk to Bickerman? JACK She didn't tell us about the other croc 'cause she was afraid we'd blow it's head off. HECTOR Women's intuition. Are there anymore? JACK Just those two. PARAMEDIC We gotta take him. JACK Okay. PARAMEDIC We got room for one. JACK Well... I got stuff to pack up and... He looks to Kelly, but before she can say "yes"-- KEOUGH (grudging) I'll go. Hector smiles. The Paramedics board Hector. Keough turns to Jack. KEOUGH Thanks for your help. JACK You too. Handshake. Respect. That's about as much affection as you get from Keough. He then extends his hand to Kelly. KELLY I'm sure this would offend you on principal but... could we keep in touch? KEOUGH I guess. And she kisses him on the cheek. Keough fights off his blush, boards the chopper. As it then lifts up, Kelly turns to Jack. KELLY Well... JACK You wanna ride in my truck? GARE (arriving) Your truck is jammed. Should we take some stuff out? KELLY No, no, I'll be a while anyway. I'm gonna say goodbye to the lake. JACK You sure? I don't mind... KELLY No, I actually want to stay for a little while. They hold a look. Then-- KELLY (CONT'D) I'll miss you most of all scarecrow. And she kisses his cheek. JACK If I'm ever in New York... KELLY Yeah. They hold another look. JACK Y'know, if we didn't live in separate worlds and... (a beat) KELLY But we do. (then) Hey, we'll always have Maine. He smiles. JACK It was... something meeting you. KELLY Likewise. He kisses her hand. Holds a look. Heads off. DISSOLVE TO: EXT. BEACH - DUSK The tents are down, everything's packed. A couple trucks remain. The croc is gone. Things are quiet. Kelly stands down by the water, staring out. HER P.O.V. Hypnotic beauty. The lake doesn't even ripple. She soaks it in as if she knows it may be a while before she ever gets close to this again. She HEARS every BIRD. Including a DISTANT LOON. Serenity has returned. Then suddenly... a stone goes skipping out, four, five, six skips. Kelly turns around. Jack stands there. They hold a look. JACK I thought I should say goodbye to the lake too. He approaches. Takes her hand. KELLY (weakly) Different worlds, Jack. JACK Yeah, I thought about that as I was driving... and... I haven't found somebody in my world. You found anyone in yours? KELLY No. JACK So I was thinking... maybe if I met anybody in my world who was good for you and if you know somebody in New York good for me, we could fix each other up. KELLY You think? JACK Worth a try. We don't wanna be alone forever, do we? KELLY Probably not. They hold a look. He kisses her softly. JACK That was... y'know if the guy asks me can she kiss, now I'll be able to tell him if you can. KELLY Good thinking. And they kiss again, this one escalates a little. They break. And then he holds her. Tightly as the CAMERA PULLS UP to an AERIAL VIEW of them, embracing at the water's edge. DISSOLVE TO: EXT. MAINE TURNPIKE - AERIAL SHOT - DUSK Police cars, lights flashing, motor down the highway. Behind them... on a flatbed truck... a thirty foot giant crocodile. Headed down the southbound lane of the Maine turnpike. Rolling. Rolling. Rolling along. It doesn't even look ridiculous. We've become accustomed to such sights. As we lift up higher and higher, Richie Havens' "I CAN SEE CLEARLY NOW" RESUMES. Eventually, we: DISSOLVE TO: EXT. CAMPSITE - SUNSET Jack and Kelly board his vehicle. They drive off, as we: DISSOLVE TO: EXT. BICKERMAN FARM - SUNSET Daffy Mrs. Bickerman sits at the end of her dock, feet dangling in the water. Throwing bread crumbs. BICKERMAN Cute little Buttons. Mommy loves you. Come eat your supper little buttons. Nibble Mommy's toes. REVEAL Three, maybe four, crocodile hatchlings, a foot in length, are swimming near her feet, eating the bread, nibbling her toes. OFF them, THEN happy Mrs. Bickerman, we: FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Land of the Dead.txt b/unformated_scripts/Script_Land of the Dead.txt new file mode 100644 index 0000000000000000000000000000000000000000..18ea0fbad1f36c62bfa5d323907280b35502807d --- /dev/null +++ b/unformated_scripts/Script_Land of the Dead.txt @@ -0,0 +1 @@ + LAND OF THE DEAD ORIGINAL SCREENPLAY BY GEORGE A. ROMERO AUGUST 24, 2004 ATMOSPHERE ENTERTAINMENT ROMERO-GRUNWALD PRODUCTIONS Copyright 2004 All Rights ReservedBLACK. THE SOUND OF CHANNELS BEING TURNED ON A TV. TITLE UP: "SOME TIME AGO". NEWSCASTER (O.S.) It's hard for us here to believe what we're reporting to you, but it does seem to be a fact. CLICK! In a corner of the BLACK SCREEN, A SMALL TV APPEARS. On it, in BLACK & WHITE, A NEWSCASTER sits at an anchor desk. NEWSCASTER (O.S.) Bodies of the recently dead are returning to life and attacking the living. CLICK! With each CLICK, the TV disappears, then reappears ina new position ON SCREEN. CREDITS ROLL in the surrounding BLACK. NEWSCASTER (O.S.) Murder victims have shown signs of having been partially devoured by their murderers. CLICK! ANOTHER NEWSCASTER is on the TV now, sitting in a moremodern studio. The broadcast remains in BLACK & WHITE. SECOND NEWSCASTER Because of the obvious threat to untold numbers of citizens, due to the crisis that is now developing this radio station will remain on the air day and night. CLICK! The second newscaster looks more and more dishevelled. SECOND NEWSCASTER (O.S.) It has been established that persons who have recently died have been returning to life and eating the flesh of the living. CLICK! SECOND NEWSCASTER (O.S.) We must not be lulled by the concept that these are our family members or our friends. They are not. They must be destroyed on sight. CLICK! A THIRD NEWSCASTER, more haggard than the others, sits at an ANCHOR DESK on a barren set, still in BLACK & WHITE. 2. THIRD NEWSCASTER (O.S.) Every dead body that is not exterminated becomes one of them. It gets up and kills. The people it kills get up and kill. They kill for one reason. They kill for food. CLICK! THIRD NEWSCASTER (O.S.) If this situation is allowed to continue, there will be nothing left. Nothing. CLICK! THIRD NEWSCASTER (CONT'D) It's over. Finished. Finished. It's their world now. CLICK! IN ABSOLUTE BLACK, A SINGLE WORD FADES UP: "TODAY". A SOUND FADES IN TOO. TCHICK! KA-TCHICK-TCHICKY-TCHICK! Soft. Metallic. It makes us nervous. EXT. UNIONTOWN - NIGHT1 1 IN COLOR: A FULL MOON shines over a picture-perfect American town. PEOPLE, seen in SILHOUETTE, stroll past quaint shops whose signs promise RELIABLE APPLIANCES, WELL-MADE CLOTHES, SOLID VALUES. A DINER has a neon sign that offers the "BEST EATS IN TOWN". But something is wrong. The neon isn't lit. Nothing in town is lit. Street lamps, windows, are all dark. TCHICK! KA-TCHICK-TCHICK. That DISTURBING SOUND continues. Some of the PEDESTRIANS drift into "UNIONTOWN PARK", milling around a GAZEBO, where THREE "MUSICIANS" are struggling with a trombone, a saxophone, and a tambourine. They can't seem to make the instruments work, except for the tambourine player, who is rattling out a few very unrhythmic beats. That's where that sound is coming from. TCHICK! KA-TCHICK-TCHICKY-TCHICK. A CLOSER INSPECTION REVEALS: The "MUSICIANS" are DEAD. So are the "PEDESTRIANS". Flesh is rotting off their bones. The town itself, which at first looked so perfect, is ROTTING TOO. MIKE (O.S.) They're trying to be us. RILEY (O.S.) They used to be us. A N 3. EXT. HILLTOP ABOVE UNIONTOWN - NIGHT2 2 RILEY (Worried) They're learning how to be us again. RILEY DENBO watches the town through binoculars. 32, made rugged by realities, he has a heart beneath his tough exterior. MIKE CONVERSE, 21, young and unseasoned, has the eagerness and passion of someone young and unseasoned. MIKE o way. Some germ or some devil got them things up and walkin'. But there's a big difference between them and us. They're dead!3 3 EXT. "UNIONTOWN TEXACO" - NIGHT DEAD TEENAGE COUPLE walks hand-in-hand near the gas pumps of a defunct TEXACO STATION. The boy steps on the little hose that BINGS when a car pulls in. Out of the building comes... ...AN ATTENDANT. It was once tall and handsome. Now his face is a wrinkled map of death. He has lost its left arm. Dried blood darkens the shoulder of its jump-suit, where the arm was torn away. A "TEXACO" PATCH tells us the Thing used to work here. Embroidery tells us his nickname was once "BIG DADDY". He goes to the pump and removes the nozzle. Turns, as if searching for a car to fill with gas. There is none. MIKE (O.S.) It's like they're pretending to be alive. EXT. HILLTOP ABOVE UNIONTOWN - NIGHT4 4 RILEY Isn't that what we're doing, son? Pretending to be alive? EXT. DUMP - NIGHT5 5 THE SOUND OF GROANING WOOD as THREE heavily-armed GUERILLAS push a large CRATE over a PRECIPICE into a deep GARBAGE PIT below. FIVE SIMILAR CRATES lie amid the rubble. Insects BUZZ. RATS crawl. HUMAN SKELETONS, most HEADLESS, lie everywhere, no flesh left on their bones. Those with heads show various wounds to their skulls. Except for one, which... ...suddenly, startlingly MOVES! Its bony arm reaches up from the bottom of the pit toward... ( 4. ...CHOLO DeMORA, a Latino in his 20s, handsome, roguish, and confident...a bit too confident. He reaches over his shoulder and unstraps a CROSSBOW. CHOLO Poor bastard. WFFFFT! Cholo shoots the skeleton. His arrow goes completely through the WHITE SKULL. EXT. MOVING VAN - NIGHT6 6 The doors of a beat-up WHITE MOVING VAN open. Cholo reaches in, throwing back an oilcloth that covers ANOTHER CRATE. GUERILLA Whole lotta trash this week. CHOLO That's life, brother. A whole lotta trash. As the men tip the crate onto a dolly, MAGGOTS are revealed in the darkness beneath, squirming in a POOL OF BLOOD. (What's in that crate?) 7 7 EXT. HILLTOP ABOVE UNIONTOWN - NIGHT RILEY and MIKE watch THREE DEAD THINGS lumber toward them R from the town below. ILEY They know we're here. They can smell life. Smell blood. EXT. "UNIONTOWN TEXACO" - NIGHT8 8 THROUGH THE BINOCULARS: BIG DADDY replaces the nozzle in the gas pump. Sensing something, it looks around. Up. His dead eyes lock on Riley's. Big Daddy grunts. Responding to him... EXT. HILLTOP ABOVE UNIONTOWN - NIGHT9 9 ...the THREE DEAD THINGS move up the hillside with more determination. RILEY Glancing at Mike's guns) You any good with those? MIKE Dunno. It's my first trip. Never had to use `em before. M R 5. RILEY Great. I'm out here with a guy who can't shoot. Let's go. Mike stands, turns, and... ...is GRABBED from behind by a ZOMBIE! It's not one of the three they've been watching. This one wears the remains of a CLOWN SUIT. Half its bulbous red nose has been eaten away. Painted eyelashes make its stare alarming. Its ORANGE HAIR is crawling with SPIDERS. It wrestles Mike to the ground. Opens its lipsticked mouth. Is about to bite Mike's neck when... ...Riley FIRES his .45. BLAM! A bullet SHATTERS the Clown's SHOULDER CAP. The dead thing is pitched backward, but seems to feel no pain. It hunkers over Mike again. iley FIRES four more times. THREE BULLETS RIP into the Clown's CHEST, NECK, CHEEK. Finally, the FOURTH PUNCHES A HOLE above the thing's left eyebrow. The Clown DROPS. ike looks at Riley. M IKE Jesus. You can't shoot, neither!10 10 INT. DEAD RECKONING - NIGHT RILEY and MIKE step into a tight, uncomfortable space. Generators whir. Gears turn. The two men open a storage locker and strap on ammo belts as... ...SOMETHING TERRIBLE LOOMS out of the shadows! It moves toward Riley and Mike, who can't see it from behind the locker. The LEFT SIDE OF THE THING'S FACE has been BURNED AWAY. Only scar-tissue remains, and a single usable eye bulging from a socket. Riley turns. Sees the thing. And, surprisingly, he relaxes, recognizing CHARLIE HOUK, a heavily-armed guerilla whose intellect is as burned as his face. CHARLIE Tcha doin', Riley? RILEY Havin' a bad dream. CHARLIE I have bad dreams. Hell, yes. Just look at me, you can tell that I have terrible dreams. 6. RILEY The town is full of walkers. CHARLIE Every town is full of walkers. RILEY These aren't just walking. They're like...regular folks. CHARLIE But they're dumb, Riley. Hell, dead folks is near as dumb as me! RILEY You learned how to make yourself useful. That's what they're doing. WOMAN'S VOICE (O.S.) They dumped the trash. Cholo's on his way.Riley and Mike look across the room in the direction of the voice. Twenty feet away, a WOMAN sits at the controls of whatlooks like a scavenged airplane cockpit that's outfitted with a mixture of high- and low-tech equipment. She wears a black leather jacket with "PRETTY BOY" emblazoned across the back. MIKE (Surprised) Pretty Boy's a dame? RILEY This one is. Last one was a guy. MIKE What happened to him? Pretty Boy turns, poking her finger through a BULLET HOLE encrusted with year-old BLOOD in the chest of her jacket. PRETTY BOY I kept his jacket. For good luck. MIKE Luck? RILEY Put some flowers in the graveyard. Pretty Boy reaches out and flips a toggle switch on the control panel. THOOMB! THOOMB! DEEP CONCUSSIVE SOUNDS can be felt as much as heard as... I y C C 7. EXT. DEAD RECKONING - NIGHT11 11 ...RILEY, CHARLIE, and MIKE step out of A VEHICLE the size of a city bus. The words DEAD RECKONING are painted on its side. This is no bus. It's a war wagon, built of SCAVENGED PARTS with a RIVETED STEEL SKIN. GATTLING GUNS protrude from a MEAN-LOOKING SNOUT. A ROOF TURRET supports two FOURTEEN INCH-CANNONS. Rotating lights SHINE in all directions, piercing the night. THOOMB! THOOMB! THOOMB! That sound again. MORTAR TUBES on the vehicle's roof are launching FIREWORKS that BURST in the sky. CHARLIE (Looking up) `Flowers in the graveyard'. Why do you call `em that, Riley? I don't get it. These here flowers ain't the kind you lay down on the ground. These here are sky flowers. Way up in Heaven. R ILEY I love ya, Charlie. Know why? Cuzz you still believe in heaven. THE WHITE MOVING VAN rolls in and parks beside Dead Reckoning. CHOLO jumps out with the THREE GUERILLAS from the dump. HOLO You guys scope out the town? RILEY Looks like nobody's hit it before. FOUR GUERILLAS get into an old T-BIRD CONVERTIBLE mounted with machine guns. TWO OTHER ARMED MEN climb onto MOTORCYCLES. The very night seems to GROWL as everyone starts their engines. HOLO Ready? CHARLIE Always ready. Just look at me ou can tell I'm always ready. CHOLO I look at you, all I see's an idiot. CHARLIE I don't think that's all you see. bet you see this iron, too. R R 8. Charlie is wearing four holstered sidearms, two shouldered automatic rifles, a REMINGTON...and a sly smile that makes us wonder whether he's an idiot or not. CHOLO Let's go have some fun. RILEY Ain't about fun, Cholo. VROOOM! The T-Bird and the motorcycles pull out toward town. ILEY We go in, do our job, and get out, all of us alive, okay? I don't want any fuck-ups on my last day out here. C HOLO (Grinning) My last day, too. iley looks surprised. Cholo mounts a MOTORCYCLE, REVS the engine, and heads out. CHOLO (CONT'D) YEEEE-HAAAAAAAA! CHARLIE What'd he do, hit the lottery or somethin'? RILEY Somethin'. (Wondering) Somethin'. Riley and Charlie start to get back into Dead Reckoning. Mike follows, pausing to look up at the "sky flowers". MIKE Do those things really work? RILEY Yup. (Almost sadly) Stenches can't take their eyes off `em. EXT. MAIN STREET - UNIONTOWN - NIGHT12 12 DEAD THINGS stand completely frozen in the middle of main street, like statues, mesmerized by the FIREWORKS. Only one figure is moving. BIG DADDY. He weaves between his brothers and sisters, urgently waving his one good hand, like Frankenstein's monster, as if to say "Bad! Bad!" He has learned that fireworks bring danger. R C 9. A DEAD TEENAGE CHEERLEADER, holding filthy pom-poms, looks at Big Daddy, unable to grasp what he's trying to communicate. A SPEAR is DRIVEN through the Cheerleader's face! The spear is held like a lance by HARRY, a guerilla who roars past on his motorcycle hooting like a cowhand on round-up. Other BIKERS rumble down the street, firing guns. Big Daddy watches the Cheerleader fall. It throws its head back and lets out a great HOWL. INT. DEAD RECKONING - NIGHT13 13 THROUGH THE WINDSHIELD: RILEY recognizes BIG DADDY from the gas station. He also recognizes the Thing's anguish as... EXT. TOP OF MAIN STREET - UNIONTOWN - NIGHT14 14 ...DEAD RECKONING, mortars still shooting FIREWORKS, stops on the edge of town. CHOLO pulls up alongside on his bike. INT. DEAD RECKONING - NIGHT15 15 THROUGH THE WINDSHIELD: RILEY and MIKE watch the T-BIRD ROAR down MAIN STREET. The FOUR GUERILLAS inside laugh gleefully as they use the MACHINE GUNS to MOW DOWN HAPLESS ZOMBIES. M IKE I thought it was gonna be a battle. This is a fucking massacre. HOLO (Through an open hatch) Kid, these are the toughest guys in the `hood. You can't keep `em from wantin' to get some chuckles. iley gives Cholo an irritated look. CHOLO (CONT'D) Hey, not me, Boss. You told me not to have any fun, I'm not having any fun at all. (To Mike) Come with me, kid. I'll show you the ropes. Mike climbs out and gets on the back of Cholo's motorcycle. RILEY Where you goin'? CHOLO To get supplies. Essential supplies. That's job our job, ain't it? G R 10. EXT. UNIONTOWN FOODMART - NIGHT16 16 THE WHITE MOVING VAN pulls up to a supermarket. THE DEAD THINGS in the parking lot, gazing at the FIREWORKS, barely notice the vehicle. MARKSMEN keep the lot covered as GUERILLAS carry CASES OF CANNED GOODS out of the supermarket and into the van. The team has this down to a science. ILEY'S VOICE comes over one Guerilla's hand-held radio. RILEY (O.S. RADIO FILTER) How's the food? GUERILLA #1 (Into his radio) Lousy, but there's lots of it.17 17 EXT. UNIONTOWN SIDE STREET - NIGHT DEAD RECKONING RUMBLES down a side street, its steel skin reflecting the FLASH of fireworks. INT. DEAD RECKONING - NIGHT18 18 PRETTY BOY drives. RILEY stands beside her. RILEY (Into radio) Number Two, what's your location? GUERILLA #2 (O.S. RADIO FILTER) D rug store. Need an aspirin? I got a million of `em. RILEY (Into radio) Antibiotics. We need antibiotics. GUERILLA #2 (O.S. RADIO FILTER) We're set. RILEY (Into radio) Number Three? EXT. UNIONTOWN GUN STORE - NIGHT19 19 UERILLAS load boxes of ammo into a JEEP. GUERILLA #3 (Into radio) Guns and ammo, Boss. H A 11. EXT. MAIN STREET - UNIONTOWN - NIGHT20 20 HARRY, the biker with the spear, is making another run toward a WALKER, who stands mesmerized by the fireworks, when... WHAP! Harry is sent FLYING! DEAD WOMAN, once pretty, wearing a softball uniform that bears the NUMBER NINE, has used its bat to hit a home run. Harry's riderless motorcycle fishtails up the street and hits the side of a building. arry tries to get up. TWO DEAD THINGS attack him. Another motorcycle, driven by ANCHOR, who looks like Popeye, RUMBLES up in the nick of time. ANCHOR Harry, jump on! Fighting off the Dead Things, Harry gets on and speeds away. INT. DEAD RECKONING - NIGHT21 21 PRETTY BOY turns a corner. Out the windshield, RILEY sees...22 22 EXT. MAIN STREET - UNIONTOWN - NIGHT ...CHOLO and MIKE, on Cholo's bike, joining up with FOXY, a red-haired guerilla on his own motorcycle. The three drive toward the end of town. RILEY (O.S.) What the fuck? EXT. UNIONTOWN STATE STORE - NIGHT23 23 CHOLO SCREECHES to a stop at a LIQUOR STORE with MIKE and FOXY. All dismount and start toward the entrance. They stop as DEAD RECKONING pulls up and RILEY and CHARLIE climb out. CHARLIE Nothin' in there but booze. Booze ain't essential. FOXY A jug of good Kentucky goes for fifteen hundred back in town. RILEY (To Cholo) I'm not risking anybody's ass just so you can pick up some side money. R 12. CHOLO Not askin' you to. Cholo and Foxy start into the liquor store. The doors are wide open. All that can be seen from outside is darkness. ILEY Mike! Wait! But Mike has followed the others inside.2 INT. UNIONTOWN STATE STORE - NIGHT 4 24 CHOLO unstraps his crossbow and leads the way cautiously into the dark space. Every subtle SOUND in the SILENCE puts MIKE more on edge. His hand tenses on his gun as SHADOWS loom in front of him. Shadows that could be zombies, but are not. Behind the dusty glass doors of a once-refrigerated wall- unit, Cholo sees a CASE OF DOM PERIGNON. He goes to the refrigerator. Re-strapping his crossbow, he opens the door. Reaches in for the case of champagne. His two hands grab it. A THIRD HAND GRABS IT! Cholo looks up. The refrigerator has no back wall. A DEAD THING with a Manson-like SWASTIKA tattooed in the center of its forehead has stepped in from the shadows of a loading area beyond. It GRABS Cholo with a terrifying GROWL. Cholo falls under the weight of the champagne, and the weight of the Dead Thing, which drops on top of him. They roll, struggling. The Thing holds Cholo in a death grip. At the front of the store, Mike fumbles with his rifle. Foxy shoots at the Dead Thing and misses. Cholo PUNCHES the Thing with his free hand. The Dead Thing's head recoils, but lowers again toward Cholo, the Swastika looming, drooling teeth baring for a bite. Cholo's eyes flash. It's the first time we've seen him scared. BLAM! CHARLIE FIRES one round, right into the center of the swastika on the Zombie's forehead. The Thing crumples. MIKE Nice shootin'. CHARLIE Good shootin'. Ain't no such thing as nice shootin'. R o RM 13.A FOOT KICKS the Zombie off Cholo, who looks up to see... ...RILEY extending a hand to help him to his feet. RILEY Close one. CHOLO I'm still here, ain't I? Everyone relaxes. Cholo picks up the case of Dom. The others head toward the front of the store. TILT DOWN TO THE FLOOR as their feet move past. In the gloombehind stacks of cartons... ...A DEAD HAND appears. Reaching. CHOLO Shit! Look out, kid! The hand grabs Mike around the ankle! Mike turns, raising his gun. Too late. A DEAD UNIFORMED POLICEMAN, the skin on half its face STRIPPED DOWN TO BONE, RIPS A HOLE IN HIS LEG with its teeth! ike SCREAMS, staggers into a wall, and drops to a seated position on the floor. Riley and Charlie spin around at the sound of his cry. Cholo, closest to Mike, pulls his crossbowand fires an arrow through the Zombie's head. C HOLO Fuckin' rookies.Cholo tucks away the crossbow, grabs a box of Cohibas off a counter, and runs outside with Foxy. Riley goes to Mike. ILEY (Kneeling) It's alright, son. You're gonna be alright. MIKE No. I'm dead. You get bit by one f those things and you become what they are.Riley wraps a strong arm around Mike and lifts him. Mikequickly plants the barrel of his .45 under his chin and... BLOWS HIS OWN BRAINS OUT! iley, stunned, lets the corpse slide to the floor. He looksinto the rookie's open eyes, devastated. B 14. EXT. MAIN STREET - UNIONTOWN - NIGHT25 25 THE WHITE MOVING VAN, THE T-BIRD, AND THE JEEP roll out of town in a convoy. Trailing them, THREE SADISTIC GUERILLAS on MOTORCYCLES ROAR past, firing... ...a HAIL OF BULLETS at A DEAD FAMILY on the sidewalk. The MOTHER FALLS. Not shot. It has been GRABBED and SHOVED down to the ground by... ...BIG DADDY! Who GRABS the little GIRL next, thrusting her roughly behind the protection of a wrecked car. The FATHER is last. Big Daddy grabs it from behind, by its hair, just as... ...ROUNDS from an UZI DRILL A DOTTED-LINE across the Father's neck. Big Daddy is unhurt, but spattered with BLOOD. Not red, greenish-black. The blood of the dead. T here's a RIPPING SOUND as the Father's NECK is PULLED APART by the weight of its limp body. The body DROPS to the street. The HEAD remains suspended in Big Daddy's hand. His face contorts. His mouth opens and closes, trying to utter sounds. ig Daddy drops the head, looking down at its befuddled eyes with sympathy. After a moment, the sympathy is joined by rage. Big Daddy lifts his right foot and brings it STOMPING DOWN on the disembodied head, CRUSHING ITS SKULL. The convoy ROARS off, leaving a cloud of exhaust. Big Daddy sees Harry's downed motorcycle lying in the street. The butt of an AUTOMATIC RIFLE protrudes from a saddlebag. Big Daddy goes over. Pulls out the rifle. Tests the weight of it in his hand. Curls his finger in through the guard and pulls the trigger. BLAM! A bullet ricochets off a brick wall. Big Daddy is startled at first. Then, he relaxes, realizing the rifle's power. With surprising dexterity, he slings the weapon's strap over his head and across his chest, patting the strap as if comforted by it. Turning, he looks toward... ...THE DISTANT GLOW OF A SKYSCRAPER that can be seen ON THE HORIZON. That's the direction the convoy is headed. That's where the bad men came from. That's where he wants to go. REVERSE ANGLE: With the city in the distance, Big Daddy starts walking. NUMBER NINE falls into step beside him. Soon there are MORE. None of them knows where they are going. Or why. All that seems to matter is that they have a leader. 15. EXT. DEPOT - PRE-DAWN26 26 DEAD RECKONING, emitting tendrils of HOT STEAM from twenty steel nostrils, stands parked in a corner of a fenced-in outdoor yard. (We don't see how big the yard is. Yet.) A SEARCHLIGHT sweeps the darkness as GUERILLAS unload the supplies they took from Uniontown and carry them toward... ...a set of RUSTY STEEL DOORS, above which is a FADED SIGN that reads "SUBWAY (TO CITY)". In the bustle of activity, HARRY, the biker who was attacked in town, perspires as he helps unload. He looks ill. RILEY walks past, handing out bottles of beer to the men. RILEY Harry. Beer? Harry doesn't answer. RILEY (CONT'D) Harry? Harry SPINS! GROWLS! LUNGES at Riley like a beast! Riley has no time to reach for his gun. The Harry-Thing is strangling him. SMASHING the neck of a beer bottle on the snout of Dead Reckoning, Riley JAMS THE JAGGED GLASS into the Harry-Thing's forehead. Its body drops to the ground. PRETTY BOY Got knocked off his bike in town. Must have been bit. Riley looks down at the body with a mixture anger and regret. INT. SUBWAY TUNNEL - DAWN27 27 A mile-long subway tunnel extends into BLACKNESS. A wide PLATFORM runs the length of the tracks, at the head of which A DERELICT TRAIN is parked. A CARGO CARRIER pulls out, driving along the platform, its flatbed piled with supplies, while ANOTHER CARRIER is being loaded with boxes of food, pharmaceuticals, ammunition, and... TWO BODY BAGS. CHARLIE Shit happens, Riley. RILEY (Blaming himself) Only if you let it. T 16. The cargo carrier that was first to pull out drives into the tunnel. CEILING LIGHTS spaced far apart STUTTER on and off. Two guerillas, ANCHOR and MOUSE, who looks like a mouse, ride on the open flatbed with the cargo. The tunnel is filled with looming steel shapes that cast menacing shadows. Mouse shifts nervously. Suddenly... ...PLINK! SOMETHING WET FALLS ON HIS FACE! He JUMPS. Recovers. Wipes his cheek with his sleeve. MOUSE I hate going under the fuckin' river. He takes out a joint. Lights up. The match FLARES. SPLAT! Mouse and the match are soaked by WATER dripping from above. 28 28 EXT. THE CITY - DAY RIVERS flank a TRIANGLE OF LAND where A CITY glows in the sunrise. Once proud and prosperous, its buildings now seem like tombstones. SEVEN BARRICADED BRIDGES span the rivers. ANNOUNCER (O.S.) Protected on three sides by mighty rivers, the city stands as a monument to man's ingenuity. At the center of it all is Fiddler's Green. 29 29 INT. SUBWAY TUNNEL - DAWN A TV MONITOR broadcasts views of A KITCHEN, A PLUSH LIVING ROOM, A DEN with a VIDEO FIREPLACE. ANNOUNCER (O.S.) Luxury living in the grand old style. Dine at one of three restaurants. Look for that perfect gift in our fabulous shopping mall. he monitor shows a huge ATRIUM with shops and restaurants. GUERILLA (O.S.) They make it sound nice. CHOLO (O.S.) It is nice. Holding his case of Dom Perignon and his box of Cohibas, CHOLO looks with FOXY at a monitor mounted to a white-tiled subway station wall. Down the tunnel behind them, the other GUERILLAS unload supplies from CARGO CARRIERS parked on the platform. A sign reads, "GOLDEN TRIANGLE/FIDDLER'S GREEN". MC f E WR 17. RILEY (Approaching) Cholo. Foxy moves away, leaving Riley and Cholo alone. RILEY Two people dead. That kid, Mike. He should be here with us right now. C HOLO I didn't kill him. He got bit and he killed himself. Same thing I woulda done. And you! iley lunges at Cholo, takes hold of his shirt, and SLAMS him against the wall. RILEY The fuck are you turning into, man? CHOLO e take money to do nasty shit. Shit that nobody else is dumb enough to do. We go in knowing the risks. The kid did too. His number came up, that's all. RILEY We take the risk to bring in things people need. Not to make a few extra bucks selling liquor. You used to know that. CHOLO Everybody makes their own way. verybody makes their own ucking way! holo shrugs out of Riley's grasp. Behind them, the guerillas continue to unload cargo. CHOLO (CONT'D) y daddy...he picked fruit, penny- a-piece. He never went for anything, so he never had anything. I'm gonna have a place, Riley. My own place! And now I got enough money to buy my way in. A NNOUNCER (O.S.) Isn't it time? Isn't it your time? For Fiddler's Green. B R 18. Cholo looks up at the TV monitor. Riley follows his gaze, seeing well-dressed PEOPLE sipping cocktails in a club room. ILEY You're dreaming, Cholo. They'd never let me in. They'll never let you in. We're the wrong kind. The image on the TV MONITOR changes to an overhead view of the city and its rivers. Animation draws a RED LINE along the base of the "golden triangle", a zone known as "THE THROAT". ANNOUNCER (O.S. CONT'D) Bask in the security of a city protected not only by its natural boundaries, but by hand-picked members of its own private militia. EXT. THE CITY - "THE THROAT" - DAWN30 30 In live action, not on the monitor, WEARY TROOPS, sloppily uniformed, guard four rows of electrified, barbed-wire FENCING. DEAD THINGS cluster by the DOZENS outside the barricades. M CORPSES hang all along the stretch, suspended on the barbs. ILITARY WOMAN Stench! Ten o-clock! A WALKER lumbers in and touches the fencing. SPARKS FLY! The Thing's flesh is literally COOKED! BOILS develop, POPPING OPEN, emitting SMOKE. Still the Thing remains animated. MILITARY MAN Take its fuckin' face off. UDDA-BUDDA-BUDDA! The Military Woman FIRES. The Thing is decimated. Its body hangs, welded to the SPARKING barbs.3 INT. FIDDLER'S GREEN CENTRAL MALL - MORNING 1 31 CHOLO approaches a CHECKPOINT manned by TWO SECURITY GUARDS. Setting down the champagne and Cohibas, he unstraps his weapons and hands them over. CHOLO DeMora. Supply unit SECURITY GUARD What's in them boxes? CHOLO Essential supplies. For the man upstairs. l R 19. The Guard takes Cholo's weapons and returns a claim check. CHOLO collects his boxes and steps onto an escalator that carries him up into an ENORMOUS ATRIUM. The "mall" we saw on TV. SUNLIGHT splashes through glass walls onto box-planted trees. Caged birds CHIRP seemingly in tune with the Chopin that lilts over a sound system. SHOPPERS, expensively over- dressed, stroll past stores. OTHER RESIDENTS lunch at "outdoor" cafes. Cholo pulls out a kerchief and wipes the smudges off his face, trying to make himself presentable.3 EXT. "GOLDEN TRIANGLE" - MORNING 2 32 FIDDLER'S GREEN, a heavily protected HIGH-RISE in the center of the city, dominates the skyline. It's where the Fat Cats live, protected from urban decay. The building is surrounded by unoccupied high-rises that define "the golden triangle", a clean section in the center of the city. No ugliness in view. RILEY and CHARLIE cross a manicured plaza to a CHECKPOINT manned by TWO SECURITY GUARDS. Riley hands over his ID. RILEY Quittin' time, Deke. SECURITY GUARD (Holding up the ID) You're gonna need this. RILEY (Walking on) Nope. When I said quittin' time, I meant quittin' time. EXT. "GHETTO" - MORNING33 33 RILEY and CHARLIE walk down a street into the city's "ghetto" zone, which is lined with taverns, gambling clubs, strip joints, like a boom town from Alaskan gold-rush days. BUYERS and SELLERS lurk in the shadows, copulating, dealing drugs. iley is welcomed by nearly everyone he passes, greeting them in return with a smile and a nod, handing some bills to a FATHER with a YOUNG SON, patting an OLD MAN on the back. CHARLIE Wanna get a drink, Riley? Just ook at me, you can tell I could use a drink. RILEY Later. Gotta see a man about a car. ( 20.Charlie follows Riley, who strides into... ...an alley, surprised to find a cadre of rough-looking REVOLUTIONARIES, led by MULLIGAN, a defiant man who stands on a soapbox. A small audience is gathered in front of him. He takes a swig from a bottle of whiskey. MULLIGAN Irish accent) How long are you gonna let him push you around? If there was enough of us...if you all would join up with us...we could pull him down off his throne! Some of the people in the audience nervously shift their eyes to the FIDDLER'S GREEN HIGH-RISE ten blocks away. RILEY You can't fix a place like this, Mulligan. You just have to get out of it. MULLIGAN We've got the firepower, Riley. If you and your friends would come in with us, we'd be unstoppable. Mulligan holds out his bottle to Riley, who passes it toCharlie, who takes a swig. RILEY Everyone's stoppable. We hear the sound of a boy coughing. Mulligan's son BRIANstands behind him, looking feverish. MULLIGAN You alright, son? BRIAN I'm fine, dad. As Riley starts past, he stops, pulls something from his pocket, and presses it into Mulligan's palm. RILEY Antibiotics. For your boy. Mulligan looks down with gratitude at a bottle his hand. When he looks up again, Riley is gone. H H 21. EXT. GARAGE - MORNING34 34 Turning a corner, RILEY and CHARLIE stop in front of a rundown GARAGE with a tarp hanging down instead of a door. Riley pulls it aside and looks in. A HOBO lies asleep on a grease-stained floor, curled under some old newspapers. RILEY Where's the car? OBO (Waking) What car? RILEY My new car. I paid for it. I was here yesterday. There were two guys getting it ready for me. OBO There was nobody here this morning. RILEY Sonofabitch! CHARLIE What happened, Riley. Didja get fucked? Riley stands there, grim-faced. RILEY (A whisper) Come on. INT. PENTHOUSE CORRIDOR - FIDDLER'S GREEN - DAY35 B 35 ING! An elevator door opens. CHOLO, carrying the champagne and Cohibas, steps out, walks to "PENTHOUSE NUMBER ONE", and rings the bell. An instant after he pushes the button... ...the door is JERKED OPEN by TYLER KNIPP, 50-something, an African American man in a white butler's jacket. Frightened, he's wielding a SCISSORS, poised to strike. KNIPP (Lowering the scissors) Oh, Mister DeMora. Mister Kaufman ain't home and there's some shit goin' down. No lie. I heard... A SCREAM RINGS OUT down the corridor! KNIPP (CONT'D) I heard that! 3 22. ANOTHER SCREAM. KNIPP (CONT'D) Oh, man. Mister K. sure gonna be upset about this. Cholo drops his boxes and moves down the corridor. KNIPP (CONT'D) I called Security. They should be here... Cholo reaches the door to PENTHOUSE NUMBER TWO. It's locked. ANOTHER SCREAM from inside. He FLINGS himself at the door. The LATCH SPLINTERS out of the frame. The door BURSTS open... INT. PENTHOUSE NUMBER-TWO - FIDDLER'S GREEN - DAY 6 36 ...and CHOLO enters a dark foyer. The only light comes from another room somewhere inside. A soft, rhythmic SQUEAK, like a child's swing moving back and forth, ECHOES through the apartment. It's an eerie, incongruous sound. On guard, eyes straining, Cholo moves inside. The squeak gets louder, the light brighter as he turns a corner and sees... ...a MIDDLE-AGED MAN, HANGING DEAD from a HOMEMADE NOOSE suspended from a light fixture in the kitchen! THE BODY SWAYS slowly, the harsh glare making the man's face even whiter than it is. A toppled chair lies on the floor at his feet. Cholo stands transfixed for an instant. And in that instant... ...HE IS GRABBED FROM BEHIND! He whirls, ready to kill, but finds only a MIDDLE-AGED WOMAN, 60-something, wearing a tailored suit and expensive jewelry, her perfectness blemished only by her hysteria. WOMAN My Johnny, he killed himself, he killed himself. My Johnny! My Johnny! Cholo shakes her, hard. CHOLO Keep it together, lady. Behind them, in the kitchen, unseen, a dazed YOUNG MAN, walks up to the hanging corpse. He rights the toppled chair and steps on it, lifting a paring to knife cut through the noose. 23. YOUNG MAN (Softly, to himself) Dad. Oh, Dad. WOMAN (To Cholo) Se-Security. Are you Security? CHOLO No, I... WOMAN Then, for God's sake, who ARE YOU?!She resumes her SCREAMING. In the kitchen, the Young Man is slicing through the ropewhen his DEAD FATHER'S EYES POP OPEN! The Young Man is too busy with the rope to notice. THE HANGED MAN'S EYES BLINK.Once. Twice. Three times. Its body TWITCHES. And then... ...the Hanged Man turns, making a move on the Young Man. Themotion increases the strain on the light fixture, which pulls away, SPARKING, from the ceiling and CRASHES TO THE FLOOR, along with the Hanged Man and his son.The entire apartment is PLUNGED INTO DARKNESS. The woman stops her screaming. Almost as soon as she does, a SNARL canbe heard from the kitchen, followed by another SCREAM, this one coming from the Young Man. Cholo rushes to a nearby fireplace and grabs a POKER and a MATCHLIGHT, which looks like a pistol, but shoots FIRE from its tip. He approaches the kitchen, using the FLAME to lighthis way. In the FLICKERING GLOW, he sees... ...the Young Man lying on the floor. CHUNKS have been bittenout of his neck and wrist. The body is CONVULSING in the last moments of life. THE HANGED MAN IS NOWHERE TO BE SEEN. Cholo stands over the Young Man and stabs him in the head with the poker, jabbing the point all the way through. The woman SCREAMS again from the kitchen doorway. CHOLO Shut up! I gotta hear. Where'd he go? Where'd the other guy go? Silence. Cholo pulls the poker out of the Young Man's head. SHUFFLING sounds. He follows them to the other end of the kitchen, probing the darkness with his matchlight. The sounds are LOUDER here. Cholo lifts the poker, ready to strike. Just as he does... 24....the back door of the apartment BURSTS OPEN and a SECURITY GUARD lunges into the kitchen, rifle in hand. SECURITY GUARD (To Cholo) Drop it! Cholo drops the poker and holds up his hands. CHOLO Hey, no problem. TWO MORE SECURITY GUARDS come through the apartment's frontdoor and rush into the kitchen. CHOLO (CONT'D) No problem, no problem! But there is a problem. There's a dead guy walkin' around in here.THE HANGED MAN appears without warning, attacking one of the guards who just entered, BITING OFF half his left CHEEK,including the EYE. Before his partner can raise his gun, THE WOMAN GRABS IT FROMHIM! Aims at the Hanged Man. WOMAN YOU SELFISH BASTARD! YOU LEFT ME ALONE HERE! She fumbles with the weapon, not knowing how to make it work. The bitten security guard starts to lose all strength in hislegs. The Dead Thing holds him up, as if waltzing with him, BITING HIM again and again. Cholo takes the gun from the woman and shoots the Hanged Man. BITTEN SECURITY GUARD I need help. I need help!Cholo kills the bitten security guard, too. SURVIVING SECURITY GUARD You...FUCK!Cholo turns the gun on the surviving security guard. CHOLO You wanna talk about this? I did what I had to do. I only did what I had to do! R T R R 25. INT. "THE ARENA" - DAY37 37 RILEY and CHARLIE step into the CELLAR of an old BROWNSTONE. Dirt floor. Stone walls. The place is filled with smoke and BUZZING with FLIES. As Riley and Charley turn their guns over to TWO BIG BRUISERS inside, a TOUT named ROACH sidles over. TOUT (Eyeing the weapons) Supply run last night, uh? Bet you have some money in your pocket. I can show you how to turn that money into more money. RILEY Roach. Where's Chihuahua? TOUT Maybe I can find him for you. Come on in. Riley is already in. He has pushed past the Tout and is striding into a fog where GAMBLERS are rushing to place bets with heavily-armed BOOKIES. We're reminded of a cock-fighting joint in a Pancho Villa movie. RILEY Lot of action tonight. TOUT Gotta new kind of game. iley strides toward a cluster of BETTORS. A very tall man stands among them, wearing a Texas Stetson that sticks up high above all other heads, its peacock feathers poking even higher out of a snake-skin hat band. iley grabs him and spins him around. he man's feet are off the ground. Way off the ground. Far from tall, he's a little person, who has been standing on a platform, wearing a purple satin pimp-suit. He's a Latino, who looks like a Chihuahua. And that's his name. CHIHUAHUA. C HIHUAHUA Put me down! Put me down! ILEY What happened to my fucking car? CHIHUAHUA What? They're fixing it up. B4 26. RILEY I went over to the garage. Your guys aren't there. The car's not there. My dinero's not there. CHIHUAHUA Hey, this is not me. I did not do this to you. I am your friend. Put me down. Come on. I find out what went wrong. RILEY Just get me the car, or they'll carry you out of here inside that fucking hat. INT. BACKSTAGE - "THE ARENA" - DAY38 38 In a dark CATACOMB, DEAD MEN are chained to the walls. WHAM! A POLE shoots out. A NOOSE on the end encircles the neck of a captive Dead Man and is cinched tight. TWO MEN hold the pole while A THIRD sprays RED PAINT on the Thing's face. ANOTHER DEAD THING is dragged in and sprayed with BLACK PAINT. INT. BACK OFFICE - "THE ARENA" - DAY39 39 Cursing in Spanish, CHIHUAHUA pulls a GLOCK out of a filing cabinet and jams a magazine up its butt. 0 40 INT. CENTER RING - "THE ARENA" - DAY RILEY and CHARLIE drift into a large room that's packed with BETTORS hooting and hollering like football fans. They're all jammed onto tiered wooden viewing stands arranged around an IRON-MESH STRUCTURE that looks like a lion-tamer's cage. Gates open. THE PAINTED WALKERS are thrust inside the cage. Their nooses are released. The gates are locked behind them. D EAD RED, alarmed by the color of DEAD BLACK's face, reaches out and gently touches the paint. Its fingers come away with blackened tips. lack follows suit, staining its fingers red. Black licks its hand, spitting when it identifies not blood, but something distasteful. BOOKIES drift among the spectators, taking bets with fists full of cash. CHARLIE What are they betting on, Riley? S . 27. RILEY Red or Black. Who's gonna win the fight. CHARLIE What fight? Stenches don't fight. TOUT (O.S.) They do when there's food. The TOUT sidles over. RILEY What's on the menu today? Cat or dog? TOUT I told you. Today it's something new. CLANG! Another gate opens in the cage. A hush falls aseveryone awaits what will come. Including the Dead Men, whogaze with anticipation at the opening. What comes is... ..A WOMAN! Alive, badly bruised, her dress in tatters.Despite tarnish, she still looks sexy. Last night she was a hooker known as SLACK. Now she's meat in a lion cage. RILEY Jesus fucking Christ.The gate SLAMS shut. The Dead Things walk toward the woman.Riley rushes off. Charlie follows.S lack backs up, hits the wall of the cage and, terrified,starts to circle its iron perimeter. The Dead Men flank her. Black is the first to touch her. The crowd HOWLS. lack's terror turns to determination. She punches Blackthree times in the face. The Thing recoils as she glides outof its grasp.RILEY and CHARLIE reach the BRUISERS who took their weapons. RILEY Give us our guns. BRUISER (Handing over the weapons) You leavin'? Riley cocks his M-16. T 28. RILEY In a little while. In the ring, BLACK reaches for SLACK again. With one lightning-fast move, she kicks it in the chest, sending itflying into Red's arms. Red shoves Black aside.Black makes another try for the woman. Red grabs its rival.This time Black hangs on to Red's shirt. The two twirl aroundin a staggering lampoon of a wrestling match. Slack rushes to the side of the cage and starts to climb.She's agile. Strong. But she almost falls as the cage SHAKESwith the force of... ...Red SLAMMING Black against the mesh. On their way back through the arena, RILEY and CHARLEY pushthrough the crowd, trying to reach the center ring. A GOON steps in front of them. GOON No guns in here! Riley gives him a rifle butt in the face and moves on.S lack continues to climb the cage, almost out of reach, butBlack grabs one of her ankles, pulling her down and slammingher to the ground.Black hunkers, drooling, over Slack. As it is about to bite, RAT-A-TAT! A short burst from Riley's M-16 shatters Black's collarbone. Cheekbone. Skull. The Thing drops.Red lunges for Slack. Riley kills it with another short BURST. he crowd PANICS, stampeding toward the exit. Suddenly MOREBULLETS FLY, this time from a GLOCK, FIRED by......CHIHUAHUA, who, in a rage, is pushing through the LEGS ofthe fleeing crowd. He makes it to a clear spot and draws asteady bead on a target...Charlie. Chihuahua pulls histrigger. Riley beats him by an instant, FIRING the M-16.Just as Chihuahua's gun GOES OFF...a LINE of BULLET HOLESPERFORATES the little man's belly. The round from his Glockmisses Charlie completely.Riley runs to the cage, where Slack stands, trembling, juston the other side of the bars. R ILEY You okay? FC 29.She nods gratefully. hihuahua is still on his feet. And now he is really pissed.Not because of the holes in his gut, but because... CHIHUAHUA My suit! You fucked up my new suit!Riley turns to Chihuahua, but doesn't have time to lift theM-16 before...BLAM! The little man FIRES at him. Slackdelivers a powerful KICK into the flexible fencing, sending Riley sprawling to the ground and saving him from......Chihuahua's round, which misses Riley...but HITS SLACK!Spun around by the impact, she falls face down.Chihuahua continues to FIRE. Riley Marine-crawls as bulletsPUNCH around him, SPARKING off the cage. Chihuahua keepscoming, keeps FIRING, until......A SINGLE SHOT from Charlie's .45 shatters his skull. Hedrops like a broken pinata. Riley looks up, seeing TWO OTHER MEN with guns. Chihuahua'sGOONS. For a moment it seems as if a major shooting match isgoing to break out. But before it does... POLICEMAN (O.S.) Hold it!. ..FOUR POLICEMEN burst in. The Goons lower their weapons. Riley runs back to the cage, BLASTS the lock on the nearestgate, and rushes inside. Slack's body is lying on the floor.He suspects she's dead. When her BODY MOVES, he suspectsworse. He plants the barrel of his M-16 against her temple. SLACK I'm alright, I'M ALRIGHT!Slack uses her left arm to push herself up to a sittingposition. Her right arm is BLEEDING, up near the shoulder. SLACK (CONT'D) ucker got my right arm. I'm a lefty.They look into each other's eyes. RILEY Seen you around. SLACK Seen you around. Y I 30. A POLICEMAN steps over. POLICEMAN The hell happened here? RILEY Somebody shot the little fat man. POLICEMAN Yeah, I see that. You're under arrest. INT. BOARD ROOM - FIDDLER'S GREEN - DAY41 41 A UNIFORMED GUARD leaves CHOLO in a PRISTINE WHITE conference room with glass walls overlooking the rotting CITY far below. Cholo sets the case of champagne and the box of Cohibas on a conference table. A SMAN stands in SILHOUETTE at the windows. ILHOUETTED MAN How was Uniontown? CHOLO Dead. SILHOUETTED MAN Death intrudes on us even in the Green, I'm afraid. I heard about what happened with my neighbors. I'm grateful for your help. CHOLO brought you back some presents. Cholo opens the case of champagne. He pulls a bottle out, untwists the wire, and uses his strong thumbs to pop the cork. FOAM runs. CHOLO (CONT'D) ou probably want a glass, don't you? Sure, a high-toned man likes to drink out of a glass. Cholo grabs a highball glass from a cupboard, pours champagne into it, and brings it, overflowing, to the Silhouetted Man. CHOLO I got something else, too. Cholo tears open the box of Cohibas. He picks up two cigars, bites off the tips, puts one in his mouth, then, walking back to the Silhouetted Man, puts the other in his mouth, lighting them both with a wooden match that he strikes on his jeans. F 31. SILHOUETTED MAN Thank you. CHOLO No, thank you! Twenty grand. That's what I got comin' for last night. I never bothered to pick it up. S ILHOUETTED MAN You didn't? CHOLO Nope. I left it in the bank. Your bank. With all my other dough. rom all those other nights. I got enough now to buy me a place. SILHOUETTED MAN You mean here? In the Green? The Silhouetted Man steps away from the window. Expensivelydressed, in his early 60s, he is PAUL KAUFMAN. He sets downthe highball glass Cholo gave him, gets out a proper champagne flute, and fills it from the bottle, smilingpolitely at Cholo. KAUFMAN I'm sorry, Mister DeMora, but there's a very long waiting list. CHOLO How long? KAUFMAN This is an extremely desirable location. Space is limited. CHOLO You mean restricted. KAUFMAN Well, I do have a board of directors, a membership committee that has to approve...A wave of incomparable sadness sweeps over Cholo's face. C HOLO I guess it takes more than money to become a "member". ( Y K 32. KAUFMAN Take my advice. Withdraw your funds from the bank and spend them somewhere else. CHOLO (Quietly) Don't do this to me. Don't do this to me. AUFMAN I'm sorry, but... CHOLO No, no, no. Three years! Three years I been cleaning up after you, taking out your garbage, and you tell me I'm not good enough? You're the one who's no good. You are no fucking good. And you are gonna let me in. You know why? Because I know what goes on around here. How many of your fucking "members" know what's in that garbage I take out for you? Cholo lunges at Kaufman, grabs him by the collar. CHOLO (CONT'D) OU'LL LET ME IN OR I'LL... Cholo feels the barrel of a .45 against his waist. Kaufman, who has drawn the pistol from his jacket, is still smiling. KAUFMAN Maybe we should talk about this when you're less excited. Kaufman presses a button under the table. THREE SECURITY GUARDS rush in, GRAB Cholo, and drag him away. Kaufman stops one of the guards at the door. KAUFMAN (CONT'D) Softly) I won't be needing this man any more. INT. STAIRWELL - FIDDLER'S GREEN - DAY42 T 42 HE SECURITY GUARDS lead CHOLO down the stairs. Cholo WHIRLS like a Ninja. He SLUGS one guard, kicks another in the groin, the third in the face, and escapes through a fire door. c I w 33. INT/EXT. JAIL - AFTERNOON43 43 RILEY RIPS off part of his shirt-sleeve and starts to bandage the wound on SLACK'S arm. They are in a jail cell that has brick walls and a small barred window facing a dark alley. CHARLIE, stripped of all his guns, stares outside longingly. RILEY (To Slack) Why you? In that arena. Why did the little fat man throw you in with those things? SLACK It wasn't the little man. It was the big man. The man upstairs. He's got his fingers in everything down here. If you can drink it, shoot it up, fuck it, or gamble on it, it belongs to him. He's just seein' that we get a few cheap kicks so we don't go thinkin' too hard about why he's eating steak and the rest of us are lucky to get the bones. RILEY Same question. Why you? SLACK They found out I was working with Mulligan and his people. Tired of eatin' off Cbones. HARLIE What can you do? Every place is the same. RILEY Places with people. I'm gonna find me a place where there ain't no people. North. Canada. SLACK Wherever you're going, take me ith you. CHARLIE He won't. Riley likes to be alone. He might take me. Cuzz havin' me around is pretty much the same as bein' alone. (Glancing at Riley) can make myself useful. And I an shoot. C S 34. SLACK I can shoot. And I can be pretty fucking useful. I had training. I was gonna join the Army. Up the Green. Till somebody figured I'd be a better hooker than a soldier. RILEY I don't need to hear your story. Everybody's got a story, and I'm tired of hearin' them all! SLACK What's your story, Riley?They look at each other, clearly attracted. R ILEY I said everybody has a story. That was wrong. I don't have one. Daddy was a preacher. Mama kept the house. School. Engineering. Nothing bad ever happened to me...(turning away)...till everything changed. LACK Everything changed for all of us. Whether we had a story or not. A SOUND outside the window. Charlie glances through the bars. CHARLIE Hey...Riley and Slack look out the window. FOUR SECURITY MEN are chasing MULLIGAN into the alley outside. They drive him like an animal against a wall, club him, and drag him away. RILEY Mulligan.RILEY instinctively reaches through the window's bars, butthere's nothing he can do. It's a helpless feeling. HARLIE What are they gonna do? Kill him? SLACK Not right away. First, they'll try to get what they can out of him. About people like me. Riley puts his hand on her back. g t 35. INT. BEDROOM - AFTERNOON44 44 In a ratty bedroom, FOXY is wakened out of a snore by CHOLO. CHOLO We're taking the truck out. Get he guys. FOXY Riley? CHOLO No, not him. Just the regular uys. Know what I mean? EXT. DEPOT - NIGHT45 45 CRANE DOWN FROM A FADED SIGN, TONY'S AUTOMANIA, high above what was once a car dealership, but is now a fenced-in DEPOT full of VEHICLES. A huge WHITE FACE with black cartoon eyes POPS into view, attached to a TEN-FOOT-TALL BODY emblazoned TONY BALONEY. It's one of those vinyl ADVERTISING DUMMIES that does the hula as air pumps through it. Tony's arms wave wildly, like a giant zombie, comic yet oddly unnerving as... BLAM! BLAM! Bullets hit it in the face and neck. GUS, a young soldier, and his partner BARRETT, are shooting outside the SALES OFFICE of the car-lot-turned-depot. A sign is printed on the window. "BEST DEALS IN TOWN AND THAT'S NO BALONEY!" B ARRETT (Handing Gus a five) You win. You got him in the brain. INT. SUBWAY TUNNEL - NIGHT46 46 SCREECH! CHOLO pulls a CARGO CARRIER to a stop along the platform of the tunnel. FOXY, PRETTY BOY, MOUSE, ANCHOR, and SCAR, the youngest of the team, leap off the flatbed. EXT. DEPOT - NIGHT47 47 The steel doors under the "SUBWAY" sign open and CHOLO strides out with his TEAM. A DEPOT GUARD steps forward as the doors close and lock automatically behind them. DEPOT GUARD What's up, Cholo? CHOLO (Flashing an official-looking paper) Takin' the truck out. 36. DEPOT GUARD You just got back in this morning. CHOLO Nobody gets a day off these days. DEPOT GUARD (Taking Cholo's paper) Hey, wait a minute this is from yesterday. CHOLO (Keeping his cool) Oh, I must have given you the wrong one. Here... Cholo reaches down, but not into his pocket. For his gun. Just before he draws it...SHOTS ring out. CHOLO (CONT'D) What's that? DEPOT GUARD Relax. Just target practise.48 48 EXT. DEPOT - TONY'S AUTOMANIA SALES OFFICE - NIGHT GUS Double or nothing? BARRETT Sure. GUS aims his rifle at the jerking head of TONY BALONEY. As he is about to fire, there's a SOUND at his back. GUS Quit scratching around back there. You're tryin' ta fuck up my aim. BARRETT I'm just standin' here. I'm not doin' nothing. The SOUND comes again. From the woods that adjoin the lot. Barrett grabs the handles of a KLIEG LIGHT mounted on a pivot and swings it so that it ILLUMINATES the tree-line. T here's nothing there. Nothing but BRANCHES being slapped by erratic gusts of wind. Barrett pivots the Klieg light back to its original position, jumping out of his skin when the bright white beam reveals... A DEAD THING within arm's length. 5 37. Barrett FIRES! The dead thing DROPS OUT OF FRAME, REPLACED BY ANOTHER. BLAM! Barrett SHOOTS again. This creature collapses. It is also replaced by another, which is also shot, as... BLAM! The top of Barrett's head is taken off by a rifle shot. The rifle was fired by BIG DADDY. The barrel is still smoking. In the darkness behind him stands NUMBER NINE. Behind Number Nine are the SHUFFLING SHADOWS of many more dead things. GUS SCREAMS. EXT. DEPOT - NIGHT49 49 CHOLO What's that? Screaming practice? GUNNER (O.S.) Stenches! Jesus! They're all over the place! THE DEPOT GUARD turns and runs toward his men. CHOLO'S TEAM unstraps weapons and gets ready for battle. CHOLO (Stopping them) Ain't our fight. Stenches are making it easy for us. C Let's grab the truck. HOLO and his team sprint across the lot to DEAD RECKONING. A GUNNER at a machine-gun battery opens fire on the WALKERS. Many of the rounds SPARK off the wire fencing. 0 50 INT. DEAD RECKONING NIGHT CHOLO and his TEAM scramble into the vehicle. FOXY Should we send up some `sky flowers'? CHOLO No. Those things want to get in here...let `em in. EXT. DEPOT - NIGHT51 51 THE WALKING DEAD march through MACHINE GUN FIRE behind their "leader". BIG DADDY. He is the first to reach the fence surrounding the lot. Pushing against the wire, he is soon joined by NUMBER NINE. Then OTHERS. The FENCE COLLAPSES. The Dead Things SWARM into the depot. VROOOM! DEAD RECKONING pulls out. Rumbling over the section of fencing the zombies pushed down, it drives into the night. K 38. SOLDIERS abandon their stations and scatter, shooting wildly. NUMBER NINE knocks one of them cold with its baseball bat. The soldier falls, losing his M-16. BIG DADDY grabs the bat and throws it aside. Picking up the soldier's M-16, he presses the weapon into Number Nine's hands, even arranging Number Nine's fingers on the trigger. RATATATAT. With the gun aimed at the ground, Number Nine fires a BURST that sends her into a spastic dance. The soldier sits back up. Draws a pistol. Big Daddy grabs the barrel of the still-firing M-16 and guides it along the pavement to... ...the soldier's legs. Bullets march up his groin, belly, chest, and, finally, head. He drops. ANOTHER SOLDIER attacks. This time, Number Nine aims her weapon purposefully and scores a direct hit. OTHER DEAD THINGS SMACK at the steel doors that lead down to the subway. They can't get through. Losing interest, they drift slowly away, until their attention is refocused by... ...a GRUNT from Big Daddy, who is gazing toward the GLOW of the FIDDLER'S GREEN HIGH-RISE across the river, closer now than before. The city. That's where he wants to be. That's where he's determined to go. INT. KAUFMAN PENTHOUSE - FIDDLER'S GREEN - NIGHT52 52 KAUFMAN RIPS a TURKEY LEG off a cooked bird on a platter in front of him and eats. Across the table sits one of his board members, HARRISON SUTHERLAND. KNIPP enters. KNIPP Phone call, sir. KAUFMAN Thank you, Knipp. I'll take it. Knipp brings a radio-phone to the table. Kaufman picks up the receiver and lifts it to his ear. KAUFMAN Yes? CHOLO (O.S.) aufman? Kaufman tenses, just enough for Sutherland to notice. KAUFMAN Ah. The one that got away. S 39. CHOLO (O.S.) You said we should talk when I was less excited. I'm a lot less excited now. KAUFMAN What do you want, Mister DeMora?5 INT. DEAD RECKONING - NIGHT 3 53 CHOLO I can't have a place in the Green, fine. I'll go find another place. But you know what I'm gonna need? Money. I want my money out of your bank. And I want the rest of the money out of your bank. And if you don't give it to me, I'm gonna blow you out of your fuckin' ivory tower. I've got Dead Reckoning. INT. KAUFMAN PENTHOUSE - FIDDLER'S GREEN - NIGHT54 54 KAUFMAN That's unfortunate. CHOLO (O.S.) Put the money on a boat and send it across the river to the South Side. Tenth Street Pier. One man to drive the boat, no more. You've got till midnight. Four hours. I won't be there. Dead Reckoning won't be there. But I'll know if it happens. I'll know if it doesn't happen. CLICK! CHOLO hangs up. UTHERLAND Trouble? KAUFMAN In a world where the dead are returning to life, the word `trouble' loses much of its meaning. (Beat) He wants money. SUTHERLAND Pay him. KAUFMAN We don't negotiate with terrorists. There are other options. K 40. INT. JAIL - NIGHT55 55 CLANG! A FIDDLER'S GREEN SECURITY GUARD opens a cell door. S ECURITY GUARD Which one of you is Denbo? RILEY, CHARLIE, and SLACK exchange glances. What now? INT. FIDDLER'S GREEN BOARDROOM - NIGHT56 56 KAUFMAN sips a Scotch. SUTHERLAND is present, with a middle- aged board member named CHANDLER STYLES and CLIFF WOODS, who is young and ambitious. All of them are nervous, pacing. A door opens and RILEY is ushered into the room. KAUFMAN Mister Denbo. Come in. Can I offer you a drink? RILEY I don't drink. KAUFMAN Well, then...please sit down. RILEY Nobody else is sitting. I think I'll just stand here, like the rest of you. While you tell me why I'm standing here. AUFMAN We need you to repossess a vehicle that belongs to us. The vehicle you designed, Mister Denbo. Dead Reckoning has been stolen. By your second in command. I want him captured. Or killed. And I want my two-million-dollar piece of equipment returned. R ILEY The truck. KAUFMAN Which has guns. Big guns. That could do a great deal of damage if he were to aim them at this city. RILEY Why don't you just send out your troops? CH 41. KAUFMAN I don't want to lose them. I could send five hundred men against that thing and they'd all come back in body bags. It's your vehicle. Cholo was your man. You might be able to get close enough to...do what has to be done. (Refilling his scotch) Do this for me and I'll grant you something in return. Residence in the Green. RILEY Not me. That's what Cholo wanted, and you didn't give it to him, did you? That's why he's out there waving a cannon at your ass. Kaufman won't admit that Riley's right, but he looks at him with a glimmer of respect. RILEY (CONT'D) Give me one of those vehicles, over in the depot, weapons, and enough ammunition to go north. KAUFMAN But...there's nothing up north. RILEY That's the idea. KAUFMAN Alright. You've named your price. An easy one to pay. R ILEY One more thing. My friends. They go with me. KAUFMAN Take them. e looks at Riley, a hint of desperation behind his eyes. KAUFMAN (CONT'D) an you find Dead Reckoning? Quickly? RILEY How quickly? 42. KAUFMAN By midnight. RILEY I have a way. EXT. INDUSTRIAL STREET - NIGHT57 57 DEAD RECKONING RUMBLES along a dark street, plowing into a DERELICT CAR, knocking it aside and rolling it down a small embankment, pinning THREE DEAD THINGS beneath. INT. DEAD RECKONING - NIGHT58 58 CHOLO'S TEAM laughs raucously at the fate of the zombies. CHOLO (Tense) Knock it off! EXT. INDUSTRIAL STREET - NIGHT59 59 BIG DADDY steps out of the darkness, watching the lights of DEAD RECKONING recede. He hears desperate SQUEALING coming from under the toppled car. He lumbers down the embankment. Pushes on one of the upturned tires. He can't turn the car by himself. He looks back to the road. Grunts. NUMBER NINE and OTHERS OF BIG DADDY'S GATHERING FORCE hurry to the car. They push. The car rolls over, freeing THE THREE DEAD THINGS. One of them used to be a BUTCHER. Still wearing a blood-stained apron, carrying a meat cleaver, he looks at Big Daddy with something resembling gratitude. INT. FIDDLER'S GREEN WEAPONS STORAGE - NIGHT60 60 SOLDIERS pass out monster weapons to RILEY, CHARLIE, and SLACK. Riley straps on a K-90. Charlie turns one down. CHARLIE I like the iron I already got. SOLDIER This piece fires fourteen rounds a second. Charlie unstraps his own REMINGTON. A la Sergeant York, he licks his thumb. Wets the sight. And BLASTS a COCKROACH climbing on a wall twenty feet away. C HARLIE I don't norm'ly need fourteen rounds. M K CT 43. SLACK I'll take that gun. SOLDIER Can you handle it? SLACK Better'n you. The safety's off. he Soldier checks the gun. The safety is off. He clicksit on and embarrassedly hands the weapon to Slack. RILEY (To Slack and Charlie) You guys don't have to come out with me if you don't want to.Slack ties her hair back with a bandana. Checks her gun clip. SLACK I'd feel like a dick if I didn't. HARLIE Me too. Just look at me you can tell I'd feel like a dick. SLACK Some shit, ain't it? Goin' out to save a place we don't give a fuck about. RILEY It's not the place. It's the people in it. AUFMAN (O.S.) Mister Denbo.Riley turns. KAUFMAN and SUTHERLAND enter with several OTHERS. KAUFMAN (CONT'D) Your friends are going out with you. I want some of my friends to go along, as well. (Turning) anolete.AN HISPANIC MAN steps forward. MANOLETE That's how I am called...Manolete. After the bullfighter.6 m ( P 44. KAUFMAN Teahouse. TEAHOUSE steps forward. A mean-looking Asian right out of Mortal Kombat. He joins his hands, as if in prayer, and bows. KAUFMAN (CONT'D) illsbury. P ILLSBURY is a woman, a Sumo-sized Samoan, six hundred pounds and seven feet tall, swaggering, decked out in a clatter of fighting gear. SLACK (CONT'D) Impressed) Damn. Pillsbury speaks with a voice as deep as the Mindanao trench. PILLSBURY I come here to do sumthin'. Not stann aroun'. Why we stann aroun'? Less go do sumthin'.61 61 EXT. 10TH STREET PIER - NIGHT A LONG DOCK juts into the RIVER. DEAD RECKONING stops beside it. MOUSE jumps out. CHOLO stands in an open hatch. MOUSE (Looking around nervously) Don't leave me alone here long. CHOLO At midnight. Give me a call. Let e know if we're rich or not. Mouse nods, running off to hide in a BOAT SHED. EXT. DEPOT - NIGHT 2 62 The steel doors to the subway tunnel open. RILEY and his TEAM step out. The depot has been DEVASTATED. FIRES BURNING. FENCES DOWN. Only TONY BALONEY moves, still waving spookily. C HARLIE Geez. Cholo made a mess. RILEY Cholo didn't do all this. Clouds of thick black SMOKE from the fires BILLOW across the depot, restricting visibility. Ever-shifting OPENINGS in the clouds reveal glimpses of torn BODY PARTS. 45. RILEY (CONT'D) Stenches have been at this place.He leads the way into the depot, his M-16 at the ready. Behind him, all eyes peer nervously into the smoke. Everyone speaks in HUSHED tones. MANOLETE When the truck pulled out, it must have knocked the fence down. That's how they got in. RILEY That fencing was pushed in from outside. TEAHOUSE You know how many stenches it would take to do that? RILEY There's a thousand of them out there for every one of us. CHARLIE Good thing we're smarter. SLACK Look who's talkin'. RILEY They're getting smart. I saw it in Uniontown, last time out. They're learning how to work together. Thoughts darken. So does the SMOKE, which billows thicker,virtually blinding the team. SOUNDS come. The MOANING of the WIND. The POPPING of burnt metal and wood. TEAHOUSE What do they want? Slack looks back as she walks. The zombies have taken down another section of the depot fence, beyond which lies a suburb. Beyond which is the river. Beyond which is the glow of the FIDDLER'S GREEN HIGH-RISE. SLACK They want the city. RILEY The city is us. They're after us. We pissed `em off one too many times. M O ST 46. MANOLETE They'll never get across the river. CHARLIE Thank Heaven. RILEY Gotta love the guy. He still believes in Heaven. Anyone got a radio? Teahouse pulls a Motorola from his belt. Just as he tossesit to Riley, they hear...GROWLING! he team draws their weapons, standing in a loose circle,their backs to each other, guns searching for a target.Darting eyes peer into the void. MORE NOISES emanate from somewhere. Everywhere. Slowly......Charlie unstraps his Remington. Licks his thumb. Wets thesight of the rifle. LACK (A whisper) Why do you do that? CHARLIE (Whispering back) Catches the light. Right now it's moonlight. Lets me see where I'm aimin'.BLAM! Charlie FIRES! A single shot into the black smoke. SLACK The hell you shooting at? CHARLIE That thing.A DEAD MAN steps out of the smoke! Before anyone can react, itgrabs Slack's shoulder from behind! She whirls around. Pullsaway. Is about to shoot when she sees AN ENTRY WOUND on the left side of the Thing's forehead. CHARLIE (CONT'D) ff-center. But I got him.The Thing relaxes its grip and drops at Slack's feet. ANOLETE (Hysterical) There's more of `em out there. I can hear `em. THERE'S MORE!There are SHUFFLING SOUNDS in the smoke. Manolete backs away.Pillsbury grabs him. Slaps him, hard, across the face. M R y 47. PILLSBURY If they is more, we gonna need o guns. Pull `em out n'stann up wid us, like de man you ain't. Riley lifts Teahouse's Motorola and pushes "Send". RILEY Riley Denbo. Calling the Green. INT. FIDDLER'S GREEN BOARDROOM - NIGHT63 C 63 LOSE ON: SUTHERLAND'S alarmed face. SUTHERLAND What? A TROOPER, equally alarmed, is reporting. TROOPER Wiped out! That's what he said! Denbo! He said the depot was wiped out by stenches! KAUFMAN Thank you. Keep us informed. EXT. DEPOT - NIGHT64 64 RILEY and his TEAM move through DRIFTING SMOKE. VEHICLES are scattered about. They stop at the T-BIRD. There are no keys in the ignition. CHARLIE Gotta go get the keys, Riley. iley looks across the lot to the CHARRED RUIN of a shack. Tire fires BURN around it. Debris smolders. RILEY Ain't no keys to get. Melted. ANOLETE Screw keys. Hot wire the fucker. MANOLETE climbs in and goes to work under the dash. PILLSBURY H e feelin' better since I hit `im. Suddenly, CHARLIE draws his .45 and FIRES AT SLACK! BLAM! The bullet buzzes just above her ear, blowing a WISP OF HAIR as... .CT S 48....A DEAD OLD MAN BEHIND HER DROPS, a HOLE in its head. LACK Thanks, Charlie. That was useful.The WIND shifts and black SMOKE envelopes them. MANOLETE I can't see!Riley pulls out a flashlight and shines it under the dash. he team fans out around the T-Bird. The smoke is so thick they can't make out anything. Including each other. harlie peers into openings that shift on the breeze. Whathe doesn't see, what he can't see, is what's behind him... ..a FEMALE WALKER, wearing the soiled and tattered remnantsof a bridal gown. The fabric seems to glow in the smoke. The bride shuffles toward CHARLIE. We see it coming. No one else does. Just as it opens its mouth to bite... BLAM! Slack SHOOTS! Her bullet cuts closer than the oneCharlie fired, CLIPPING OFF THE TOP OF HIS EAR before DROPPING THE BRIDE. SLACK Even-Steven. CHARLIE Not! That hurt! I didn't hurt you!Manolete fumbles with colored wires under the dash. RILEY Hurry up. PILLSBURY (Impatient) Yellow to red! TEAHOUSE What the fuck does a Samoan know about hot-wiring cars? PILLSBURY Five thousand cars. Stole. Every year in Samoa. MANOLETE Fifty thousand in Mexico. R 49. PILLSBURY Mexico got a million cars. Samoa got five thousand. Every one. Stolen.THE T-BIRD'S ENGINE REVS. MANOLETE I GOT IT! LET'S GET OUT OF HERE!Riley leads the team into the T-Bird. Manolete starts to get out from under the dash. As TEAHOUSE settles into a seat by the door... ...SOMETHING heavy and wet SMACKS his shoulder. It's a FOREARM! It drops onto Teahouse as if thrown at him. TEAHOUSE God! Oh, GOD, WHAT'S THIS?!Teahouse HURLS the bloody thing onto the asphalt. Shockingly,the ARM SPRINGS BACK, THUMPING against Teahouse's face! Atwist of torn muscle, no thicker than clothesline, is keepingthe limb loosely attached to......A DEAD THING that has crawled beside the T-Bird. Lifting itself, it BITES a large filet out of Teahouse's arm. CHARLIEMSHOOTS it. anolete climbs up behind the wheel and...VROOOOOM!...pedalto the metal he pulls out of the depot. Slack glances atTeahouse, then, wind in her hair, leans in close to Riley. SLACK (Softly) How long does he have? RILEY I had a brother. Real brother, by birth. Bit. Hung on for six days. Before he turned. I was the one had to shoot him. SLACK And you said nothin' bad ever happened to you. RILEY That happened to my brother. SLACK (Into his eyes) But you kept going. ILEY Got to, right? C B K K S S Y 50. SLACK up. Dead is dead. And that ain't you. And that ain't me. Slack turns to Teahouse. LACK (CONT'D) orry, man. I truly am. She draws her .45, aims at Teahouse, and FIRES. INT. FIDDLER'S GREEN BOARDROOM - NIGHT65 65 KAUFMAN paces with a cigar, passing SUTHERLAND, STYLES, and CLIFF. AUFMAN I recognize that some of you are concerned. We've been threatened by a disgruntled employee. I've sent people out to take care of the problem. However, should something go wrong, I want to assure you that measures have been taken. I've established outposts. With food and supplies to support us on our way. C LIFF On our way? To where? KAUFMAN Alternate sites have been chosen. Air transport has been arranged. For us and our families. As well as necessary support personnel. CLIFF What about all the others? Kaufman looks at Cliff, as if expecting him to understand. AUFMAN All the others can be replaced. y others. LIFF But... KAUFMAN Cliff, let me talk to you for a moment. Kaufman leads Cliff into... 51....an alcove on the far side of the room, shutting two pocketdoors made of sandblasted glass. Sutherland and the others can't hear, but can see, Kaufman and Cliff in SILHOUETTE. ON THE OTHER SIDE OF THE DOORS: Kaufman leans close to Cliff, smiling, his eyes blinking a bit too rapidly. KAUFMAN (CONT'D) You interrupted me. I was just talking about how people can be replaced. You don't want to be replaced, do you? CLIFF ( Nervous) No. KAUFMAN No, and I don't want to replace you. You have promise. A day may come when you earn yourself some responsibilities. Right now, the responsibilities are mine. All the responsibilities. It was my ingenuity that took an old world and made it into something new. I put up fences to make it safe. I hired soldiers and paid for their training. I keep the people on the streets away from us by giving them their games and vices. It costs me money! But I spend it because the responsibility is mine! Now do you understand "responsibility"? CLIFF Yes, but... KAUFMAN No buts. CLIFF But...Kaufman looks disappointed. Taking Cliff by the arm, smilingagain, he leads him over to an outer door and opens it. Anarmed SECURITY GUARD stands in the corridor outside. KAUFMAN Take him out with the rest of the garbage. I won't be needing this man anymore. W 6 F O 52. At the conference table, Sutherland sees the light coming in from the outer corridor, better defining the silhouettes as the Security Guard drags Cliff away. S UTHERLAND (To Styles) Pretty soon it's going to be one of us. EXT. CARNEGIE - NIGHT66 66 n an overgrown suburban street, a LAWN TRACTOR, driven by a GARDENER in work clothes, drives back and forth, back and forth, over a swath of dead grass. The gardener is DEAD too. INT. DEAD RECKONING - NIGHT67 67 CHOLO watches the GARDENER through the windshield. CHOLO If I don't have this truck, I'm no different to Kaufman than that poor Mexican bastard out there. CLOSE ON: CHOLO'S WATCH. 11:20. OXY He's never gonna pay. CHOLO He knows it's his ass if he doesn't. Cholo slides open a small window, grabs his crossbow, and SHOOTS the Gardener in the head. EXT. ALLEY - NIGHT 8 68 ANGLE ON: A SOLID WALL OF WOOD. BIG DADDY, NUMBER NINE, and OTHERS OF THE DEAD push against it. The wood holds. Big Daddy turns, surveying his troops. Focusing on the BUTCHER. On the meat cleaver it has in its hand. Big Daddy pounds on the wood, demonstrating. Points at the meat cleaver. Pounds again. The Butcher gets it. Approaches the wall. HACK! The meat cleaver chops into wood, splintering it. REVERSE ANGLE: from the other side of the wall as the wood splinters to reveal BIG DADDY'S EYES staring through at... ...the FIDDLER'S GREEN HIGH-RISE, looming closer than it was before, though it's still across the river. S R R 53. EXT. MCKEE'S ROCKS - NIGHT69 69 CLOSE ON: a small, electronic unit, the size and appearance of a "Game Boy". AN LED SCREEN shows a BLINKING RED DOT moving along a MAP. RILEY (O.S.) Turn left up here. SLACK, driving the T-BIRD now, makes the turn. The car blows through a deserted town, moving fast. Riley notices that Slack is effected by the desolation she sees. ILEY How long since you been out here? SLACK Never been out. Lived in the city since...it was a regular city. ILEY Pull over. SLACK (Surprised) Huh? RILEY You said you were going to make yourself useful. Right now what I could use is for you to pull over. he does. The T-Bird stops along a road bordered by a MARSH thick with tall CAT TAILS. Unexpectedly, Riley stands and points his automatic at PILLSBURY and MANOLETE. RILEY I made a deal with your boss. Find Cholo. I'm gonna do it. Keep him from blowing up the Green. I'm gonna do it, I don't want people to get hurt. Bring back Dead Reckoning... Sorry. That's where I stop. I didn't ask him for much, just guns, ammo, and a car. I've got the guns. I've got the ammo. And if I find Dead Reckoning I'm gonna have the best fucking car that's ever been built, and I'm taking it to Canada. If any of you don't like that idea... Riley reaches down and opens the passenger door. Manolete looks out and sees the CAT TAILS MOVING. THREE WALKERS are slogging through the marsh. C R R 54. MANOLETE Some choice. PILLSBURY G ood choice. I like see Canada.Pillsbury reaches out and slams the car door closed again. ILEY Charlie, keep these two covered.Charlie pulls his .45. Riley turns around his seat, glancing down again at the "GameBoy" in his palm. The RED DOT has moved on to ANOTHER MAP. RILEY (CONT'D) Take a right onto Route Six.Slack pulls out. SLACK This is what you were thinking about all along. You got me out here figuring I'm a boy scout, and now you're telling me we're just stealing a fucking car? ILEY You have a problem with that? SLACK No. I like the way you think. HARLIE I like the way he thinks, too. Just look at me you can tell I like the way he thinks. RILEY Take another right. SLACK How do you know which way you're going? Riley holds up the "Game Boy". It BEEPS SOFTLY as the RED DOT shifts onto another MAP. RILEY I built a homing device into Dead Reckoning. If Cholo's anywhere within fifty miles, we can track him. 55. EXT. ROAD - NIGHT70 70 DEAD RECKONING stops on a long road, at the end of which stands... ...a MILITARY COMPLEX. THE BEAM of a SEARCHLIGHT sweeps back and forth over the buildings, a sign of life. INT. DEAD RECKONING - NIGHT71 71 CHOLO checks his watch. 11:29. He speaks into a TRANSMITTER. CHOLO Mouse. Anything? INT. SHED - 10TH STREET PIER - NIGHT72 72 MOUSE stands in the shed, holding a transmitter of his own. MOUSE Not yet. No boat. No money. No nothing. 73 73 INT. DEAD RECKONING - NIGHT PRETTY BOY I'm telling you, he's never gonna pay. CHOLO That's why we're here. CHOLO looks out the window to the searchlight sweeping over the military complex in the distance. INT/EXT. IMPALA - COUNTRY ROAD - NIGHT74 74 SLACK drives as RILEY monitors his "Game Boy". RILEY Shit. He's going to Ross Park. SLACK What's there? RILEY Powder magazine. Where they keep the big boomers. Rockets. For Dead Reckoning's cannons. 56. INT. SHED - 10TH STREET PIER - NIGHT75 75 MOUSE looks at a GRIMY WINDOW as the SHADOW of a WALKER stops just beyond the glass. Mouse FIRES a BURST shattering the window and dropping the Walker. Silence. Mouse takes a tentative step toward the window. A SCRATCHING SOUND. SOMETHING climbs up onto the sill from outside. Mouse raises his gun, but hesitates when he sees... ...it's a child. A GIRL SCOUT. It died at age nine, still wearing its uniform. Now, it's voracious. It grabs Mouse's gun-hand. The weapon FIRES harmlessly into the floor. Mouse is about to be chomped when... ...a STALAGMITE OF GLASS in the top of the shattered window drops, PIERCING the Girl Scout's head. Mouse runs SCREAMING to the door, where he is grabbed by another DEAD THING. And another. As he is TORN APART, he sees that there are DOZENS MORE. EXT. RIVER - NIGHT CRANE UP TO REVEAL: ...AN ARMY OF THE DEAD LINING THE RIVERBANK FOR AS FAR AS THE EYE CAN SEE. CLOSE ON: BIG DADDY. Only the river now flows between he and his goal: FIDDLER'S GREEN HIGH-RISE, so near and yet so far. 76 76 INT. KAUFMAN PENTHOUSE - NIGHT WHAM! The door SLAMS behind KAUFMAN as he enters the foyer. KNIPP emerges from the rear. KNIPP Any word from Mister Denbo, sir? KAUFMAN No. Pack us up. We might have to be leaving. KNIPP In the helicopters? KAUFMAN We'll only need one of them. 57. INT/EXT. DEAD RECKONING - NIGHT77 77 PRETTY BOY eases the vehicle up the road to the complex of buildings: ROSS PARK, a sprawling munitions depot. The searchlight continues to sweep across the night, but NO ONE is manning it. It's mounted to an automatic rotator on the roof of the main building. FOXY Looks like no one's here. The gates stand wide open. There's no sign of life. CHOLO punches a button. The SIDE HATCH HISSES OPEN. CHOLO Foxy. You're elected. Get out there and see what the fuck. Foxy moves out through the open hatch. CHOLO (CONT'D) Somebody go out and help. SCAR grabs his weapons. SCAR I'll go. EXT. RIVER - NIGHT78 78 ONE OF THE DEAD TOPPLES face first into the water, dropping out of sight. ANOTHER FALLS. BIG DADDY looks at the spot where his brothers fell in. He looks for a long time, cocking his head like a puppy trying to understand a high wind. The first Dead Thing slowly rises out of the water. Then the Second. They stand, waist deep, in the shallows. Big Daddy gazes down at the water, a concept dawning. Then, with grim purpose, he steps deliberately off the low wall. Hitting the river, he manages to stay on his feet. Standing, waist deep, with the others, he scoops up water with his one good hand. Sniffs it. Tastes it. He looks up. Sees the CITY LIGHTS REFLECTED ON THE RIVER. He tries to express his thoughts. All that comes from his mouth is a series of inarticulate moans. He's incapable of transmitting his idea. So he does what he's been doing since Uniontown. He leads. He walks toward the city. Out of the shallows. Into deep water. Over his head. 58. INT. UNDERWATER - NIGHT79 79 There are AUTOMOBILE TIRES, GARBAGE CANS, a rusted ANCHOR, a sunken MOTOR BOAT, HUNDREDS of BEER BOTTLES...AND THOUSANDS OF DEAD THINGS...WALKING...ON THE RIVER BOTTOM...following BIG DADDY through the debris. INT. TENEMENT - NIGHT80 80 A knock on a door is answered by A MAN who looks a bit too greasy to be important. SUTHERLAND is outside. SUTHERLAND How much is Kaufman paying you and your men? GREASY MAN Four hundred a day. Each. STYLES I'll pay you five thousand a day. Each. 81 81 EXT. T-BIRD - NIGHT The car speeds down the road with SLACK at the wheel. INT. T-BIRD - NIGHT82 82 RILEY looks at his watch. 11:40. EXT. ROSS PARK AMMUNITION DEPOT - NIGHT83 83 The unmanned SEARCHLIGHT scans the yard, casting intermittent shadows. SCAR This place is important. The men here wouldn't just walk out. FOXY Maybe they had no choice. FOXY and SCAR move toward a large STORAGE BUILDING where a door swings in the night breeze, SLAPPING alarmingly against the wall. Beyond the opening is a BLACK MAW, like a velvet curtain, past which nothing can be seen. FOXY (CONT'D) There could be stenches in there. (Readying his M-16) Got a flashlight? 59. Scar nervously pulls out a flashlight. As he CLICKS on the BEAM, he loses his grip. The flashlight drops to the ground. Scar reaches for it. His fingers tip it and it spins. The beam WASHES across his shoes. Then Foxy's shoes. Then finds... ...ONE OTHER SHOE. Someone else's. Gasping, Scar grabs the flashlight, shining the beam up onto what should be a leg, but there's nothing left above its bloody shin. PLIP! PLOP! PLIP! Beads of BLOOD hit the floor, dropping from the DARK FIGURE of a SOLDIER who is approaching. Scar aims the flashlight at the figure's face, recognizing... SCAR Brubaker! You okay? Where's the other guys? What happened here? Brubaker keeps coming. He has BULLET HOLES in his chest, but they're not what's dripping blood. It's another half-eaten FOOT that he's carrying. BRUBAKER IS DEAD. Foxy shoots him. Foxy and Scar move into a hangar-like space. Pitch black. Except for the mote-filled BEAM from Scar's flashlight, which illuminates a supply of enormous cannon shells, lined up on storage shelves. THE "JOHNSONS". SIX DEAD SOLDIERS are hunkered in the shadows, EATING the REMAINS of OTHER DEAD SOLDIERS. Foxy grimly raises his weapon. As he squeezes the trigger, the sound of the gunfire OVERLAPS into... 84 84 INT. DEAD RECKONING - NIGHT ANCHOR and SCAR wrestle TWO "JOHNSONS" into place. CHOLO That's good. That's all we need. FOXY (Sober) To blow up the Green. INT./EXT. T-BIRD - HILLSIDE ROAD - NIGHT85 85 THE T-BIRD rumbles along a road lined with large HOMES, once prized for their panoramic views. RILEY'S "Game Boy" BEEPS. The display shows the RED DOT moving along a MAP. RILEY Cholo's moving out. Looks like he's heading right for us. T S 60. Riley looks outside. Beyond the homes he can see THE CITY. RILEY (CONT'D) hit. Off this hillside...they can shell the Green. Pull in! There! SLACK pulls into a driveway, stopping the T-Bird in the shadow of one of the houses. RILEY (CONT'D) hey'll be coming up this road. INT. BANK - FIDDLER'S GREEN - NIGHT86 86 In a walk-in STEEL-WALLED SAFE, KAUFMAN pulls out banded STACKS OF MONEY and stuffs them into TWO PRADA DUFFELS. 87 87 EXT. BOAT RAMP - NIGHT ONE HEAD RISES out of the river. It's BIG DADDY, rivulets of water running down the creases of his face. Another head rises. And another. NUMBER NINE and the BUTCHER ZOMBIE. More and more heads break the surface. The water FILLS with BODIES emerging from the deep. HUNDREDS OF THEM. The CITY LIGHTS REFLECT off their wet clothes as the ARMY OF THE DEAD clambers up a boat ramp on the city side of the river. EXT. HILLSIDE HOME DRIVEWAY - NIGHT88 88 RILEY and HIS TEAM wait in the shadows of the driveway they pulled into. They HEAR the distant GROWL of DEAD RECKONING. Looking over a hedge-row, Riley can see HIGH BEAMS advancing. RILEY (To the Others) Y'all stay here. SLACK You're goin' out there alone? You need our guns. RILEY Dead Reckoning's got steel skin an inch thick. You can't shoot your way in. I'm hopin' I can talk my way in. MANOLETE He's gonna steal the truck and leave us here. 61. CHARLIE Riley'd never do that. Just look at him, you can tell he'd never do that. RILEY Keep an eye on the hatches. If I get in, I'll try to leave one open. Riley takes off. Charlie looks torn. He wants to go with Riley, but he has to keep PILLSBURY and Manolete covered. PILLSBURY I like dat man. You go help `im. I take care of dis sissy. Pillsbury, moving fast for a big woman, POUNDS Manolete's temple with a mighty fist. He drops like a lead weight. EXT. ROOFTOP - FIDDLER'S GREEN - NIGHT89 89 The door to the roof opens and the GREASY MAN from "downtown" steps out of a fire stair with ANOTHER GREASY MAN. SUTHERLAND remains inside the door. GREASY MAN I don't know about this. I mean... leavin' people behind... SUTHERLAND Kaufman was gonna leave people behind. So we're leaving him. The Greasy Men go trotting across the rooftop. As they climb into TWO HELICOPTERS, we realize that they are PILOTS. EXT. HILLSIDE STREET - NIGHT90 90 RILEY walks down the road. The GROWLING of the diesels is getting louder, the GLOW from the high-beams brighter. Riley is startled by a NOISE behind him. He whirls around and sees CHARLIE approaching. CHARLIE Everything's cool back there. Riley is about to object, when DEAD RECKONING comes rumbling around a corner a hundred yards down the street. Riley checks his watch again. 11:52. CHARLIE (CONT'D) Too late to send me back. 62. RILEY Put on your Sunday smile. Try to look friendly. CHARLIE I am friendly. Just look at me you can tell I'm friendly. INT. DEAD RECKONING - NIGHT91 91 In the cab, PRETTY BOY eases off the gas. CHOLO looks out the windshield as the headlights strike... CHOLO Denbo. And his idiot. (Beat) Stop. Gimme the mike. The vehicle crunches to a stop forty yards away. Pretty Boy hands Cholo a microphone. Cholo speaks into it. CHOLO (CONT'D) How'd you get up here, Riley? INTERCUT: BETWEEN THE STREET AND DEAD RECKONING'S CAB. RILEY Grabbed the T-Bird. CHOLO What are you doin' up here? RILEY Tracking you. With this. Riley holds up his "Game Boy". Cholo looks surprised. RILEY (CONT'D) Truck's got a little transmitter in her belly. Sorry I never told you. CHOLO You were always a smart guy, Riley. Much smarter'n me. RILEY You went and took off without inviting us along. CHOLO You weren't around to get invited. Anyway, I figured you wouldn't want in on this. 63. RILEY We want in on anything you got goin'. CHOLO (To Pretty Boy) Open up. FOXY What're you, nuts? CHOLO Open up! EXT. HILLSIDE HOME DRIVEWAY - NIGHT92 92 SLACK and PILLSBURY watch from the shadows as a HATCH OPENS. INT. DEAD RECKONING - NIGHT93 93 RILEY and CHARLIE step on board. PRETTY BOY is at the controls. FOXY, ANCHOR, and SCAR stand nearby. Charlie is grinning like a badly scarred Cheshire cat. CHOLO The hell you so happy about? CHARLIE Riley told me to smile. So's you'd let us come in. CHOLO I'd rather have you in here than out there. KA-CHUNK! Cholo lifts his crossbow, pressing a loaded arrow up under Riley's chin. BLOOD TRICKLES. CHOLO (CONT'D) Who's the smart one now? Charlie is about to react when he feels Foxy's M-16 poking into his back. Cholo looks into Riley's eyes. CHOLO (CONT'D) Thought you were gonna quit. Here you are still working for the man. Kaufman sent you out here, didn't he? To get the truck back. RILEY Yes. 64. EXT. HILLSIDE HOME DRIVEWAY - NIGHT94 94 SLACK and PILLSBURY creep forward, freezing as they see RILEY with the crossbow at his neck. Slack aims her K-90 at CHOLO, RUSTLING branches as she moves. SLACK That man pulls the trigger, he's dead. INT. DEAD RECKONING - NIGHT95 95 CHOLO cocks his head outside. CHOLO Who else is out there? RILEY Kaufman sent some guys with us. We took care of `em. I know you been up to Ross Park. Picked up some Johnsons, huh? CHOLO Yup. Pretty Boy, set the cannons. 96 96 EXT. DEAD RECKONING - HILLSIDE - NIGHT With great WHIRRING SOUNDS, the vehicle's largest guns begin to ROTATE slowly toward the city across the river. SLACK We're running out of time here. C'mon, Riley. Make yourself useful. MANOLETE begins to stir on the ground beside THE T-BIRD. INT. DEAD RECKONING - NIGHT97 97 RILEY keeps cool. RILEY Don't do it, Cholo. CHOLO Kaufman's got it coming. EXT. DEAD RECKONING - HILLSIDE - NIGHT98 98 SLACK and PILLSBURY watch THE GUN TURRET continue to turn, the cannon barrels angling toward FIDDLER'S GREEN. 65. INT. DEAD RECKONING - NIGHT99 99 PRETTY BOY lifts a clear cover off a RED FIRING BUTTON. RILEY Hit the tower square, you'll kill a lot of innocent people. Miss and hit the city, you'll kill a lot of our friends. Your beef's with Kaufman, not them. The turret on the roof GROANS as the cannons rotate. CHOLO He's killed a lot of our friends. Every week we took out the garbage, you and me. Every month I took out Kaufman's garbage. People he wanted off the streets. He turned me into a goon and then he pissed all over me! Foxy, keep `em covered. EXT. DEAD RECKONING - HILLSIDE - NIGHT100 100 The turret stops, cannons aimed directly at the GREEN. 101 101 INT. DEAD RECKONING - NIGHT CHOLO moves to the RED FIRING BUTTON. CHOLO When the smoke clears, I'm gonna roll in, hit the bank, take the money, and pick up any other fancy shit I can get my hands on. RILEY There won't be any fancy shit left. And money burns. CHOLO Not when you keep it in a safe. EXT. DEAD RECKONING - HILLSIDE - NIGHT102 102 MANOLETE pulls one of the MACHINE GUNS out of its mount on the T-BIRD. Shouldering it, he creeps toward DEAD RECKONING. INT. DEAD RECKONING - NIGHT103 103 ON THE CONTROL PANEL: A CLOCK CLICKS DOWN TO MIDNIGHT. 4...3...2...1...CHOLO reaches down and pushes the button. 66. EXT. DEAD RECKONING - HILLSIDE - NIGHT104 104 The GUN BARRELS are cold. SILENT. INT. DEAD RECKONING - NIGHT105 105 CHOLO punches the button again. Again. Nothing happens. CHOLO WHAT THE FUCK? CHOLO'S eyes fall to the "Game Boy" in Riley's hand. CHOLO You did something, didn't you? With your FUCKING TOY! Riley pushes another button on the "Game Boy". Outside... EXT. DEAD RECKONING - HILLSIDE - NIGHT106 106 ...TWO STEEL LOCKING RINGS swing up to cap the cannons. Just beyond the barrels we see MANOLETE closing in on DEAD RECKONING, raising his machine gun. A DEAD THING advances behind him. 107 107 INT. DEAD RECKONING - NIGHT CHOLO charges RILEY. Grabs him around the throat. CHOLO Fix it! RILEY Not a chance. Riley tosses the "Game Boy" out the open hatch. Cholo reaches out after it. EXT. DEAD RECKONING - HILLSIDE - NIGHT108 108 MANOLETE has the machine gun aimed at DEAD RECKONING'S open hatch. Where CHOLO is standing. Out of the corner of his eye, RILEY sees Manolete's machine gun barrel flash in the moonlight. MANOLETE FIRES! RATATAT! RILEY PUSHES CHOLO OUT OF THE WAY JUST IN TIME! He drops from the hatch onto the pavement, wounded in the shoulder. The Walker starts to rip Manolete apart. Slack SHOOTS HIM in the head. Then she and PILLSBURY open fire on the Walker, destroying it. 67. INT. DEAD RECKONING - NIGHT109 109 FOXY, distracted by the mayhem, lets CHARLIE get the drop on him. ANCHOR and SCAR go for their guns. RILEY unslings his M-16 and holds them at bay. RILEY Easy boys. Riley looks at the clock on the control panel. 12:01. Charlie follows his gaze. CHARLIE Geez. We just made it. Riley CLICKS the transmitter on. RILEY Riley Denbo calling the Green. 110 110 INT. PENTHOUSE CORRIDOR - FIDDLER'S GREEN - NIGHT BING! KAUFMAN steps off the elevator, carrying his two Prada bags full of money. A TWO-WAY RADIO in his pocket RINGS. KAUFMAN (Into radio, urgent) Yes? RILEY (O.S.) We got Cholo. KAUFMAN (Sagging with relief) I owe you, Mister Denbo. INT. DEAD RECKONING - NIGHT111 111 RILEY I'm glad you feel that way. Because I'm taking your fucking truck. INT. KAUFMAN'S PENTHOUSE - FIDDLER'S GREEN - NIGHT112 112 KAUFMAN rushes in with his bags, dropping them beside other luggage that is already packed. KNIPP (Frightened) Mister Kaufman, sir. I dunno what's happening, sir, but it sounds bad. 68. The windows are sealed so the NOISE Kaufman hears is MUFFLED, but it is definitely the SOUND OF DISORDER. He goes to a window. Looks down and sees... ...flashes of LIGHT from gunfire. SMOKE rising from an EXPLOSION. PEOPLE running. THE DEAD swarming into the city like ants. A war has begun. EXT. ROOFTOP - FIDDLER'S GREEN - NIGHT113 113 SUTHERLAND stands at the edge of the roof, looking down at what Kaufman just saw. SUTHERLAND All this time Kaufman's been worried about a revolution on the streets. He never thought it would come from across the river. Sutherland, STYLES, OTHER BOARD MEMBERS, and their FAMILIES get into the TWO HELICOPTERS. INT. KAUFMAN'S PENTHOUSE - FIDDLER'S GREEN - NIGHT114 114 THE SOUND OF RUMBLING. The CEILING VIBRATES, knocking tear- shaped baubles off a CHANDELIER. The SOUND BUILDS in intensity. Then suddenly eases off. Through the window, KAUFMAN sees the things that caused the rumbling... ...TWO HELICOPTERS, SOARING off into the night. KAUFMAN (CONT'D) No. No. They can't leave. Not without me! KNIPP I think they just did, sir. EXT. DEAD RECKONING - HILLSIDE - NIGHT115 115 RILEY jumps out onto the street where CHOLO lies, bleeding from the top of his left shoulder. CHOLO I hate you, Riley. There's something about you I've always fucking hated. RILEY (Smiling) Same here. SLACK Riley. Look out there. 69.Riley looks where SLACK is pointing. From across the river comes a flickering ORANGE GLOW. Riley moves to a spot where he can see between the houses onthe hillside. In the distance, FIRE rises from the city. Cholo sits up, cackling. CHOLO I didn't have to blow the fucking place up. Somebody else did for me! RILEY (Stunned) The stenches. They got across the river. They got across the fucking river. (To the others) Get him inside. PILLSBURY steps in and lifts Cholo easily to his feet. CHOLO Wait, wait, wait. What are we doin'? Where we goin'? RILEY Back to the city. CHOLO Not this horse. You got the T-Bird? I'll take that. FOXY Me, too.FOXY jumps out of DEAD RECKONING and stands at Cholo's side. Riley, Slack, and Pillsbury climb aboard. Riley looks down at Cholo and Foxy. RILEY You guys'd be safer coming with us. CHOLO Nah, you'd never let me have any fun. RILEY T-Bird's down that driveway over there. Guns and ammo inside. CHOLO Thanks. 70. INT. DEAD RECKONING - NIGHT116 116 RILEY closes the hatch. Blood trickles from under his chin where Cholo stuck him with the crossbow. SLACK reaches up and pulls off the bandana that holds back her hair, which cascades down. She uses the fabric to clean the blood off Riley's neck. He looks at her, touched by the familiarity of the gesture. SLACK Almost lost you there. RILEY I don't get lost so easy. (To PRETTY BOY) We gotta get across the water. PRETTY BOY The bridges into the city are all bricked up. PRETTY BOY hits a button. A MAP appears on a MONITOR, showing the "GOLDEN TRIANGLE" bordered by the rivers and the barricaded bridges spanning them. SLACK We could blast our way through. RILEY Don't want to. If the stenches got in, there's a war going on in the city. We take any of those bridges we'll end up right in the middle of it. Riley runs his finger along the monitor, outlining the natural and man-made barriers that protect the triangle. RILEY (CONT'D) We've gotta come in above the throat. His finger continues down the monitor to "THE THROAT" at the base of the triangle, where the long FENCE runs between the two rivers. RILEY (CONT'D) What was built to keep folks safe is gonna trap them inside. We've gotta give them a way out. C C E C C 71. EXT. FIDDLER'S GREEN - NIGHT117 117 CLOSE ON: KAUFMAN staring out his PENTHOUSE WINDOW, aghast. LICKS OF FIRE reflect on the glass. SOUNDS OF WAR can be heard from far below. EXT. "GOLDEN TRIANGLE - NIGHT118 118 In the pristine plaza that surrounds the building, WALKERS swarm. CITIZENS run, screaming, including SOLDIERS, driven from their posts, who SHOOT at the Dead Things. CLOSE ON BIG DADDY. Who looks back and forth, as if torn, at the FIDDLER'S GREEN HIGH-RISE, at the violence in the streets, back at the building, back at the streets. A SOLDIER fires at him! Misses. Big Daddy raises his rifle and blows him away. 119 119 EXT. HILLSIDE HOME DRIVEWAY - NIGHT CHOLO and FOXY run up the road to THE T-BIRD. Seeing a WALKER lurking ahead, they duck into the dark cover of the trees. HOLO I got it. WFFFFT! Cholo picks off the Walker with his crossbow. HOLO (CONT'D) Come on, let's go. He slaps a hand on Foxy's back. XCEPT IT'S NOT FOXY! It's ANOTHER WALKER that has moved between the two men. It grabs the hand that slapped him and BITES it. HOLO AHHH...FUCK! Foxy, a few yards away, whirls, aiming his gun at the Walker. Cholo is faster. With no time to reload, in agony, he pulls a FISTFUL OF ARROWS from his quiver and DRIVES THEM THROUGH THE WALKER'S FACE AND SKULL. The Walker falls. So does an ominous silence. HOLO (CONT'D) I can't fucking believe it. (A sad chuckle) Nothin' works out. It's like...the world is spinning around and we're just...caught in the wind. Nothin' works out. Some damn thing always comes around the corner and gets you. 1 D I 72. Foxy aims his rifle Fat Cholo's forehead. Their eyes connect. OXY Your choice. For a moment, Cholo looks despondent. Then he forces a smile. CHOLO No, don't shoot. (A dark chuckle) always wanted to see how the other half lives. Foxy lowers his gun. CHOLO (CONT'D) Take the car and get outa here. FOXY I'll get outa here. You take the car. INT/EXT. DEAD RECKONING - RIVER ROAD - NIGHT120 120 EAD RECKONING drives upriver. THROUGH THE WINDSHIELD: THE CITY can be seen BURNING in the distance. PRETTY BOY The old J&L'll take us over. Right outside the throat. EXT. J&L DRAWBRIDGE - NIGHT121 121 A drawbridge spans the river. Or would span it if it wasn't open, its rusted metal roadbed rising into the sky. INT. DEAD RECKONING - NIGHT 22 122 RILEY Gotta get it down. PRETTY BOY The controls are in that booth up there. EXT. CONTROL BOOTH - J&L DRAWBRIDGE - NIGHT RILEY'S POV: A CONTROL BOOTH is built into the superstructure of the bridge, about fifteen feet off the ground, on DEAD RECKONING'S side of the river. 73. EXT. J&L DRAWBRIDGE - NIGHT123 123 RILEY jumps out of DEAD RECKONING. SLACK is right behind him. RILEY Get back in there. What are you doing? BLAM! She shoots a WALKER that has come out of the night. SLACK Making myself useful. EXT. DEPOT - NIGHT124 124 CHOLO jumps out of the T-BIRD and runs to the steel doors, unlocking them with a mag-key. INT. SUBWAY TUNNEL - NIGHT125 125 CHOLO walks with determination along the deserted tracks under the river. 126 126 EXT. J&L DRAWBRIDGE - NIGHT RILEY ducks under a caution gate at the entrance to the bridge and starts across the roadway. Behind him... ...SLACK and CHARLIE stand, weapons ready, eyes alert for danger. As Riley runs... ...SOMETHING SKITTERS across the road, chasing him. Not a zombie. Much smaller. A RIVER RAT. Charlie draws his REMINGTON. Wets the sight with his thumb. BLAM! Riley stops running. Looks back to see what's being shot. SLACK You missed. CHARLIE Nope. I blew its ass off. The rat is now half a rat. Its ass has been blown off. Yet IT'S STILL RUNNING! CHARLIE (CONT'D) Just didn't hit it in the head. 74. SLACK (Realizing) Jesus. It's dead. CHARLIE They all are. SKREEEEEEEE! ZOMBIE RATS crawl up onto the roadbed. DOZENS. Riley takes off away from them. Slack and Charlie hurry closer, firing, trying to pick the critters off. The rats reach Riley! Nip at his heels. He leaps. Swings onto a girder. Climbs to the control booth. The rats don't follow. Slack heaves a sigh of relief just before... ...SKREEEEEEEE! A second pack of rats scurries toward her! She vaults over a railing, dropping several feet to... ...the riverbank below. But there are rats here too! Charlie fires at them from above. BLAM! BLAM! BLAM! FUR AND BLOOD FLY. But there are too many. He can't shoot them all. INT. CONTROL BOOTH - J&L DRAWBRIDGE - NIGHT127 127 RILEY reaches the control booth. Draws his .45, expecting danger within. He steps through the opening... ...but nothing's there. Just a SPIDER WEB that sweeps over his face as he moves toward a RED SWITCH that activates a generator. He flips it. The motor roars to life. He turns toward a giant lever that operates the roadbed. It GROANS from disuse as he pulls it. EXT. J&L DRAWBRIDGE - NIGHT128 128 RED LIGHTS on the caution gates BLINK, tinting the night. The silence is shattered by a LOUD SIREN that ECHOES across the river. The bridge's roadbed begins to CREAK down slowly. EXT. RIVERBANK - NIGHT129 129 THREE DINGHIES lie, upside down, next to the water's edge. SLACK shoves one into the river, climbing onto its upturned bottom. She pushes off. The boat doesn't budge. A tether holds it within inches of the shore. Slack pulls out a jackknife and goes to cut the rope, but... ...rats SNAP at her hands. Slack recoils, but keeps cutting. Finally, the rope frays, enough for the boat to pull free. T 75. Slack crouches on top of the upturned hull. No way to steer. No paddles. The current carrying her away. CHARLIE Slack! INT. CONTROL BOOTH - J&L DRAWBRIDGE - NIGHT130 130 Hearing the scream, RILEY looks out the control booth window and sees... ...SLACK being taken downstream. EXT. J&L DRAWBRIDGE - NIGHT RILEY bursts out of the booth, only to be confronted by... ...the BRIDGEKEEPER. Drooling. Dead. It grabs Riley, pushing his head back toward the enormous GEARWORKS of the bridge. Riley struggles. Bests the creature. Spins him around toward the gearworks and... ...SSSNIPPPP! THE BRIDGEKEEPER'S HEAD is scissored off! It drops with a PLUNK into the river below. 131 131 EXT. RIVER - NIGHT SLACK, adrift on the boat, lies prone at the bow and begins to paddle with her hands. One of which hits something long and slimy. It looks like a snake! But it's not. It's only a moss-covered rope. Slack grabs on. Pulls hand over hand. It seems to take forever for the rope to become taut. A FACE BOBS OUT OF THE WATER! Slack SCREAMS. It's the BRIDGEKEEPER'S HEAD, its eyes blinking as it floats off on the current. he rope is attached to a stanchion on the opposite shore. Slack's muscles strain as she pulls on it until... ...her boat reaches the stanchion and she jumps off, finding herself at the same boat ramp the army of the dead used. The river has carried her into the very part of the city Riley and the team were trying to avoid. SCREAMS rise nearby. She's in the war zone. 76. EXT. J&L DRAWBRIDGE - NIGHT132 132 THE BRIDGE IS LOWERING SLOWLY. Too slowly. RILEY scrambles up the incline of the roadbed and calls back to CHARLIE. R ILEY Bring her over as soon as you can! Charlie pops back into DEAD RECKONING. Riley climbs to the top of the descending roadbed and... ...LEAPS across the narrowing gulf to the other side. He lands. Falls. Rolls. Gets to his feet and runs toward Slack and the city.133 133 EXT. "GOLDEN TRIANGLE" - NIGHT SLACK runs past hysterical PEOPLE toward the FIDDLER'S GREEN HIGH-RISE. BRIAN, Mulligan's young son, rushes by her in a panic. Slack grabs him. SLACK Brian! BRIAN We can't get out! There's no way out! SLACK There will be. Come with me. BRIAN Daddy! Daddy's still locked up. Slack runs off with Brian, past a MANHOLE surrounded by canvas fences, "CAUTION" signs, and flaming OIL POTS. As MAINTENANCE WORKERS scramble out of the manhole... ...DEAD THINGS close in. The Workers, unarmed, pick up the ball-shaped pots and BOWL them at the Walkers. As the "balls" roll, their FIRES SWIRL, making them look like flaming comets. S ome of the pots CRACK OPEN, creating POOLS OF FIRE on the street. One of the "balls" remains whole until it smacks against the feet of a Walker. Then it opens. And the Walker is engulfed in flames. Big Daddy looks at the Walker with sadness. He lifts his rifle again and shoots the flaming creature in the head. B 77. Big Daddy walks to the manhole. TOOLS are strewn around it, pickaxes, sledges, chainsaws, and a pneumatic hammer which is lying on the street...RATTATATTAT...still running. Big Daddy looks at the FIDDLER'S GREEN SKYSCRAPER. His goal. Finally in reach. He looks down at the pneumatic hammer, and picks it up by the handle. With the heavy tool vibrating in its hand, Big Daddy walks toward the building. He doesn't get very far before the hammer's electrical cord is pulled out of the extension it's plugged into. The hammer stops running. Big Daddy looks at it. Puzzles over its stillness for a moment. Then... ...he looks at the building. At its doors, abandoned by guards. Doors that are made of glass. The barrel of an M-16 is planted against Big Daddy's temple by a MILITIAMAN. UDDA-BUDDA-BUDDA! The Militiaman FLIES BACK. It wasn't he who fired. It was NUMBER NINE, standing nearby with her M-16. The Militiaman lies on the ground, his dead eyes staring at Number NINE in utter surprise. Seeing what has happened, ANOTHER SOLDIER grabs a grenade, pulls the pin, and is about to toss it at Big Daddy when... ...his HAND IS CUT OFF at the wrist by a meat clever held by THE BUTCHER. The Soldier's hand, still clutching the grenade, PLOPS into the street. The Soldier looks down in horror, then collapses on top of his hand. A MUFFLED EXPLOSION makes jelly of his mid-section. Big Daddy continues to walk toward the building, carrying the pneumatic hammer, as OTHER DEAD THINGS collect sledges, pickaxes, lengths of pipe, and follow their leader.1 INT. FIDDLER'S GREEN ATRIUM - NIGHT 34 134 KAUFMAN and KNIPP, carrying the Prada duffles, rush out of an elevator with FOUR SECURITY GUARDS. Kaufman carries a gun. T hey race into the street level of the three-story ATRIUM. Chopin LILTS, caged birds SING. RESIDENTS SCREAM, running crazily in all directions. A bank of GLASS DOORS leading to the street is under assault by WALKERS, ten deep. T IC I G 78. KAUFMAN They can't get in. Downstairs. The car. The Dead Things POUND at the doors. One Guard runs away. TheOther Three follow. KAUFMAN (CONT'D) et back here! GET BACK HERE!Kaufman FIRES THREE ROUNDS at the men! He's not a marksman,but ONE of the GUARDS is WINGED. Whirls around and levels his M-16 at Kaufman. SECURITY GUARD YOU STUPID OLD FUCK!He's about to fire when Knipp steps in front of Kaufman. KNIPP DON'T SHOOT! (Grabbing Kaufman's gun hand) Boss? Don't you shoot, neither. We're all on the same S side. Least we're supposed to be. ECURITY GUARD I'm on my own side now.The Guard takes off after his comrades. CHOLO (O.S.) Need some help, Mister K.?Kaufman spins around to see CHOLO walking toward him across the atrium. CHOLO (CONT'D) been bit, Mister K. I'm a dead man, so I don't care about nothin' no more. Still care about you, though. I wanna make sure you come to the same end as me. LANG! CLANG! CLANG! The Dead Things at the glass doors arePOUNDING now with shovels, pickaxes, and lengths of pipe. CHOLO (CONT'D) hey're going to get you, Mister K. want them to get you.Kaufman raises his gun and aims at Cholo, who aims back with his crossbow. K KK P 79. CHOLO (CONT'D) ut it down, old man, unless you'd rather die right now.BIG DADDY appears outside the doors. Uses his pneumatichammer to POUND at the safety glass. aufman can't take it anymore. He bolts for a stairway door.Cholo shoots. An arrows hits Kaufman in the back of his left calf. Kaufman sprawls, dropping both his bag of money and his gun, which skitters Kaway. Knipp rushes over to help Kaufman. NIPP Just let us go, Mister DeMora. Let us get out of here. CHOLO (Calmly reloading) You can go, Knipp, but not him. Kaufman shakes Knipp off. His gun is ten feet away. He headsfor it. Dragging himself on hands and knees.CRUNCH! The chisel on Big Daddy's pneumatic hammer is thefirst tool to PENETRATE the doors. The glass doesn't shatter;it COBWEBS into tiny crystals stuck together by a thinplasticine coating. ALARM BELLS SOUND!Puzzled by the sudden transformation of the glass intosomething that looks different, Big Daddy drops the pneumatichammer and reaches out. The glass is different. It's soft.Flexible. Big Daddy POKES HIS HAND right through.Kaufman has almost reached his gun. Cholo shoots another arrow. This one hits Kaufman in the shoulder. AUFMAN You fucking spic bastard! CHOLO I think we should talk when you're a little less excited.Kaufman has a will of iron. He keeps going, gritting histeeth against the pain, reaching out for his gun, as...CRUNCH! CRUNCH! CRUNCH! More tools PENETRATE the doors. MoreHANDS POKE through. aufman looks at his worst nightmare...Dead Things rippingtheir way through the cobwebbed doors, invading his temple. R M 80. The commotion distracts Cholo just long enough for Kaufman to lift his gun and FIRE nine rounds. ost of the shots miss. TWO hit Cholo, one in the belly, one in the heart. He is slammed against the wall, his glazing eyes staring up into the atrium, the place he so desired. It's the last thing he sees before he keels over, dead. Knipp pulls Kaufman onto his feet. They look up to see... BIG DADDY leading his army into the atrium. Kaufman aims and FIRES. A BULLET HITS BIG DADDY in the upper chest, blowing DEAD FLESH out of his back. The Dead Man feels no pain, but it focuses on Kaufman and starts after him with purpose. Kaufman sees something in Big Daddy's eyes. Something that's not dead. Kaufman fires again. CLICK! He's out of ammo. K NIPP Boss. We gotta get outa here! Knipp pulls Kaufman to a stairway door. They rush inside. The moment they're out of sight, the Walkers forget about them, moving on into the atrium. All except Big Daddy. That rage is still in its face as he lumbers toward the stairway door. 135 135 EXT. J&L DRAWBRIDGE - NIGHT TH-BOOOOM! The roadbed of the drawbridge drops into place. VROOOM! DEAD RECKONING rumbles across the span. INT. JAIL - NIGHT136 136 KEYS TURN in the locks of cell doors, which SLACK and BRIAN pull open. MULLIGAN and his REVOLUTIONARIES emerge. Mulligan embraces his son and looks gratefully at Slack. MULLIGAN (To his men) Let's go get our guns, boys. EXT. NEAR THE "THROAT" - NIGHT137 137 ILEY runs out of a line of trees. In the distance, he sees... ...the "THROAT", where much of the CITY'S POPULATION is trapped, herded by HUNDREDS OF WALKING DEAD against the layers of electrified fencing that were erected to protect them. There's no escape. People are being TORN apart and EATEN. The fencing SPARKS as bodies touch it and are ELECTROCUTED. Terrible SCREAMS fill the air. R C1 . 81. Riley hears the distinctive ROAR of DEAD RECKONING'S engines, the CLATTER of its treads. He moves toward the sound as... ..a DEAD THING looms three feet away. Riley lifts his pistol and puts a shell through the thing's skull. Blood flies, taking on the sudden glow of a halo as it is BACKLIT by... ...the glare of DEAD RECKONING'S approaching headlights. The dead thing falls to the road, where... ...it is turned to apple butter by Dead Reckoning's enormous treads. Riley stands right in the vehicle's path. PRETTY BOY (O.S. LOUDSPEAKER) G et outa the way, Riley! INT. DEAD RECKONING - NIGHT 38 138 THROUGH THE WINDSHIELD: RILEY looms larger and larger as the vehicle closes in. He doesn't move. PRETTY BOY tries to turn the wheel. Too late. RILEY DISAPPEARS! HARLIE (Pure anguish) RILEY! Three seconds later, Riley's figure comes scrambling across the windshield, climbing up toward... EXT. DEAD RECKONING - NIGHT139 139 ...the two fourteen-inch cannons on the vehicle's turrets. ILEY We gotta blow the fences! PRETTY BOY (O.S. LOUDSPEAKER) Johnson's are loaded! RILEY Yeah, but they're capped! The barrels of the two fourteen-inchers are still capped. DEAD RECKONING keeps rolling. RILEY climbs out onto one of the cannon barrels. WHAM! A WALKER grabs him by the leg from the road. Riley blasts him with his .45. As OTHER WALKERS approach, he shoots them with one hand, Rusing the other to uncap the cannon. ILEY Number One is clear! I'm going for Number Two! K K n K S 82. CHARLIE (O.S. LOUDSPEAKER) I don't norm'lly need two shots, Riley. Riley turns. The road is now filled with WALKERS. tanding ASTRIDE the vehicle, riding it as if it were a living beast, Riley picks some of them of with his .45. INT. FIDDLER'S GREEN PARKING GARAGE - NIGHT140 140 FOOTSTEPS ECHO as KNIPP, carrying one of the Prada duffles, helps the wounded KAUFMAN across an underground PARKING GARAGE, a dark and spooky place, made more so by the SOUNDS of distant SCREAMING. Kaufman disdainfully SNAPS OFF the shanks of the arrows in his leg and shoulder. The two men reach a stretch LINCOLN. Knipp BEEPS the doors open and they get inside, Knipp behind the wheel, Kaufman in the luxurious back compartment, where he pours himself a scotch from the built-in bar. Knipp starts the engine. The SOUND ECHOES big-time in the concrete tomb. NIPP (Looking at the fuel gauge) We eed gas. Kaufman moans. Knipp steers the car slowly, carefully through the shadows, pulling in beside a GASOLINE PUMP near the base of a RAMP that leads up to the street. Knipp pushes a button that pops open the gas tank. He shuts the engine off and gets out, taking the keys, which have a Mag-Card attached to them. H e slides the Mag-Card into a slot, activating the pump. An LED scrolls "Thank you, Mr. Kaufman". Knipp pulls the nozzle. Freezes when he hears... ...FOOTSTEPS ECHOING. A DARK FIGURE is approaching through the shadows. nipp drops the nozzle. Ducks into the car. SLAMS the door. WHAM! A SINGLE HAND SMACKS against the driver-side window. A FACE leans in behind the hand. A face full of rage. BIG DADDY'S FACE. AUFMAN Shoot it! Shoot the damn thing! L L 83. KNIPP You didn't gimme no gun, sir.Big Daddy moves to one of the rear windows. He can't see inside. The window is tinted. He returns to the clear windshield, looks back, at an angle, and sees Kaufman in therear compartment. Big Daddy recognizes him. From upstairs. It's the man who shot him. The Dead Thing looks up. Sees the gasoline pump. His hand drops to the embroidery on its jump-suit..."Texaco". He moves deliberately toward the pump. KAUFMAN Pull out! PULL OUT! K NIPP Sorry, sir. Keys are in the pump.Big Daddy sees the nozzle on the cement. Picks it up, feelingthe familiarity of it. Pulls the trigger. Gasoline squirts.The rage in his face turns to a kind of satisfaction. Using the nozzle as he did the pneumatic hammer, Big DaddyPOUNDS on the windshield, three times, before the SAFETYGLASS COBWEBS. He POKES the nozzle through the flexible fabric and pulls the trigger until it locks. Gasoline FLOODSinto the car. KNIPP (CONT'D) ord!TCHUNG! Big Daddy pulls the driver side door open. As Knipptries to run, he is GRABBED by Big Daddy. KNIPP (CONT'D) ORD!Big Daddy looks at the butler. Sniffs him. Then flings himaside. Knipp is not his prey. With a glance at Kaufman,cowering in the back seat, Big Daddy slams the car door and,surprisingly, walks away. Up the ramp toward the street.The nozzle remains stuck in the "fabric" of the windshield.Gasoline continues to flow into the car. Kaufman crawls intothe front seat, wincing from his wounds, and KICKS the nozzleout of the window with his good leg, getting soaked with gasin the process. He opens the door. Limps to the pump. Grabsthe keys. As he starts back toward the car......WHAM! SOMETHING is standing right in front of him. It'sone of the WALKING DEAD. It's...11 T K K 84. ...CHOLO. aufman shakes his head in disbelief. KAUFMAN N-no, y-you're dead. (Realization dawning) Oh my God. You're dead! THE CHOLO THING reaches for Kaufman, vengeance in its eyes. aufman breaks for the driver's door. He never makes it. The Cholo Thing grabs him and SLAMS him down across the hood. Leans over him. Opens a drooling mouth. Kaufman whimpers. B RRRUMBLE-UMBLE-UMBLE! The SOUND of a bowling ball. Kaufman looks up. It's not a bowling ball. It's an OIL POT, rolled down the ramp by Big Daddy. Kaufman SCREAMS. The fire ball approaches the gas-soaked Lincoln, the gas-soaked Kaufman, and... ...WHOOOMPH! Kaufman and The Cholo Thing are IMMOLATED. The FIREBALL removes everything from sight, except a few floating HUNDRED DOLLAR BILLS, burning in mid-air. HROUGH LICKS OF FLAME we see...Big Daddy is almost smiling. EXT. "THE THROAT" - NIGHT141 141 DEAD RECKONING approaches the electrified fences from beyond. PRETTY BOY (O.S. LOUDSPEAKER) Get back! Get back! We're gonna blow the fences! The CROWD screams and starts to clear the area. INT. DEAD RECKONING - NIGHT 42 142 CHARLIE works a joystick. The cannon turret GRINDS above. He takes aim at an area of the fences that is rapidly emptying of people. 43 EXT. THE "THROAT" - NIGHT 143 The fourteen-incher turns toward the fences. RILEY rides it. RILEY Shoot! CHARLIE O kay, but you best get off the gun. T R I 85. Riley leaps down. The instant he's clear... KA-BLOOOOOOOOOOOOOM. The ELECTRIFIED FENCES are BLOWN APART. n the dissipating SMOKE, RILEY is the first one through the opening. Within seconds, CITIZENS start toward it, heading the other way. Riley finds himself running against the tide. Searching. Desperately searching. Behind the surging crowd... ...WALKERS appear, grabbing people. Dropping them to the ground. Eating them. iley FIRES in all directions. WALKERS DROP around him. He saves a WOMAN with a BABY...a YOUNG COUPLE...a PRIEST. CLICK. He runs out of ammo. WALKERS close in. The situation seems hopeless until...144 144 INT. DEAD RECKONING - NIGHT CHARLIE hits a button on the console. EXT. THE "THROAT" - NIGHT145 145 PTOOOM! PTOOOM! FIREWORKS "BLOOM" in the sky. HE DEAD THINGS gaze upward, mesmerized. THE HUMANS ESCAPE. RILEY finds himself standing in the midst of FIFTY WALKERS, frozen like statues around him. Other than the intermittent BOOM of the fireworks, SILENCE. Out of which... SLACK (O.S.) (A whisper) Riley. Riley turns. Slack emerges from behind one of the immobile dead things. Riley moves toward her... ...she to him... ...both of them weaving a cautious path between the statues. They reach each other and embrace, surrounded by dead things that don't even know they are there. RATATATATATAT. GUNFIRE EXPLODES around them! 86. HAPLESS DEAD THINGS are MOWED DOWN the way they were back in Uniontown. This time by... ...MULLIGAN and his REVOLUTIONARIES...who slaughter every zombie in the area. BRIAN is shooting, too, raring to go. When it's all over... MULLIGAN We could still use you, Riley. Riley looks out at the city, where there is still scattered distant gunfire. He looks at Brian, standing at Mulligan's side, his innocent face speckled with the blood of the dead. Riley shakes his head. RILEY It's all yours, Mulligan. 146 146 EXT. OUTSIDE THE CITY - NIGHT FIREWORKS EXPLODE. A ZOMBIE looks up toward the "blooms". A strong hand grabs the collar of its shirt, pulls its gaze away from the sky, and herds it onward. The hand is BIG DADDY'S. He herds OTHERS along, too. A small group of TWO DOZEN, including NUMBER NINE and the BUTCHER. 147 147 EXT. DEAD RECKONING - NIGHT One of the GATTLING GUNS RATCHETS into position, taking aim at BIG DADDY. INT. DEAD RECKONING - NIGHT148 148 PRETTY BOY sits at the controls, about to push the firing button when... ...RILEY grabs her hand. RILEY Stop. Riley picks up a pair of binoculars and looks through the windshield at BIG DADDY. EXT. OUTSIDE THE CITY - NIGHT149 149 THROUGH THE BINOCULARS: BIG DADDY looks at DEAD RECKONING. For an instant, his eyes meet Riley's, as they did in Uniontown. F1 ( R 87. INT. DEAD RECKONING - NIGHT150 150 RILEY lowers the binoculars. RILEY All they want is somewhere to go. Same as us. EXT. OUTSIDE THE CITY - NIGHT BIG DADDY leads his band into the future. DEAD RECKONING rolls into the future, too, but in a different direction. INT. DEAD RECKONING - NIGHT CHARLIE Canada. That's where we're goin', ain't it, Riley? RILEY If no one has any objections. ANCHOR, SCAR, and PILLSBURY all shrug. Riley looks at Slack. SLACK No, we'll take you along with us. ILEY I'll try to make myself useful. To PRETTY BOY) Take us North. EXT. ROAD NORTH - JUST BEFORE SUNRISE 51 151 DEAD RECKONING growls off into the early dawn, a lethal weapon... ...shooting off FIREWORKS worthy of Independence Day. ADE TO BLACK. \ No newline at end of file diff --git a/unformated_scripts/Script_Larry Crowne.txt b/unformated_scripts/Script_Larry Crowne.txt new file mode 100644 index 0000000000000000000000000000000000000000..0fa702a441fa6629164263e2cc3b9615564177c6 --- /dev/null +++ b/unformated_scripts/Script_Larry Crowne.txt @@ -0,0 +1 @@ + LARRY CROWNE Written by Tom Hanks From a story by Tom Hanks & Nia Vardalos Nov. 2009 FADE IN SUNRISE Big and orange and full of hope, as sure as fate. A dawn as promising as, well, this new day... Sun is rising over... A flat roof that stretches to the horizon. A vast expanse. A plain of gravel-embedded tar, studded with... HVAC units and power lines, the kind that service a huge commercial building. In fact this kind of building... A UNIMART store. A flagship of savings; a mother lode of low, low prices. 100,000-and-then-some square feet of the Consumer Economy... PARKING LOT Empty thus far. A few EMPLOYEE autos arriving in their assigned slots far from the entrance. One of those cars is a old, not so vintage nor classic convertible... KARMANN GHIA -- Belonging to... LARRY CROWNE - A man as reliable (and predictable) as that rising sun. Actually, he's a Team Leader of this Unimart, dressed in his un-sexy, un-fashionable, un-flattering khaki pants and Company Polo. Larry has had the ragtop down. He wrestles it up, locks the cover into place. He doesn't just walk to work, but s t r i d e s across the asphalt field like a Sultan of Sales; a Viscount of Discount. He cheers co-workers at the start of the day, shouting encouragement, flashing thumbs up, knocking on car doors and squeezing shoulders... DOROTHY GENKOS (PRE-LAP) A seven-speed Mix-o-Meter Food Processor! $21.69! AVERY (PRE-LAP) Sweatpants! Two pair! $6.69! 2. INT. UNIMART - DAY The morning Circle of Sales! Employees and their wares. Larry stands, yet to speak, ready for his moment of pronounced enthusiasm... TEAM LEADER #1 Fifteen foot jumper cables - 69 cents a foot! TEAM LEADER #2 Chocolate turtles! 69 cents a pound bag! Go, Larry! Wave that merchandise! LARRY CROWNE Three-pack of men's elastic waist mid-thigh boxer shorts! $2.69! FREEZE! Words fill the screen. THIS IS LARRY CROWNE Hold. Hold. Hold. AND...CONTINUE. ALVAREZ (TEAM LEADER) Four Toby Jug beer steins - $2.69! TEAM LEADER #3 MP3 Player the size of a bottle cap! Something and 69 cents! TEAM LEADER #4 Duck Blind print sheets for a queen size bed. $7.69. ALL Shop UniMart! Where United, you save! Larry Crowne leads the High Fives. MENSWEAR DEPT - LATER Larry controlling the aisles like an Admiral at a Battle Map... stacking a mountain of tube socks... stocking those briefs ... hanging "Metallica" Speedos on little hangers... helping CUBBY - a very skinny and disinterested Janitor - clean up some baby up-chuck as the baby up-chucks again. 3. MOMMY Too much mac & cheese for this little pickle bug! LARRY CROWNE They do love the comfort food. Don't you, Li'l Pickle Bug... Imagine any duty and see how Larry gets it done... EXT. UNIMART PARKING LOT - LATER Larry is collecting loose shopping carts, steering them into pairs, triplets, sextuplets, then riding them into the cart pen like a Trail Boss... LATER That same up-chucking baby was riding on the coin-pony and up- chucked again. Larry is cleaning it all up. A beat-up CAR with a BIG STORK PIZZA sign stuck on its roof pulls right up to the front of the store, parking in the Handicapped Space. LARRY CROWNE Buddy. Park there and you'll get a ticket. PIZZA KID Call a cop, doof. I'm gone in sixty seconds. (a dozen pizza boxes) You guys having a party? INT. MEETING ROOM 2 - UNIMART - LATER The BIG STORK PIZZA BOXES have been raided for slices. A RETIREMENT PARTY is going on. A SIGN reads "Good Luck Dorothy Genkos!" The name has been printed over the last person to retire. People are cutting loose as best they can at a NO-ALCOHOL Corporate Fete. None more than Larry. Who is organizing a MOSH PIT for DOROTHY GENKOS, an old lady. This is a fun group. Over in the corner, though, is the Front Office Staff: COX, STRANG, ANDREWS and HURLEY (Female). 4. STRANG Finally. Dotty G. and her forty-two- K a year are history. Who else would do us that favor? ANDREWS Wish they'd all sail off like her. Save us some grief. STRANG The "R" Bomb is going to do some collateral damage to this place. Hurley is shocked! HURLEY "R-Bomb"? Oh my god! Restructuring? COX Separating the chaff from the wheat. Chaff is the bad stuff, right? HURLEY Chaff is the waste matter, correct. When are we restructuring? COX Before E.O.Q. Them's our orders. Hurley looks sick. She hates this. STRANG What say we drop a brick in the pond to warn the herd? ANDREWS How? STRANG Firing someone. COX Someone they'd never expect to be let go. To look fair. I like it. STRANG Like a Team Leader. HURLEY Team Leader? STRANG 5. COX Suggestions on who it should be? STRANG I say Crowne. HURLEY Larry Crowne? Strang rolls his eyes. STRANG Who else? Avery won't retire. We fire him, it's a law suit. AVERY - Old. Black. Happy. STRANG (CONT'D) Alvarez is about to drop a kid. She'll go part time in a week. ALVAREZ - Heavy with child. STRANG (CONT'D) Crowne's pink slip will save 'da "U" big green backwash. COX What Salary Tier is Crowne at? ANDREWS Top of the pyramid with a C.O.L. bump at the first of the year. COX Sweet. We'll need Actionable Cause, of course. They all agree: "Yeah. Sure. Of course..." COX (CONT'D) How's his review record? HURLEY He's a candidate for Employee of the Month. His 22nd time. COX Okay. So. Sluggers, gimme a reason... Larry has organized a Limbo Contest. 6. HURLEY We could use the Limited Horizons strategy. (EXPLAINING) Larry will always be passed over for Management. He never went to college. COX You're that familiar with his record? STRANG She was his squeeze for a few weeks, weren't you, Vick? HURLEY That was before the New Employee Covenants. That you even remember... STRANG The memory haunts me. ANDREWS He'll sock us for severance. STRANG Big brick in the pond, though. COX Let's call it. Today, end of shift, UniMart bids Crowne adieu. LARRY is dancing up a storm. EXT. UNIMART - PARKING LOT - LATE AFTERNOON Less cars. Fewer shoppers. Heading into the night shift. INT. UNIMART - ELECTRONICS - LATER Larry is the only Team Leader still on duty and sober. He is fastidious in his work. The P.A. System blares. It's incomprehensible. He pays no attention. VASQUEZ -- a HUGE Security Guard -- comes by. VASQUEZ LC Why still here? 7. LARRY CROWNE Team Leaders zone departments before punching out. It's policy. VASQUEZ I mean here here. You just got paged to Meeting Room 2. The P.A. blares again. Now they can hear it -- sort of. LARRY CROWNE Probably to clean up after the party. VASQUEZ Isn't it Employee of the Month Day? Larry brightens. That is what it must be. LARRY CROWNE Speck-tack-alar. Flushed at the prospect, Larry gives Terrorist Fist Bumps. VASQUEZ You're the only one around here who deserves it. How many will this be? LARRY CROWNE Ah, who's counting? He flashes his fingers: twenty two! INT. MEETING ROOM #2 - SAME Larry Cr wne soars into the room. Cubby is cleaning up the substantial mess. The Front Office Team has taken seats. LARRY CROWNE Remember how we saw "The UniMart Way" video, Vick? You and me, alone in this room, and look at us now. Hurley has a frozen face. Larry looks at Andrews' smile. STRANG Cubby. Make tracks. The Janitor literally drops everything and leaves 8. LARRY CROWNE I think I know what this is about. STRANG I don't think you do. COX Crowne. At UniMart, we care. So we take care. Which makes moments like these tough for all of us. LARRY CROWNE Sounds like you're firing me. Larry is joking. STRANG I take it back. COX Corporate has mandated a restructuring in all UniMart stores. That's the word they use. I call it a pain in the touchas. (THEN) It is touchas, right? Where you get kicked? HURLEY Yeah. A yiddish word. ANDREWS Like the buttocks. HURLEY Touchas and buttocks. Synonymous. COX Hurts to get kicked back there, no matter what language you speak. Larry now gets it. LARRY CROWNE UniMart is firing me... STRANG Crowne-ie, you did a heck of a job. LARRY CROWNE Why me? 9. ANDREWS Who do you suggest? Alvarez? Avery? I don't think so. LARRY CROWNE Why not Strang? Strang snorts. LARRY CROWNE (CONT'D) I've been here longer than you, Jack. I started 21 years ago as an Inventory Associate at the store on Euclid. Hurley takes over, as blank as a tax-form. HURLEY Seniority would preclude this reality, Larry, but UniMart's policy is to never limit your horizons. Larry Crowne has no idea what that means. COX Here's the prob: your lack of a graduate degree will forever retard any move up the management ladder. STRANG Becasue you never went to college you're forever retarded. LARRY CROWNE I won't make the Front Office? STRANG Never. (shows his college ring) S. M. U. Class of '86! Go 'Stangs! It's true. LARRY CROWNE I went in the Navy. Right outta high school. Five years, and by then... COX Thank you for your service to our country, Larry. And, in total seriousness to UniMart too 10. LARRY CROWNE I thought I was Employee of the Month. STRANG In a way, you are. Larry can't believe this. Nor can he move. LARRY CROWNE No. No. No. No. No. No. No. No. No. No. No. No. I'm going to lose my house... COX The timing on this is always a bitch. LARRY CROWNE Guys. Guys. Guys. Guys. Guys. Guys. Guys. Guys. We can fix this. Can't we fix this? COX Really wish we could. (THEN) Vick? The generous severance package? She has a folder with posted "Sign Here's." HURLEY Sign here. Here. Here. Initial that. Sign here. One more. Done. Strang finds one last piece of party pizza. EXT. UNIMART PARKING LOT - AFTERNOON Vasquez helps Larry put down the ragged top of his car. VASQUEZ 12 jerks I'd fire before you. May walk away from UniMart myself. LARRY CROWNE Stick it out. You go to college? VASQUEZ Couple years. Then I blew out my KNEE 11. LARRY CROWNE Thanks for seeing me off. VASQUEZ I need your apron, man. (AGAIN) Your apron. Says UniMart on it, so it ain't yours. Larry unharnesses himself from that which is not his. Hands it over. Branded. Scorned as the one let go... VASQUEZ (CONT'D) Thanks. (WALKING AWAY) Goofy car, man. EXT. INTERSECTION - LATER Larry pulls up at a red light. From his hands-free speaker jerry-rigged on his dash, we hear ON-HOLD Music. RECORDED VOICE Then, we hear the engines of SCOOTERS -- at least a dozen of them. They surround his car -- both lanes -- and the chatter of the riders as they scream over their engines as they AD- "Remember, you always have a friend at RiverBank..." LIB where they are going next... LAURIE GAMMELGAARD (OVER PHONE) Laurie Gammelgaard thank you for holding how may I help you? Larry has to shout over the SCOOTER SQUAD ruckus. LARRY CROWNE I was holding for Barry Raphael in Home and Real Estate? LAURIE GAMMELGAARD Mr. Raphael is no longer with the bank. How can I help you? LARRY CROWNE Barry is gone? I need to talk to someone in Home and Real Estate. LAURIE GAMMELGAARD 12. The SCOOTER SQUAD has made their decision and peel out -- VROOM, YEOOW... LARRY CROWNE (reading his ATM card) I wish! I'm Customer number 566 7878 2031 339 and I can be there in three minutes! LAURIE GAMMELGAARD (OVER PHONE) As long as you are here before six, okey dokey. ZZZZZMMMM, BLAARREE... The scooters are gone, but Larry is still yelling... LARRY CROWNE Three minutes! INT. RIVERBANK BRANCH - LATE AFTERNOON Larry sits at Gammelgaard's desk looking at his own records, sipping complimentary coffee that is ghastly. LARRY CROWNE What happened to Barry Raphael? LAURIE GAMMELGAARD (PRE-LAP) Barry Raphael was harassing the younger tellers but we are not supposed to admit that. (THE PAPERS) This is some kick in the head. Not sure what to tell you, Mr. Crowne. LARRY CROWNE I m hoping not to lose my house. LAURIE GAMMELGAARD You're carrying what on the house? LARRY CROWNE $291,987. LAURIE GAMMELGAARD Two Ninety-two K. That's trouble. Three years ago I'd have loaned you $700,000, but I think you read the papers. LARRY CROWNE 13. LAURIE GAMMELGAARD No. She gets a brochure: "The RiverBank Survival Plan!" LAURIE GAMMELGAARD (CONT'D) But RiverBank does have a plan for you. (THE BROCHURE) In a few weeks your financial base will tell us what we can do. Find new employment. Liquidate everything low on the Value Index. Stick to a budget. Clip coupons, buy in bulk, you know the drill. Then come back and we'll work with you. LARRY CROWNE That's RiverBank's plan for me? LAURIE GAMMELGAARD It is Friday, Mr. Crowne... EXT. DERBY COURT - EVENING This is Larry Crowne's street. This is Larry Crowne's house. His car parks in the driveway and he steps out, taking a minute to survey what he may lose. KIDS play down the street under a streetlight... An ELDERLY NEIGHBOR is watering his lawn with a hose... A GUY is playing with his DOG... One house always has Christmas lights. Another has a handicapped ramp up to the front door.... EXT. LAMARR'S HOUSE - KITCHEN WINDOW - SAME Lamarr lives across the street from Larry, and is looking out the window as he prepares to light a scholarly looking pipe LAMARR Larry's home a little late tonight. His wife, PATIENCE, is sitting at the table, pouring over catalogs.. PATIENCE Maybe he was out on a date. 14. LAMARR We'd see that on the news. He is about to light up with a match... PATIENCE Don't even think about lighting that up in my house. INT. LARRY CROWNE'S HOME - EVENING HIS UNIMART POLO SHIRT He is holding it in his hands. THE LAUNDRY ROOM Larry is about to throw the thing away, but then puts it and some fabric softener in his washer. LIVING ROOM - LATER Mood music plays from the Crowne Vinyl Library, a complete wall of LP's. Alphabetized... We can see into the... KITCHEN Larry sits in his breakfast nook with an old laptop computer and a pot of coffee. An on-line job application... Mega-Save. Larry is entering his data. He comes across that part of any application that will forever be daunting to him. EDUCATION/ COLLEGE What can he do, but enter the truth? NONE. More On-line Applications flash by.... Plug-It-In Center...Education/ College -- Didn't Go White Front House and Home ... Education/ College -- High School! Go, Navy! Furniture Planet ... Education/ College -- Is it necessary? Patterson's Appliances ... Education/ College -- Masters Degree: School of HARD KNOCKS!!! 15. Larry stops. This may be futile. He looks about to give up. But then, he thinks. He stands. Thinks some more... IRONING BOARD Unfolds like a piece of high tech assault equipment. The iron breathes hot fumes... spray starch plumes like jet exhaust. Larry Crowne is ironing his nicest shirt and his best khakis to perfection. He is focused. Intense. And good at ironing... EXT. MEGA-SAVE - MORNING Larry is with the first customers of the day, dressed to impress in those well-ironed clothes. He strides right in to the giant store. LATER He strides right out. EXT. PLUG-IT-IN CENTER, PARKING LOT - MORNING Larry is getting out of his car, putting on a good face, and heading inside. LATER He gets right back into his car. EXT.. WHITE FRONT HOUSE AND HOME - PARKING LOT - LATER Larry is driving past the front windows of the store. Resurrection Letters scream "LOST OUR LEASE! EVERYTHING MUST GO!!!" INT. FURNITURE PLANET - LATER Way back in the rear of the store, behind a false panelling a furniture store should be ashamed of, Larry has filled out another application and is waiting for someone to give it to. A PLANET STAFFER finally shows her head. 16. LARRY CROWNE How do I offer this up to Personnel? PLANET STAFFER There should be a box to put it in. Larry finds a box. LARRY CROWNE This? PLANET STAFFER No. There should be another box. LARRY CROWNE There isn't. PLANET STAFFER That's the one, then. Larry is alone again - ignored as he applies for this job. EXT. PATTERSON'S FAMILY APPLIANCES - GARDEN AND PATIO - LATER MR. PATTERSON is a busy man while talking with Larry. MR. PATTERSON If you emailed an application, we've got it and we'll keep you in mind. LARRY CROWNE Just following up with an in-person visit. MR. PATTERSON Mission accomplished. LARRY CROWNE You have a great location here. MR. PATTERSON Not with UniMart half a mile away. LARRY CROWNE I used to work for UniMart! I could spill you some 411. MR. PATTERSON What's that mean? 17. LARRY CROWNE I know their trade secrets. MR. PATTERSON What secrets? Traffic boosters, loss leaders and bait and switch! LARRY CROWNE And I'm ready to learn new strategies. I'll stop by again so you can keep me in mind. MR. PATTERSON If you won't work Sundays, don't bother. LARRY CROWNE I'll work every day. MR. PATTERSON That's what I already do... Mr. Patterson goes back to work as Larry slinks away. EXT. A RESTAURANT ON RESTAURANT ROW - DAY Establish that this is where many restaurants are located. EXT. RESTAURANT ON RESTAURANT ROW - SAME Larry sits in his car. The last thing he wants to do is work in a restaurant -- we'll find out why later on. But times are tough, no? Out he climbs, resigned to fate... EXT. BACK OF RESTAURANT #1 - DAY By the dumpster, Larry is asking a CHEF on his smoke break if they hav op nings. INT. RESTAURANT #2 - WALK-IN REFRIGERATOR - DAY Now he's asking some HEAD COOK pulling cutlets. INT. HUGE KITCHEN OF HOTEL RESTAURANT - DAY Larry is talking to CHEF AMOS, who runs the place. 18. CHEF AMOS Oh, I remember you. Larry Crowne. I never forget anyone who quits on me. LARRY CROWNE As I recall, I gave my notice and worked all my shifts and that was 12 years ago. CHEF AMOS As I recall, I had to hire and train a line cook to take your place. Walking out doesn't happen in a vacuum, you know. (THEN) Doesn't mean I wouldn't give you a job again. But you've been out of the business a long time, and look around. I don't need you. The place is fully staffed and rocking. Larry will not be working here. EXT. PERRY'S COFFEE SHOP - DAY Larry's scooter is parked near the entrance. INT. PERRY'S COFFEE SHOP - SAME Larry is seated at the counter. PERRY pours him coffee as RAUL -- the head cook -- is talking from the service window. CARLOS and NICK are in the back. RAUL You come in two weeks ago I would have kissed you on the mouth, but Carlos and Nick, they walked in. Best I can do? Put you at the top of the list. Raul goes back to work. PERRY Dang the timing, Kimosabe. Wish I could help you but Raul runs the back. 19. LARRY CROWNE Not sure I could work here anyway. The atmosphere is too pleasant and the clientËle too A Number 1. PERRY Breakfast on the house. Chorizo Scramble, right? LARRY CROWNE No charity today. I got things to do. PERRY Like what? LARRY CROWNE Nothing. I was just saying that. EXT. DERBY COURT - MORNING The door open, the garage very tidy, as Larry moves old items out to the lawn. EXT. LARRY CROWNE'S HOME - SAME Some things are already set up from the living room. LARRY is raising money with a Yard Sale. EXT. LAMARR'S HOUSE - KITCHEN WINDOW - SAME Lamarr is about to pour himself some coffee when he sees a DISASTER looming across the street. He's out like a shot! EXT. LAMARR'S GARAGE - SAME Lamarr comes charging out the rising door and across the street. LAMARR There's been a yard sale at 1402 Derby Court since Monica Lewinsky! That gives me a monopoly on the location! You go yard on me, Larry Crowne and I will destroy you. He is now standing on Larry's lawn. Larry looks at him. Got fired yesterday. 20. Lamarr sits on a for-sale chair. LAMARR Bloody Friday. Security sees you off, by the time Monday comes around the fired man is the forgotten man. Diabolical. LARRY CROWNE They said it's because I didn't go to college. LAMARR Smoke screen. The Man just wanted you gone. (his yard sale) You liquidating assets to raise cash? LARRY CROWNE Buying out Denise's half of the house was the worst advice, ever. LAMARR I told you to avoid divorce lawyers. Get married. Stay married. Come with me. They cross the street to Lamarr's house/yard sale. LAMARR (CONT'D) I'll tell you straight up - I'm not lending you money. EXT. LAMARR'S GARAGE - SAME This is a semi-professional operation. Boats, lamps, tools, chairs, computers -- some of it almost junk -- is for barter or sale. Inside his garage? Clothes and books - racks and shelves. Patience is organizing boxes of vinyl LP's. PATIENCE Whole box of Cha-Cha records from the Fifties. You don't have any of these, I promise. LAMARR He can't afford 'em Lost his job 21. PATIENCE No! UniMart just lost my business forever! LARRY CROWNE I love you too. PATIENCE Sorry, Lie-bare-eye-bee. Get a better job somewhere so you can crush them. LARRY CROWNE Hard to do. LAMARR He's going to get something better than a job. (SEARCHING BOOKS) An education. He finds a East City Community College Catalog 2006. Tosses it to Larry. LAMARR (CONT'D) Get some knowledge and you'll be fire proof. LARRY CROWNE Aren't there unemployed engineers and geophysicists? PATIENCE Listen to my husband. Hasn't called a man boss in years. Paid off the house. LARRY CROWNE You won the Lottery. PATIENCE Picked 8 little numbers when I kept saying he was a fool. A quarter million dollars later I've shut up. LAMARR Lost half to taxes. LARRY CROWNE I'll see if there's a class in here for PowerBall 250. 22. LAMARR That's half a buck for the book. LARRY CROWNE They give these away free. LAMARR They do. I don't. INT. LARRY CROWNE'S HOME - NIGHT He is alone. He is going to lose his house. He has nothing to do. He has no future. He sits on the couch. ESPN's SportsCenter is showing highlights... INT. LARRY'S HOUSE - MORNING He's asleep on the couch. He awakens to the very same edition of ESPN's SportsCenter showing the very same highlights. Larry wants to shoot himself in the head. Instead, he picks up the catalog of East City College.... EXT. EAST CITY COMMUNITY COLLEGE - MORNING The sign reads "Enroll Now! $15 per unit!" Larry parks in one of the hundreds of empty spaces. INT. REGISTRAR'S OFFICE - SAME Larry is trying to make sense out of the application. An Enrollment Counsellor - DAVE BUSIK - sidles up to him. BUSIK Back to college, huh? LARRY CROWNE First time. I was in the Navy. BUSIK (HIMSELF) Coast Guard. Adventure of a Lifetime. LARRY CROWNE Galley Mate. 23. BUSIK We teach a whole track in Hotel and Restaurant Food Preparation. LARRY CROWNE No. No, no. I need an all-new career and a place to go everyday. BUSIK Those two things are my specialty. HALLWAY -- walking towards Busik's cubicle. BUSIK (CONT'D) First thing. Bravo for choosing East City College. Never too late for an education. Second, you need a jolt to the confidence machinery. He grabs a folder... BUSIK (CONT'D) I am going to change your life. (a page in the catalog) Speech 217: The Art of Informal Remarks, cause it's not enough to just be smart anymore, you have to project ease even when it ain't easy. LARRY CROWNE Is this Public Speaking? BUSIK It's training. Job interviews will be a breeze with the confidence you'll get from Speech Two One Seven. (even better...) And you'll spend three hours a week with the most attractive package in all of Academia. The Golden Girl of East City. (MAGICAL WORDS) Mercedes Tainot. EXT. E.C.C.C. TEACHERS' PARKING LOT - MORNING PROF. MERCEDES TAINOT is a fierce defender of literacy and intelligence -- and definitely one attractive package. headache/grogginess combo of Biblical proportions. 24. GPS VOICE Please Enter your destination. MERCEDES TAINOT I'm here. Shut up. Turn off! Stepping from her sub-compact, she struggles into a pair of heels, as in this state she drives barefoot. If only her huge Thermo-cup held a hair of the dog she might not walk such a crooked mile from the parking lot to the campus. Larry -- in his car -- screeches around a corner. He is frantically looking for a place to park, but as this is the first day of term, the lot is jammed! He nearly hits Mercedes Tainot. MERCEDES TAINOT (CONT'D) Jerk! LARRY CROWNE Sorry! Parking's impossible today! MERCEDES TAINOT Are you new to the Faculty? LARRY CROWNE New to the Student Body. MERCEDES TAINOT This is the Faculty Lot. We've earned degrees for these spaces. Students park on Mars. LARRY CROWNE I'm going to be late for my first day of school. MERCEDES TAINOT I bet it won't be the first time. EXT. E.C.C.C. - PORTABLE CLASSROOMS STUDENTS search for their new classrooms. Mercedes does too, among these 'portable' classrooms that have not moved in 7 years. INT. PORTABLE CLASSROOM - SPEECH 217 - LATER Mercedes stops at the doorway. 25. MERCEDES TAINOT This is it? P.O.V. NINE STUDENTS sit self-consciously, including PINEDO, DIBIASI, MACK, and CALIMERIS Mercedes quickly does a head count. MERCEDES TAINOT(CONT'D) ...7, 8, 9. She laughs. MERCEDES TAINOT (CONT'D) My day has just been made and it's only 8:02 in the morning! (THEN) This class...is CANCELLED!! Mercedes explains. MERCEDES TAINOT (CONT'D) The city charter requires a minimum of ten students per class, otherwise it costs more to have us here than not. Did you really want a class at 8 AM? I didn't. Throw out those alarm clocks! Larry Crowne bursts through the door - panting for breath. LARRY CROWNE Please tell me this is Speech 217. Mercedes drops her bag on her desk. She is crushed and hates Larry Crowne. She takes up some chalk, turns to the board, then writes in large, shaky-yet-feminine script: CARE. She underlines it four times. MERCEDES TAINOT While earning a Masters in Shakespearean Political Discourse from Vassar, I learned to care. Caring is a prerequisite for this class I have to teach in this (THEN) (MORE) 26. MERCEDES TAINOT (CONT'D) Participate. Show up on time. (Larry gets a eye on that) Care. And stay awake the 55 minutes three dawns a week I have to be here, or I will fail you and not care. (a name on the board) My name is Ms. Tainot. Not 'tie- knot'. Tay-no. You will each address the class on Wednesday. A procedure. How. To do. Something. Pinedo has panic in her eyes. Public speaking terr fies her. Dibiasi raises his hand. DIBIASI Ms. Tie-knot? Ms. Tainot glares at Dibiasi. Glares and glares at him. DIBIASI (CONT'D) Uh, Tay-knot...Tai-bo... MERCEDES TAINOT Who are you? DIBIASI Steve Dibiasi. Friends call me Nomad. Only two days before I gotta get up and give my address? You may be dreaming. MERCEDES TAINOT Why are you here, Steve? DIBIASI Counsellor Busik said this class would change my life. MERCEDES TAINOT Busik. Of course... Dibiasi's cell phone rings. DIBIASI I gotta take this... Mercedes Tainot may kill this kid. EXT. E.C.C.C. CAMPUS - SAME 27. INT. ECON. 1 - LATER An actual classroom, but in sad shape. In one section sits LALA PINEDO - from the Speech Class. Larry sees her and sits next to her, oblivious to the fact that she is cripplingly shy. LARRY CROWNE Look at us, in two classes in a row. PINEDO Yes. Hi. LARRY CROWNE That Ms. Tainot is something else isn't she? I'm new to this coll ge life and, I confess, she sca es e This whole place scares me. PINEDO Yes. LARRY CROWNE I woke up this morning so nervous about the first day of school. I changed my clothes three times. We may have noticed TALIA FRANCESCO - a very stylish young student - come in and sit nearby. No notebook or anything... LARRY CROWNE (CONT'D) I'm sorry. Larry Crowne, and I'm babbling. PINEDO I am Lala. DR. MATSUTANI (O.C.) I order you to turn off all cell phones, smart phones, and any phone- like devices! The teacher comes in - DR. MATSUTANI. DR. MATSUTANI (CONT'D) You have entered The Knowledge Zone!! Econ Prime! One textbook! (holding it up) Written by? Ed Matsutani, PhD. That's me! Read this book Follow into the Promised Land! (MORE) 28. DR. MATSUTANI (CONT'D) (he laughs mock MANIACALLY) That usually scares people. Yet none of you have fled. A good economic indicator. Larry leans over to Lala. LARRY CROWNE I like this guy... PINEDO Yes... INT. E.C.C.C. - PORTABLE CLASSROOM - LATER Much like the other. Four students sit, waiting for class to begin. Mercedes has already written up on the board in Happy Letters "English 40: Shakespeare As Politician. CARE! PLEASE! I DO!!!" But no one else is showing up. The clock shows 3:09. MERCEDES TAINOT What happened to the 16 sign-ups? (NOTHING) Shakespeare as I know him... is cancelled. EXT GAS STATION - AFTERNOON Larry is filling up his car, watching his money go down his gas pipe. A body builder on a SCOOTER -- a guy we will come to know as DELL GORDO -- pulls in to the opposite pump. He flips up the seat, pops the pump into his scooter tank, and in seconds, is done. That scooter only sips gasoline. Off Dell goes, while Larry's tank fills and fills and fills... EXT. DERBY COURT - LATER Larry is walking from his house over to Lamarr's. 29. EXT. LAMARR'S HOUSE - GARAGE - SAME Lamarr, pipe in mouth, is forever arranging his goods. LAMARR What's cookin' Joe College? LARRY CROWNE Money woes. Paying for gas, getting to school. (THEN) You ever come across a moped or a scooter for sale or trade? Lamarr stops in his tracks. LAMARR Come with me. INT. LAMARR'S RUMPUS ROOM - SAME Patience is at her home office - card table. Coupons. Computer on eBay. PATIENCE Your next wife might stand smoking that pipe in the house but your first one says 'uh-uh!' On the old TV on "Wheel of Fortune" (A person). LAMARR Passing through, woman... Lamarr goes through the patio doors to the back yard, a space filled with even more yard sale items. PATIENCE Larry Crowne, been thinking about you. Sit down here... Larry watches Vanna White turn letters - he solves the puzzle. LARRY CROWNE "College Graduate." PATIENCE That's going to be you someday. She's pulled up some LP's on eBay on the computer. 30. PATIENCE (CONT'D) You have money in all those records. If you can part with them, they'd go for something on the eBay. I'll show you how... From the back patio, Lamarr comes in pushing a scooter in not too bad of shape, though its windscreen is faded. LAMARR This what you're talking about? LARRY CROWNE That's a hunk of junk. LAMARR This is classic. LARRY CROWNE It doesn't work. LAMARR It will for eight hundred dollars. LARRY CROWNE Two hundred. LAMARR Seven hundred. LARRY CROWNE Two hundred. LAMARR Six fifty. LARRY CROWNE Two hundred. LAMARR Six thirty. PATIENCE Gonna be a long night with you two. LARRY CROWNE Forget it. LAMARR Larry! The secret of any negotiation is for both of us to win Talk to me How much do you 31. EXT. DERBY COURT - LATER Larry is carrying his Flat Screen TV, wires, box and all, from his house to Lamarr's garage. "Wing Ding Ding!" goes the scooter Lamarr has been working on with his tools. He lets it idle as he takes the TV. LAMARR Beautiful. I'll throw in a helmet. (SHOWING HIM) Gas. Brake. Light's busted. Tires are low. You'll need a special license. Larry straps on the old, beat up crash helmet (DOT approved). LARRY CROWNE All I need is the open road. Larry revs it, crashes into a hedge. LAMARR You break it, you bought it. LARRY CROWNE It still works. LAMARR Talking about the hedge. COMPUTER SCREEN Images of an EROTIC SUPER-HEROINE -- busty and hot -- and others, are being studied, and saved one after another. EXT. TAINOT TOWNHOME - DEN - EVENING DEAN TAINOT is a self-published author and blogger -- with a taste for this kind of stuff. Multiple copies of his own books line the shelves. When he hears the FRONT DOOR open -- he panics. DEAN TAINOT Well, hey! Who's home early! He keeps clicking away with the mouse until he's safe. Mercedes calls from the other room. MERCEDES TAINOT 32. He covers his digital tracks and hops out of his desk. KITCHEN Mercedes is prepping the Margaritas for cocktail hour. DEAN TAINOT First day of term calls for a celebration! MERCEDES TAINOT You'd think so. DEAN TAINOT What's your burden this go round? MERCEDES TAINOT Tap Dancing. Ping Pong. Water Torture. And Speech at Sunrise DEAN TAINOT I built a Flamethrower of a posting for WarriorWeb which, if I do say, will feed nicely as an outline for As the blender BLARES, husband and wife eye each other. She's looking at him. He's smiling like a guilty idiot. "Carrier: Second Angel." And, I was a guest blogger on CyberShare. Blender off. She starts pouring. DEAN TAINOT (CONT'D) Y u don't believe me. MERCEDES TAINOT Why wouldn't I believe you? DEAN TAINOT I was composing, Mercy. That's what I do all day. MERCEDES TAINOT You were looking at porn. She takes a nice pull on that icy drink. Oh fine. Thought Police. I saw some erotica. I'm a man, I admit it. MERCEDES TAINOT Took you a while. 33. DEAN TAINOT It's barely porn. I'm not hiding it. MERCEDES TAINOT Yes you are. She bangs her head. MERCEDES TAINOT (CONT'D) Brain freeze. DEAN TAINOT Don't chug. Sip. (THEN) Everyone hides something. MERCEDES TAINOT I have no secrets from you. I share the whole miserable slate. DEAN TAINOT You walked in the door pissed off because -- I'm sorry -- I've established a beach head in New Media while you still have to teach at Vassar of the Valley. You hide that. MERCEDES TAINOT (SERIOUS EYES) You look at Bra-Busters Triple-X expecting me to pretend I don't know or I don't care. I do both and don't like it. DEAN TAINOT It may look like I don't work hard around here, Mercy. But I do. I'm just a guy who's a guy being a guy when you're not around... She walks away. DEAN TAINOT (CONT'D) And walking away is great for a relationship... EXT. TAINOT TOWNHOME - PATIO - SAME It's a tiny slab, but there is a tree and a fence and a 34. Mercy closes the sliding door behind her and settles into her chair and into her drink. This is where she goes when she thinks/drinks. Rap-rap-rap on the glass door. It's Dean, making one last point. DEAN TAINOT (THROUGH GLASS) I'm a guy. Who's a guy. Being a guy... Mercy turns her face to the sky... EXT. CITY STREET - MORNING The streets are not yet crowded with traffic. A MOTORCYCLE RIDER pilots a STATE OF THE ART STREET MACHINE: machine helmet, leather pants and jacket, radio in the helmet, saddlebags, windscreen. Probably a gynecologist. INT. INTERSECTION - SAME The cyclist pulls up right next to: Larry Crowne, riding a scooter for the first time. Gives the passing Rider - who couldn't care less -- a 'thumbs up!' RIDER How you doing... LARRY CROWNE Speck-tack-alar. (THEN) Nice machine. Where you headed? RIDER Work. LARRY CROWNE School. College. I'm a student. What do you do? RIDER I'm a gynecologist. LARRY CROWNE Yeah? I'd say 'have a great day' but that would be stating the 35. The light changes. LARRY CROWNE (CONT'D) You take care. As the Rider takes off, Larry tries to do the same, but he stalls the engine. Cars honk horns at him. EXT. E.C.C.C. SCOOTER PARKING LOT - MORNING Larry is trying to work the kick stand of his scooter. He is not yet practiced at the thing. Another scooter rrives. TALIA Where'd you get the Hot Wheels? Talia is shaking her hair free from her helmet. Larry fails to recognize her from Econ prime. TALIA (CONT'D) That machine's a classic. LARRY CROWNE Got me here for a nickel's worth of gas. TALIA You're in Matsutani's Econ with me. LARRY CROWNE I am? TALIA That class is straining my coconut. LARRY CROWNE It's only been one day TALIA Didn't know you scooted. LARRY CROWNE New to the sport. TALIA (pulls out mobile phone) Give me your number. I'll introduce you to like-minded enthusiasts. (THEN) Name please? 36. LARRY CROWNE Larry Crowne. With an 'e'. TALIA 'Larry'? I don't think so. I used to be Kathleen but one day I looked in the mirror and saw a girl named Talia. (then in her phone) Putting you in as 'Lance'. Check your texts and we'll do us some scooting. (THEN) Gotta tell you, Lance. Tucking a polo shirt into khakis makes you look like a cop. LARRY CROWNE Not much fashion sense. TALIA I know! Gotta change that... Larry sees Mercedes Tainot walking from the Faculty lot, and doesn't want to be late again. LARRY CROWNE Gotta go! TALIA Then get going!! Talia watches him go. Likes him thus far... INT. SPEECH 217 - LATER Mercedes is at a desk in the back. Bored and, yes, a bit hungover again. You can tell by the way she takes long pulls from her Thermo-cup. Busik is sitting in on the class, not far from Mercedes. In front of the board that says "PHONES OFF!!" Calimeris is demonstrating an exercise for her speech. CALIMERIS With the push-up added, the 4-count Burpie becomes the 6-count Burpie and works out the pecs and biceps. It's an all-in-one exercise perfect for Cheerleader conditioning. The 6-COUNT BURPIE 37. The class is too shy to applaud though Busik claps like a fan. MERCEDES TAINOT We now all know how to Burpie. Thank you. (THEN) Who's next? No one volunteers. Though Pinedo is about to... MERCEDES TAINOT(CONT'D) Make me the bad guy. (HER ROSTER) Ms. Crowne? LARRY CROWNE You mean me? MERCEDES TAINOT Mr. Crowne. My bad. Larry goes to the podium - armed with a huge stack of 3x5's. Busik shoots him a 'thumbs up.' He looks at Mercedes for the starting cue. MERCEDES TAINOT(CONT'D) Go. LARRY CROWNE My presentation will be on the subject of a very particular procedure. "How to make French Toast", but I'll speak English... Larry has used up one card. Mercedes rolls her eyes and talks to herself in a MOVIE DEVICE way... MERCEDES TAINOT M classes were once filled with e rnest young men ready to learn all I had to teach them. Cute boys fresh out of High School who all had crushes on me from day one. Now look at my cadre. Dibiasi. Bound for jail. Mack. Treating college like another tour of combat. Crowne. If this was Hamlet, he'd be Osric in Act 5. The part that is always cut. 38. Larry checks on Ms. Tainot in the back. She is not talking, only listening (the MOVIE DEVICE mentioned above)... MERCEDES TAINOT (CONT'D) Busik, I am going to kill you. You can't suggest these saps take Shorthand or Oral Hygiene? Bring me in at this ungodly hour for 2 minutes on French toast? Busik looks at Mercedes, signals a 'not bad, eh?' about Larry. She is a stone face. LARRY CROWNE Most people think syrup comes out of a plastic bottle. MERCEDES TAINOT (still talking to herself) Great. The history of the sugar maple tree now. Thank you Wikipedia. Larry still has a dozen cards to go. But the speech is over. MERCEDES TAINOT (CONT'D) Ah-ooo-gah! Time's up. LARRY CROWNE That went fast... MERCEDES TAINOT Breakfast may never be ready. Larry gathers his cards. Busik gives him a 'bravo!' MERCEDES TAINOT (CONT'D) Next. Pinedo tries to volunteer to go next... DIBIASI I'll go. But you aren't going to like it. MERCEDES TAINOT Are you clairvoyant? DIBIASI (holding a pack of Toaster WAFFLES) (MORE) 39. DIBIASI (CONT'D) (READING) Brown Waffles in toaster at lightest or lowest heat setting. An adult should supervise heating by children. Applause please. Mercedes rolls her head. Busik laughs out loud. BUSIK Simple. Direct. Informative. INT. ECON. 1 CLASSROOM - LATER An incomprehensible POWERPOINT GRAPHIC is projected with Dr. M. explaining what it means. Gibberish!! Larry is taking notes, beside Lala, when his phone vibrates. He flinches to turn it off before getting into trouble. On his phone a message: TALIA: "Scoot?" It takes a moment for him to understand what is going on. His phone buzzes again. to your right" Larry looks as instructed. He sees Talia, phone in hand, miming riding a scooter -- you and me -- wind in our hair... Another text: TALIA: "Lance! Look Larry gets it. Nods okay. Turning back, he finds Dr. Matsutani, standing over him. Palm out. DR. MATSUTANI Your mobile, please. Larry hands it over. DR. MATSUTANI (CONT'D) I will return it after class if I don't crush it first. EXT. EAST CITY COMMUNITY COLLEGE - SCOOTER PARKING LOT - LATER Some of the Scooter Gang have assembled as Larry and Talia walk up. DELL GORDO and STAN are talking about today's route. TALIA Hey Monkey! Dell Gordo plants a kiss right on Talia's lips. She kisses him back. Larry sinks a little. 40. It only figures Talia would have a boyfriend like Dell Gordo. TALIA (CONT'D) This is Lance Corona. Classmate and good guy, so far. DELL GORDO Dell Gordo. You want to ride with us? LARRY CROWNE Why not. There is a beat of a stare down between Dell Gordo and Larry, but then Dell starts to snap his fingers -- SNAP...SNAP...SNAP... -- the other join in until they are all snapping fingers like the Jets vs. Sharks. Talia too. TALIA Snap along, Lance or you can't join the gang. Larry, clumsily, starts snapping too. After a few bars... DELL GORDO Okay. You're in for a trial run. And just like that, everyone goes back to their wheels. STAN Not many of these '66 Wasps left around. They had low torque. How's the torque? He means Larry's scooter. LARRY CROWNE I just bought it and ride around. Someone yells "Saddle up!" TALIA Stan knows engines and junk. DELL GORDO Let's go, Sweets! TALIA We ride, Monkey! Larry's heart breaks a tiny bit, suffering as he does from Talia-on-the-heart. 41. The squad pulls out through the cars of the parking lot with Larry trying to speed his machine along with the crowd... SCOOT MONTAGE They roll through town - a multi-wheeled dance troupe. Swaying... turning... slow-motion sometimes... elegant always. They make riding look fun... being in a group a gas... rolling with the wind in your hair something you'd like to do... UNIMART As Larry and the Squad pass it by, Larry can't help but eye the place he once worked. He sees staffers collecting carts in the parking lot. He misses that place... LATER After many shots, riders begin to peel off -- scooting done. Talia waves at Larry who guns his throttle and pulls even with her. TALIA (CONT'D) You good, Lance? LARRY CROWNE Other than school, I have nothing to do. DELL GORDO Let's troll Buena Vista for junk stores. STAN We hit those last week. TALIA If it was Saturday we'd look for yard sales. LARRY CROWNE I know where a yard sale is, like everyday. TALIA Lead the way. (YELLING) Monkey! Lance knows a yard sale! 42. DELL GORDO Take point! LARRY CROWNE Follow me, boys and girl! EXT. DERBY COURT - LATER The Scooters pull around the corner. Lamarr shouts. LAMARR We're being invaded! One by one, the Scooters park and survey the scene. The stuff that Larry was selling is now part of Lamarr's operation, being sold 'On Consignment'. . LAMARR (CONT'D) Larry, what kind of thugs you get in with? LARRY CROWNE College buddies. LAMARR If they're college buddies why aren't they in college? TALIA You have any old clothes? LAMARR Speak to my bride inside. Dell Gordo, Stan and the others are going through hardware, tools, appliances. DELL GORDO Oh man! These TV trays are too much! LAMARR Bargains at $100 apiece. DELL GORDO For these? Are you nuts? LAMARR I'm joking, kid. Let's get to haggling. 43. DELL GORDO I get it. (THEN) A buck apiece. LAMARR YOU Ninety-nine dollars apiece. see how this is working? DELL GORDO Two bucks apiece! LAMARR Ninety-eight and, kid, I do this every day. INT. GARAGE -- SAME Talia and Patience are putting outfits together from off the hangers. TALIA Layer this... with this. PATIENCE Add this belt? TALIA I LOVE THIS! Where did you GET IT? PATIENCE Reeled it in like tuna from the Atlantic. TALIA Diamonds in a diamond mine. (ANOTHER OUTFIT) Take this... under this...unbutton that. PATIENCE You and I are going to spend some time together! EXT. LAMARR HOUSE - SAME Larry stands alone, nothing to do as the Scooters poke about the sale. He drifts towards his house, a forgotten man. 44. INT. LARRY CROWNE'S HOME - LATER He is entering some of his choice, rare LP's up for auction on eBay. DOORBELL RINGS INT. LARRY'S HOUSE - SAME It's Talia. TALIA I gotta see Chez Lance. LARRY CROWNE Entrez vous, sea food plate. Talia enters and looks around. The decor screams out: "A man lives here." TALIA No sign of a woman around here for years. Drape a scarf over that lamp and you'll soften the light. No TV, b t vinyl disks of music? You trying to seduce me? She examines the record collection. TALIA (CONT'D) Alphabetical order. No artistic chaos for you. She closes her eyes and picks out an LP at random. TALIA (CONT'D) Spin this platter, Mr. DJ? LARRY CROWNE Good choice. As he puts it on, Talia drifts into the... KITCHEN Nothing matches, but it is well-equipped with a cozy breakfast nook. TALIA Breakfast nookie! (THEN) 45. TALIA (CONT'D) Did Denise make you breakfast in here with a little apron and lipstick perfectly applied? LARRY CROWNE I did most of the cooking, actually. (THEN) You know about Denise? TALIA Patience thought she was stuck up and seriously fleeced you. Larry can't believe his neighbors are so loose-tongued. TALIA (CONT'D) So what happened there, my Lance? LARRY CROWNE The usual stuff between three people. TALIA She must have been pretty. (THEN) Fair haired or dark? LARRY CROWNE Dark. TALIA Like me. (THEN) So? How about a demonstration? he means 'of the kitchen'. Larry's game... LARRY CROWNE Stay outta my way. VEGETABLES ARE CHOPPED BURNERS TURNED ON MISMATCHED UTENSILS COME OUT OF DRAWERS A CHICKEN BREAST IS POUNDED OLIVE OIL GOES INTO A PAN BEER OPENED 46. Pizza bread. Chopped veggie salad. Lightly fried potatoes. A pounded chicken breast. Beer in a bottle. Talia eats as Larry gets corn bread he steamed fresh and moist onto a plate. LARRY CROWNE (CONT'D) Cooking for friends is sort of fun. Three hundred times a day is not. DELL GORDO (O.C.) That corn bread I smell? TALIA Kitchen, Monkey! Dell Gordo has walked into Larry's house. DELL GORDO Corn pone! Dell Gordo dives in after helping himself to a bottle of beer from the refrigerator. TALIA Lance made all this. You should have seen him. He was like... Talia does a mime of Larry cooking - like a spastic drummer. DELL GORDO You're like Uncle Ben or something. Stan's working on your bike. LARRY CROWNE He is? Larry goes to the window. DELL GORDO Said the thing was a time bomb. He's saving your life. P.O.V. Stan has broken down much of Larry's bike using Lamarr's tools. Lamarr is standing over him, pointing out what he thinks needs to be done. Stan is ignoring him. DELL GORDO (CONT'D) Let's go lift iron, Monkey. It's a shoulders and arms day (MORE) 47. DELL GORDO (CONT'D) Lance, raise your right hand and say something patriotic. Larry does, just for fun. LARRY CROWNE 'We'll be right back after these messages.' DELL GORDO You're in the Street Patrol. A full-time mission for beauty and justice. Talia throws her arms around him and kisses him on the lips -- no romance at all, but still... TALIA That Denise. What a fool. You a e way cooler than you appear. She leaves. Dell Gordo lingers. DELL GORDO Lance. All men fall in love with Talia. You will too, if you haven't already. But I love her the most. Know that right now. LARRY CROWNE Capice. DELL GORDO Seriously. Don't make me keep my eyes on you. What's your real name? LARRY CROWNE L rry. DELL GORDO Mine's Don. Shake hands. (EXPLAINING HOW) Look each other in the eyes. Firm grips. No contest, but firm. Hold. Stack it. (THEN) One word, Lance. Peace. LARRY CROWNE Peace indeed. 48. EXT. LARRY'S HOUSE - MORNING NEIGHBORHOOD KIDS are in school uniforms, heading to the bus stop. Dressed for school as well, Larry kick starts his scooter, now a humming bit of mechanical perfection. LARRY CROWNE Speck-tack-alar. He peels out, on his way to school. EXT. LAMARR'S HOUSE - KITCHEN WINDOW Lamarr, and his percolator, give Larry a wave. EXT. E.C.C.C. CAMPUS - DAY Larry walks to Speech 217 like any other student. FRANCES TAYLOR-BRIEGH (OVERLAPPING) Even business can break down into a Shakespearean Five-Act Structure! INT. SPEECH 217- LATER FRANCES TAYLOR-BRIEGH is a former student of Mercedes with braces on her teeth. Her name is printed in perfect block letters behind her on the board. She is giving a polished, well-prepared "off the cuff" presentation: DYNAMIC SEMINARS PRESENTS: SHAKESPEAREAN ECONOMICS. FRANCES TAYLOR-BRIEGH Act I: Inventory. What do you sell? Act Two? To Market. Reach your buyers. Act Three? Three legs of accounting. Receivable. Payable. Due. Act Four? Forward planning. Plan to grow. Act Five? Final Profitability. What do you clear on bottom-line? (THEN) In other words: "To be or not to be... in Business." It's all nonsense, but it looks nice in PowerPoint form. Larry is taking notes. Calimeris has drawn her Pyramid of ideas. Mack sleeps with his head straight up. 49. Pinedo is listening intently, counting the ideas out on her hands. Dibiasi is doodling drawings of football players. FRANCES TAYLOR-BRIEGH (CONT'D) For business, social, and self- improvement workshops, email me: Francestaylor-briegh@dynasem.com. Mercedes Tainot is in the back -- her mind far from her classroom. She is preoccupied. The applause for the speaker jolts her. MERCEDES TAINOT Did you notice? No script. No notes. So it can be done. The class breaks up. Pinedo makes it a point to pick up some DynaSem brochures. Larry remains, scribbling notes. MERCEDES TAINOT (CONT'D) White, Siler and Koss, you are up next time. (THEN) You did good, Fran. Thanks. FRANCES TAYLOR-BRIEGH Anything for the woman who brought out the public speaker in Frances Taylor-Briegh. (THEN) I used you as a Focal Reference but you weren't there for me. What's wrong, Mercy? Mercedes signals Frances: "Not yet", then points to Larry, still finishing up his notes. FRANCES TAYLOR-BRIEGH (CONT'D) (WHISPERING) I broke up with the Orthodontist. Now I have to get a new boyfriend and a new orthodontist. You ever do that? Get crushes on people you see every day after ignoring them and then find out they're creeps after all? MERCEDES TAINOT Mr Crowne? Can you move along 50. LARRY CROWNE That was a great presentation. I learned a lot from it. FRANCES TAYLOR-BRIEGH Super. LARRY CROWNE Smart stuff. Super smart. The women watch him go. As soon as he's out the door: FRANCES TAYLOR-BRIEGH Ethel's here, Lucy. What's going on? MERCEDES TAINOT When was the last time you looked at your life and saw nothing but fraud and desperation? FRANCES TAYLOR-BRIEGH Mercy. You're an idol to me. Hearing you talk like that is crushing my dreams. Mercy wants to take it back. MERCEDES TAINOT Well I'm joking of course!!! She pretends to laugh. A little too much. INT. ECON. 1 - LATER Dr. Matsutani is diagramming on the board. DR. MATSUTANI If the balance on Axis A is the same metric as Axis B you're in deficits because of overhead, taxes, and re-investment. (THEN) Translation? Ms. Francesco? TALIA Something complicated. DR. MATSUTANI Ms. Pinedo? 51. DR. MATSUTANI (CONT'D) Mr. Crowne? LARRY CROWNE Breaking even is not making profit, it's a theoretical assumption. Economics abhors an assumption. Talia is amused while sizing him up, from shoe to collar. Bad shirt... pleated pants, too short... running shoes. DR. MATSUTANI Someone's been reading my book. (THEN) The Break Even Paradox creates a new metric... Talia makes a decision and palms her phone, punching in a text. In a second, Larry's phone vibrates. He struggles to get it before he gets caught with his mobile on. TALIA: "Scoot? You/me?" Larry nods at Talia. Turning back, Dr. Matsutani is there again. Larry hands him his mobile phone again. Palm out again. DR. MATSUTANI (CONT'D) I am growing tired of this game, Mr. Crowne. Aren't you? EXT. STREET - LATER Larry and Talia. Scooting along like Elvis and Ann-Margret in Viva Las Vegas. EXT. SQUARE HOLE SELF-STORAGE - LATER They swing into the complex. EXT. SQUARE HOLE NO. 114 - SAME Talia is unlocking the grate. LARRY CROWNE So what happens here? TALIA You ready? Re-invention Big Boy 52. LARRY CROWNE I have no idea what that means, but you betcha. INT. SQUARE HOLE NO. 114 - SAME Pitch black as the grate rolls up and open, revealing Talia, Larry and their parked scooters. LARRY CROWNE Holy smokes! The place is crammed with vintage clothes. Racks and boxes and stacks of every fashion. LARRY CROWNE (CONT D) You got inventory. She disappears in the back, rummaging around. TALIA I started in the smallest unit. LARRY CROWNE This is just sitting here? Talia! This is unproductive capital! Sell it on eBay. TALIA No one should ever buy clothes off the internet. You have to feel the fabric and test the drape... LARRY CROWNE What is all this worth? Out she ome with an assortment of men's clothes. TALIA A lot to me. Try these on. LARRY CROWNE Where? TALIA Anywhere. Fashion is no place for modesty. Strip. He does. LARRY CROWNE 53. TALIA This is a service to humankind, Lance. It hurts me to see a Top Cat dressed like an ex-hockey player. You gotta look gorgeous from shoe to collar. Starting now. Larry is taking off his pants just as Dell Gordo has pulled up on his scooter. DELL GORDO Monkey! Thought you might be here. TALIA Lance! My boyfriend's here! Put your pants on! Larry, in fact, has his pants off. Dell Gordo has a look in his eyes of, well, "What the fuck?" INT./EXT. - MERCEDES' CAR -- AFTERNOON She is driving home. GPS VOICE Please enter your destination. MERCEDES TAINOT Go to hell... INT TAINOT TOWNHOUSE - LATER Dean is opening take-out containers to put the food on plates. The table is set a little too ornately. Wine. HE'S Candles. Flowers. In other words, he's making up. Mercedes comes in through the door. Sees what's up. being good and cute. He pours Margaritas. DEAN TAINOT No argument here, Mercy. Fact: I'm a dope. Fact: My wife is beautiful and brilliant. And I will be a good boy from now on. Why? Because you're right and I've learned my lesson. Just don't be mad at me forever. I have a pliable soul and I pray you do too 54. He dangles her a fresh Margarita. She'll take it... BEDROOM - NIGHT Mercedes and Dean have had make up sex. It was okay. DEAN TAINOT (CONT'D) Ah. That was nice. MERCEDES TAINOT It was. Yes. DEAN TAINOT Been thinking. If you ever want to take a whack at writing something -- say a blog a couple of times a week -- I could help you out. MERCEDES TAINOT How? DEAN TAINOT I'd read your stuff. Make comments to make it web-savvy. Pieces need to pop, you know. Takes a little PRACTICE MERCEDES TAINOT Okay. DEAN TAINOT See? You can't stay mad at me. No reason to be mad at me... He smooches her. Mercedes smooches back. DEAN TAINOT (CONT'D) I'm just a guy who's a guy being a guy... Mercedes' eyes: She didn't like hearing that... INT. LARRY'S HOME - KITCHEN - MORNING Larry -- in new, vintage clothes with his morning coffee -- is at his computer entering his financial record into a program - Ed Matsutani's SmartPlanning MoneyWorks. He is also on his Mobile Phone -- pressing his party's extension... 55. DENISE This is Denise. How can I help you. LARRY CROWNE Denise. Larry. DENISE My god. Larry Crowne. I remember you. LARRY CROWNE This a good time? DENISE Other than me being at work? LARRY CROWNE I'll call you later. DENISE I'm surprised is all. What do you want? With checkbooks, statements, etc. Larry is looking for the bottom line. Out it comes: In RED! ($887.00) LARRY CROWNE Well. Okay. Uh. Here's the deal. DENISE Spit it, Lar. LARRY CROWNE I'm going to miss a few months on the checks for the house. DENISE Okay. LARRY CROWNE I hoped not to, but I there it is. DENISE Okay. Yeah. LARRY CROWNE I'm sorry. 56. DENISE How many months? LARRY CROWNE Let's start with six. Silence on the other end. DENISE That can't happen, Larry. I'm extended. I've put a deposit down on the first vacation I've had in 5 1/2 years. My expenses are as valid as yours, so I need the checks like always. A deal's a deal. He goes back to the computer, to eBay to see how his LP auction is going. One record is going for... $0.75. Another: $1.25. Another: NO BIDS. LARRY CROWNE I don't have it. DENISE That's not my problem. Take out a loan on the house or something. LARRY CROWNE I tried. I'm too much of a risk. DENISE Oh, I'm not touching that. I don't want to open up the whole lawyer thing, but I will if pushed. Sucks, doesn't it? I appreciate the rigorous Crowne honesty, but this can't happen. (THEN) These calls are monitored to guarantee customer satisfaction, so I'm hanging up before my supervisor comes on... EXT. PERRY'S COFFEE SHOP - MORNING Establish. It's early. Few customers 57. INT. PERRY'S COFFEE SHOP - SAME Raul is sitting at the counter doing his paperwork. Perry comes up to him. PERRY Can I smell trouble or what? RAUL Can you speak English? PERRY Those two over in booth 6... P.O.V.: Two GUYS IN SUITS. PERRY (CONT'D) Homeland Security. I piped thei badges and everything. RAUL What is Homeland Security doing here... Raul looks back in the kitchen. Carlos and Nick are prepping their stations. Raul bolts for the kitchen. In seconds we can see him through the Service Window. He whispers and gestures to Carlos and Nick, who suddenly show PANIC in their eyes. They now bolt the kitchen, out the back way. BOOTH 6 R Perry is po ring coffee for the Agents, making small talk as... Out side the window, Carlos and Nick are fleeing for their Illegal Alien lives... INT. LARRY CROWNE'S HOME - MORNING Larry is still trying to makes sense of his money woes when his phone rings... Caller ID: "Perry's Coffee Shop Breakfast All Day!" LARRY CROWNE HEY 58. INTERCUT/PERRY'S Perry is serving hotcakes to the Agents while Raul is on the phone. RAUL This is Larry Crowne? LARRY CROWNE Raul? Yes. RAUL Get your ass down here. You got a job. LARRY CROWNE I do? EXT. STREET - LATER Larry is scooting to Perry's. INT. PERRY'S COFFEE SHOP - LATER The place has filled with customers. Perry is jammed and behind the window, Raul is slapping orders up in a frenzy. PERRY We're swamped, Kimosabe. Get back there! RAUL You're late on your first day! INT. PERRY'S COFFEE SHOP - KITCHEN - SAME Larry comes through the swinging doors. He stops and takes a breath. His life has come to this. He is back in a kitchen. What can he do, but dive in... LATER Larry is at the window, putting up orders and ripping slips off the wheel. Not so much as cracking a smile, though... RAUL Where you learn to turn eggs like 59. LARRY CROWNE The USS Coral Sea. (THEN) Boss, I don't want to quit school. RAUL So don't. LARRY CROWNE I gotta get to class before I miss the whole day. And I can't work mornings Mondays, Wednesdays, Fridays. RAUL Soon as the rush is finished, go. I'll get my idiot brother-in-law three days a week. You take evenings. Deal? LARRY CROWNE Deal. When will we talk salary? RAUL Never. This is take it or leave it. Don t worry. I may be tough but I'll be fair. INT. SPEECH 217- DAY Mack is at the podium giving a presentation with his Star Wars Action figures. MACK These are not toys. Nobody 'plays' with these. These are kept behind glass, so no way am I passing them around today. Mercedes TALKS to us and HERSELF. MERCEDES TAINOT Wait a ding dong minute. (counts the heads) 1.2.3.4.5.6.7.8.9. Someone is missing! Who cut my class? She lets slip OUT LOUD: MERCEDES TAINOT (CONT'D) Where's Larry Crowne?! Everyone looks at her. 60. MACK Guess Larry's out today. MERCEDES TAINOT Anyone know why? MACK He didn't call me. Ad-libs: no one knows why Larry is out. MERCEDES TAINOT I don't believe this! Ditching me? He ditched me? Not okay. Larry Crowne, you are on my Shit List. Everyone shares looks like they've witnessed a Lover's Spat. Speaking quietly in their seats... DIBIASI Sounds like Teacher has a thing for a Teach-ee. CALIMERIS When you were out last week, she said nothing. I think she has a crush on Larry Crowne. PINEDO I do too. (off their looks) He's a nice man. Mack speaks up. MACK Should I continue? MERCEDES TAINOT Yes. Tell us more about your man dolls. Mack is humiliated now. MACK I'm sure everyone recognizes Boba Fett... EXT. E.C.C.C. - LATER 61. INT. ECON 1 - LATER Dr. Matsutani is in mid-lecture when Larry comes in, late. LARRY CROWNE (QUIETLY) I'm sorry I'm late, Dr. Matsutani. May I still sit in the class? DR. MATSUTANI This is college, Mr. Crowne. The only thing you can't do is smoke in the building. Hand over your phone. (LARRY DOES) I'm going to ask a question in a moment. I want someone other than you to answer it - I don't care if the silence is positively Arctic. Larry moves to take a seat. Talia can't believe his choice of dress. She mimes to him "What's with the outfit?" His mime answer is unintelligible. DR. MATSUTANI (CONT'D) This brings us to a dreaded task to every corporate entity. What is the purpose of semi-annual re- purposing? Anyone? (THEN) Anyone? He waits. And waits. And waits. Matsutani stares fear into the hearts of all but Larry. LARRY CROWNE (WHISPERING) Lala... To upload market differences without... PINEDO Without mooting the quarterlies. I know. LARRY CROWNE Then say it. (SHE WON'T) Just give the answer. You know it. Say it. PINEDO Can I? 62. LARRY CROWNE I insist. Lala Pinedo clears her voice. But still whispers... PINEDO To up... met... es without ...ing ...terly predicts....? No one understood that... DR. MATSUTANI I know what you mean, but please share it with your classmates? PINEDO (LOUD ENOUGH) To upload market differences without mooting quarterly predictions. DR. MATSUTANI Does this affect the Value Index? PINEDO No. Only the profit markdown. DR. MATSUTANI Someone is doing the reading! Lala Pinedo beams! Larry applauds. Talia whoops! EXT. E.C.C.C. - LATER Mercedes Tainot is crossing campus when she sees Larry. Talia is moving around his hair, showing it to a SCOOTER QUAD HAIR STYLIST. Lala is weighing in with her opinion on Larry's hair . MERCEDES TAINOT Is that Larry Crowne!? (HE STOPS) You have a lot of nerve showing your face on campus after ditching my class! LARRY CROWNE I'm sorry, Ms. Tainot. I will not miss another class, this I vow. 63. MERCEDES TAINOT Vows come cheap, Larry Crowne. You'll lead off next assignment with three minutes on a personal first. A story, with details, not a laundry list or slide show. And, as I told Dibiasi, no one wants to hear about the first time you got laid. She eyes Talia with venom in her eyes. MERCEDES TAINOT (CONT'D) Or the most recent. Talia laughs out loud! TALIA That woman is one clenched fist of fury. INT. BIG BALLOON CHILDREN'S HAIR SALON - LATER Noisy kids squirm and cry and play games as they get haircuts from other stylists. Larry is in a chair meant for toddlers. The Scooter Squad Hair Stylist is cutting his hair. Talia is taking Larry's shitty Velcro wallet and putting his stuff into a cool used leather one with a chain. TALIA She must not be having any amok lovin'. SCOOTER HAIR STYLIST That makes me cranky, too. TALIA Without a workout in the Inner Sanctum a few times a week I can't concentrate. LARRY CROWNE Inappropriate subject in mixed company. SCOOTER HAIR STYLIST For girl-talk this is nothing. LARRY CROWNE 64. TALIA You you want to fix it with your teacher? Bang her. Talia slides a photo of herself making a face into Larry's wallet, then adds a condom in its foil. LARRY CROWNE She's marred. TALIA You'd kill two birds in one bush. Nothing wrong with a campus romance. Otherwise life is what? Breakfast work, coffee, school, lunch, scoot, class, shop, talk, Mexican food, a movie, glass of wine or two then bed? That's not living. SCOOTER HAIR STYLIST Not without some smooching time. TALIA Bet she'd give you an A plus. (THEN) If you're any good... She and the Stylist crack up! EXT. RIVERBANK BRANCH - LATER Larry pulls in. INT. RIVERBANK BRANCH - LATER Larry has filled out a bunch of papers and is sitting down with Laurie Gammelgaard, who offers him coffee. LAURIE GAMMELGAARD More complimentary coffee? LARRY CROWNE Complimentary coffee is usually lousy. LAURIE GAMMELGAARD I drink it all day. (THEN) So? You're back! 65. LARRY CROWNE I got a job. LAURIE GAMMELGAARD Atta Baby! LARRY CROWNE Perry's Coffee shop. Breakfast all day. And I'm going to school. LAURIE GAMMELGAARD At East City. I see. (from the papers) Larry, this doesn't change anything. LARRY CROWNE I was afraid of that. LAURIE GAMMELGAARD The interest alone will eat up your service industry salary. LARRY CROWNE You said come back in a few weeks. It's been a few weeks. LAURIE GAMMELGAARD Okay. (THEN) I will personally take this to my supervisor and fight to get you the loan you need. But you know how complimentary coffee is always lousy? Your chances are, too. LARRY CROWNE I can't make the payments on the house. I'm going to lose it, aren't I? LAURIE GAMMELGAARD Stop with the gloomy puss. You're doing everything right. Hang in there. You still have a friend at RiverBank. LARRY CROWNE You guys are forced to say that, aren't you? LAURIE GAMMELGAARD 66. THUNDER ROLLS IN THE DISTANCE EXT. SQUARE HOLE NO. 114 - MORNING RAIN! Coming down in buckets. Talia has the grate up, wrapping a new outfit for Larry culled from her supply. Dell Gordo is in a rain slicker. DELL GORDO I think it's letting up. TALIA It's going to storm till next year. DELL GORDO We can't stay here all day. Find a raincoat and let's get a little wet. TALIA I do not scoot in the rain. DELL GORDO How you going to get to school then, College Co-Ed Belle? Larry pulls up in his Karmann Ghia -- top up. TALIA My savior! Look at your new schmatas. (HOLDING BOOTS) And footwear! (hopping in, to Dell) Stay dry, sweetie! Dell Gordo is not happy to see this. EXT. DONUT SHOP - MORNING - RAIN It is raining. Mercedes' car is out front. MERCEDES TAINOT (PRE-LAP) I got engaged to a teacher/writer with two books in print... 67. INT. MERCEDES' CAR - MORNING - RAIN The windows are fogging up. Frances and Mercedes sip take- out coffee and eat glazed rings of death. FRANCES TAYLOR-BRIEGH I never read them. MERCEDES TAINOT Who did? I'm married to an ex- teacher turned blogger with two books in print. And oh, yes, he has the libido and internet access of a 13-year-old. FRANCES TAYLOR-BRIEGH I had a boyfriend who owned every movie Sophia Loren ever made. I d hear a DVD go into the playe an knew what I was going to be doing in a half-hour. Right next to them, Larry Crowne pulls up in his Karmann Ghia with the top up and Talia in the passenger seat. MERCEDES TAINOT Once more to Divorce Court to cashier a spouse, line my cloak with alimony and do myself homage. FRANCES TAYLOR-BRIEGH Othello. Act 1. Scene 1. Iago to Roderigo. Talia jumps out and runs into the donut shop. MERCEDES TAINOT Why can't all my students be like y u? FRANCES TAYLOR-BRIEGH Because, as I learned in your class, I am one of a kind. Larry rolls down his window and yells something funny to her. He never sees Mercedes or Frances. FRANCES TAYLOR-BRIEGH (CONT'D) Hey, that guy's in your class. Mercedes wipes fog off the window. MERCEDES TAINOT 68. P.O.V. Talia is talking to the Donut Shop Lady, selecting crullers and old-fashioneds. MERCEDES TAINOT (CONT'D) And that Toy Poodle he keeps on a leash! Mercedes eyes Larry in his car. MERCEDES TAINOT (CONT'D) That's why he's in college! To get laid! FRANCES TAYLOR-BRIEGH It happens. Talia comes running out, with two coffees and a bag of donuts, hops into Larry's car and they pull out as Talia puts a ring of sweet into his mouth. Mercedes rolls down her window and yells. MERCEDES TAINOT You are everything that's wrong with America, Larry Crowne! They did not hear her. INT SPEE H 217 - MORNING Larry is at the podium, prepping his "Personal First" presentation as the class comes in. He is dressed as Talia styled him. DIBIASI Woah! Larry Crowne, I didn't know you were gay. You've gone all Project Runway on us. Mercedes enters, eyeing Larry with residual venom. He is oblivious. She takes her listening post in the back of the room as the class goes quiet. LARRY CROWNE Should I begin? Mercedes signals 'Yeah, go ahead, asshole.' LARRY CROWNE (CONT'D) first crossing of the Equator... 69. MERCEDES TAINOT (talking to herself in the MOVIE DEVICE WAY) Oh shut up you sleaze. Jerk. (THEN) Look at the new pants. They actually fit. And that jacket is 'smart'. Did Busik put Larry Crowne into Fashion for Creeps? An old goat dressed like lamb. (THEN) Of course! It's that doe-eyed young thing he's been wearing on his sleeve. Dressing like he's half his age. Give me a shotgun! I'll pepper Larry Crowne right now! (THEN) Am I being unfair? I mean, if I were single and some young buck took to me, wouldn't I be inclined to diddly-dally? She looks at Dibiasi, who has snuck iPod earbuds onto his head, is mouthing the words and playing air guitar. The class erupts in l ughter. Mercedes wasn't paying MERCEDES TAINOT (CONT'D) Youth wouldn't be the only requirement, of course. attention to hear Larry's bon mot. DIBIASI (jerking out buds) What? What he say? LARRY CROWNE Unless you're looking at a chart, you don't even know the Equator when you cross it... MERCEDES TAINOT A repackaged Larry Crowne won't fool me. Shame on you. Going after jail bait, you criminal. Insert Viagra joke here... (THEN) herself at you... No. Don't let up. No, Mercy. NO MERCY! Polite applause. Mercedes pretends she heard every word. 70. MERCEDES TAINOT (CONT'D) Anyone recall anything from that? PINEDO That Larry believed there were signs on posts marking the Equator. CALIMERIS And that, when it's a first time, they make the rookies dress in drag and sing Abba songs? Mercedes missed a lot of that. Everything, in f ct. MACK Larry worked on an Aircraft Carrier! Night Carrier Landings are the trickiest flying in world. Mercedes is learning this for the first time as well. MERCEDES TAINOT That was a memorable nugget. PINEDO Larry was stationed in Panama! My father is from Panama! MERCEDES TAINOT Mr. Koss to the lectern, please. More anecdotes come from the class about Larry's speech. Mercedes heard none of them... EXT. STREET - DAY Talia is riding alone. She slows at a TATTOO PARLOR... INT. PERRY'S COFFEE SHOP - KITCHEN - AFTERNOON Larry bangs out orders. Raul sits at the butchers block, sipping coffee, observing his new kitchen staffer. EXT. PERFECT SPACE - DAY An empty store right next to the Tattoo Parlor. Talia is looking through the window 71. A hand-drawn sign with an arrow says "FOR LEASE ENQUIRE NEXT DOOR ASK FOR MAURICE." Talia smiles. Her mobile rings its unique ringtone. STAN: "Scoot! Webster and Palm!" INT. PERRY'S COFFEE SHOP - KITCHEN - LATE AFTERNOON Larry is slapping orders together at the same time he h s his studies out -- trying to do two jobs at the same tim His mobile phone vibrates. TALIA: "Scoot?" He punches in "Can't. Job." He goes back to his studies just as another order comes up. Then his phone vibrates again. TALIA: "Job? Sob! Coming!" LARRY CROWNE Oh crap. EXT. PERRY'S COFFEE SHOP - LATER Talia and the scooter gang pull in. INT. PERRY'S COFFEE SHOP - SAME In they pour, sizing up the place for a hangout. Talia, Stan - - minus Dell Gordo -- and others sit at the counter where they can see Larry. TALIA Chef Corona! Steam us some corn bread? The others pretend to be grumpy diners: Feed us! What's a Reuben Sandwich? Where's my Sanka! LATER Up comes order after order. Burgers. Hot beef sandwiches. Turkey clubs. Greek Salads. 72. TALIA (CONT'D) Woman on deck! Raul looks up from his Spanish Language Newspaper. RAUL You can't come in here. TALIA I'm a friend of Lance's. RAUL No Lance works for me. Talia hops up to sit on a butcher block. RAUL (CONT'D) This is my kitchen and I am the boss. TALIA Is he, Lance? LARRY CROWNE Raul's my boss, yeah. TALIA Rah-ool. Rhymes with ya-cool. Are ya' cool, Raul? RAUL Sure I'm cool. Tough but fair, too. TALIA As boss, do you make up the menu? L RAUL A N . But I do the purchasing. R TALIA Is that a tough but fair job? R RAUL Y It makes me crazy, you kidding? But it's gotta be done every day or guess what? No food. I'll show you how much I gotta do... P U And just like that, Talia has seduced another man. telling her the secrets of purchasing orders s fries into the deep fryer. RAUL IS 73. LATER Talia is with Perry at the register. She's seduced him now, as he goes over the menu and what sells more than ever. PERRY Breakfast all day, see. From Corn Flakes to popovers. We make the best Chicken Fried Steak outside of a truck stop. TALIA Can Lance take a break? PERRY Who? TALIA The artist formerly known as Larry. I need his expertise. PERRY (CALLING) Lance. Perry signals to Larry then to Talia and makes a talking gesture. BOOTH - LATER Larry and Talia sit. She has her notebook out -- sketches and ideas and forms... LARRY CROWNE Square footage at this price is a bargain. TALIA Maurice says I'm saving his life by renting the space. LARRY CROWNE (WRITING) This is your Matsutani Delta Number. You net this every month, you cover overhead, and the rest is profit. TALIA You sure? LARRY CROWNE Chapter four. 74. TALIA You make it sound so simple!! Talia is so excited she grabs Larry and showers his forehead with kisses. Appearing out of nowhere: Dell Gordo. LARRY CROWNE (BOLTING) Well, back to work! EXT. CHEESECAKE FACTORY - PARKING LOT - EARLY EVENING Dean is opening the car door for Mercedes, putting on the class act for a night out. He laughs at a feeble joke we can't hear. The guy is trying. LATER - NIGHT They come right out the same door. They've argued and drank all through the meal. Dean carries extra cheesecake home in a dessert box. And, oh, they've been drinking. DEAN TAINOT Work my ass off all night trying to get f i in' smile out of you! MERCEDES TAINOT I'm smiling... DEAN TAINOT Like The Joker after three Apple Martinis. MERCEDES TAINOT If they help, they help. DEAN TAINOT We can't even have a Date Night now? You can't even chillax for one meal? MERCEDES TAINOT "Chillax?" Did you use the word "chillax?" That come from your Bloggers Thesaurus? INT. CAR SHOT - MERCEDES' SEVEN-YEAR OLD CAR - NIGHT 75. GPS VOICE Please Enter your destination. MERCEDES TAINOT You lie to me, Dean. Every day. You. Lie. To. Me. DEAN TAINOT You looking for a whole new man, Mercy? I'm the jerk who has to transform into Ultraman to make you happy? No. I like myself, Mercy. I put up with you and complain about nothing. MERCEDES TAINOT I'm not complaining. I'm stating the truth. I teach while you pretend to work. DEAN TAINOT I had three postings today alone. FogCaster, SkyScan, and ParsecTwelve.com MERCEDES TAINOT Those weren't postings. They were comments. DEAN TAINOT Hey, Booze-illa, who are you to judge me? (THEN) I know what's really pissing you off. I like big titties. And you don't have any. Yeow. A line has been crossed. A big, ugly line has just been crossed. Even Dean knows it. DEAN TAINOT (CONT'D) Maybe I should take that back. MERCEDES TAINOT LET ME OUT OF THIS FUCKING CAR!!! EXT. INTERSECTION - CONTINUOUS A young couple -- call them JANET and TONY - have been on their first date. It's gone well. 76. JANET As soon as I saw you, I said, "I want to go out with that man." TONY What did you say when I asked you out? JANET I said "Yes." You were there, remember? TONY I saw you and I thought "I would be a lucky guy if she'd go out with me." JANET Yes you are. TONY Honestly, this is about as good a first date goes, isn't it? JANET Disaster looms on most first dates, but I'm talking to you like you're a friend I want to make out with. TONY Hold that thought. Dean and Mercy pull up beside them in their car. Mercedes is out of the car before it even stops. DEAN TAINOT I take it back. I take it back. MERCEDES TAINOT Drive, asshole! Drive away! DEAN TAINOT I've been drinking, too. MERCEDES TAINOT Drive straight til you hit a cliff on the coastline! DEAN TAINOT You win! I'm letting you win! Everything you say is right and WIN! 77. MERCEDES TAINOT LOSER! I MARRIED A LOSER!!! With a tiny dick! Tiny dick LOSER! DEAN TAINOT Screw you, you washboard! MERCEDES TAINOT Oh, chillax!!! GPS VOICE Please enter your destination. Dean screeches off into the night. Mercedes picks up a rock and hurls it at him. MERCEDES TAINOT I'm throwing rocks at my own car !! Janet and Tony are aghast - silent - in shock. MERCEDES TAINOT (CONT'D) The jerk who just deserted me? My husband of 4 friggin' years! She stomps off into the night. Janet and Tony don't know what to do with each other now. EXT. BUSINESS STREET - LATER Mercedes is walking home. It's a bit longer than she would like. She comes to a bus stop and studies the route. She sits and removes her shoes. MERCEDES TAINOT I loved these shoes once. Stupid shoes. She sits at he stop, about to cry. Then she sort of does cry, for so any reasons. In the distance, we hear... The ROAR of SCOOTERS. Then here they come. A night-time 'Scoot'. All the REGULARS go by. Somewhere in the mix are Larry and Talia. Talia is just able to turn her head and see Ms. Tainot at the bus stop. She slows. 78. TALIA Lance! Chick alert! Larry is beside her. They stop. TALIA (CONT'D) You are not going to believe how Fate meets cute! She u-turns and Larry follows her, confused. BUS BENCH Mercedes wonders who these Mock Wild Ones are that pull up to her. LARRY CROWNE Ms. Tainot? MERCEDES TAINOT No. He takes off his helmet. LARRY CROWNE Larry Crowne. MERCEDES TAINOT Jesus Christ. TALIA And I've been calling you 'Lance'. LARRY CROWNE Do you need a ride? Hop on. MERCEDES TAINOT And bust up your romp in the glen with Bambi? TALIA Hey. Bambi was a boy. LARRY CROWNE I was heading home. (TO TALIA) Right? We're done scooting? TALIA Not me. I love riding in the night. Magic happens. (TO LANCE) 79. Away Talia scoots to catch up with the gang. MERCEDES TAINOT What do men see in irritating free spirits? Mercedes starts walking. LARRY CROWNE Seriously. I offer you a ride. MERCEDES TAINOT Seriously. I don't want one. Larry shuts off his scooter, pushing it along with his feet LARRY CROWNE I've yet to give anyone a lift on this but I think I can get you home with a scraped elbow, worst case. MERCEDES TAINOT I am walking, Crowne, as thoughts black boil up from my soul. Major consequences sure to follow. You'll read about them on Parsectwelve.com. LARRY CROWNE An attractive woman like you walking alone is a dumb idea. MERCEDES TAINOT I need a man flirting with me right now like I need a dog crapping on my lawn. I'm hoofing it. LARRY CROWNE In those shoes? Mercedes ponders her shoes. He's got her. She stops. MERCEDES TAINOT A man who notices shoes. (GIVING UP) All right. I'll be your Cycle Slut. LARRY CROWNE Put this on. (HIS HELMET) Strap your legs round my engine and 80. MERCEDES TAINOT It won't be a terrible thing if you kill us both. LARRY CROWNE Ain't you a ball of fun? Larry kick starts the scooter and off they go -- slowly. IN MOTION MERCEDES TAINOT Are you really going to go this slow? LARRY CROWNE I do want to survive this night. MERCEDES TAINOT Fine. I have time to window shop. Oh look, a sale on tires at AutoUSA. And here comes a mailbox. I've never noticed their perfect design and colo scheme. This is so slow a cat could knock us over. EXT. INTERSECTION - MINUTES LATER. Here they come at the speed of a lazy cow. Mercedes is singing "Sixteen Miles on the Erie Canal". EXT. STREET - RIDING SHOT - LATER - ON THE SCOOTER Larry shouts over his shoulder. LARRY CROWNE Where am I taking you? MERCEDES TAINOT Down to Portola and left to Havenhurst. Havenhurst to Palermo. Right on Palermo till I yell stop. LARRY CROWNE I may use this as a presentation in class. MERCEDES TAINOT Try it and you'll flunk. I am joking. 81. MERCEDES TAINOT Ha ha ha ha ha ha ha ha. LARRY CROWNE I like your class. You're making us all do things we never thought we could. MERCEDES TAINOT Put the shovel away and just get me home, 'kay? Up ahead, flashing lights. MERCEDES TAINOT (CONT'D) Hail our City's Finest. LARRY CROWNE Someone's getting pinched... A COP CAR with its cherry top flashing, has pulled over a Drunk Driver. It's Dean. They're making him touch his nose, breathe into a test kit. Mercedes starts laughing. As they pass the crime scene, Dean is being put into the back of the Prowler, cuffed... Mercedes' laugh fills the night as they putt-putt along. MERCEDES TAINOT Measure his dick, officer! He's too diminutive to drive! (THEN) Tiny dick loser! Larry doesn't know what to make of that. LARRY CROWNE Bad night for that guy. MERCEDES TAINOT Best night I've had in years! Drive on, McDuff! EXT. CEDAR HILLS TOWNHOMES - NIGHT In through the gates come our night crawlers. Mercedes is 82. EXT. TAINOT TOWNHOUSE - SAME Larry shuts off the motor. Mercedes is half asleep. She doesn't remember to take off Larry's helmet. LARRY CROWNE Unit 114. MERCEDES TAINOT Thanks for the ox-cart ride. Like a sleepwalker. Stands at the Alarm Pad. MERCEDES TAINOT (CONT'D) I can see the Alarm Pad. I know the code. But my hands aren't working. (THEN) Help me. LARRY CROWNE You don't want to give me your pass code. MERCEDES TAINOT Just hold my hand up to the numbers. I'll manage from there. Larry takes her hand and guides it to the pad. MERCEDES TAINOT (CONT'D) Look away now. (HE DOES) Two two two two. Pound. Larry heard every word. MERCEDES TAINOT (CONT'D) W ere's my purse? Oh yeah. My car. The key please? It's buried in that plant. Larry digs out an Altoids tin. Rattles it. LARRY CROWNE This it? MERCEDES TAINOT Why I think it is! LARRY CROWNE I'll get the door for you Larry opens the door, reaches in, turns on the light. 83. MERCEDES TAINOT Take one step inside and I call security. Larry steps away from the door. MERCEDES TAINOT (CONT'D) And forget this ever happened. LARRY CROWNE What? MERCEDES TAINOT This whole sorry chapter tonight. LARRY CROWNE What? MERCEDES TAINOT You passing up Gidget for a flat old coot like me. LARRY CROWNE What are you talking about? MERCEDES TAINOT What, you have no short-term memory? Larry has been tying to be polite. LARRY CROWNE When I say 'what', it means I get it and have already purposefully forgotten everything. Call it irony. MERCEDES TAINOT Sarcasm. Irony is when Gallant lands in the drunk tank while Goofus scoots me home. LARRY CROWNE Goodnight, Ms. Tainot. She doesn't move, but flashes her ring finger. MERCEDES TAINOT Mrs. I'm Mrs. Tainot. Can you not see that? LARRY CROWNE I assumed you preferred Ms 84. MERCEDES TAINOT When we presume we make a pretty pair of asses of me and you or something like that. (THEN) Why aren't you married? LARRY CROWNE That's a long story and it's late. (THEN) My helmet? MERCEDES TAINOT Help yourself. She sticks her neck out. If this were a movie, they might kiss right now. Larry pauses. Mercedes looks at him. He's not a bad looking guy. He starts to undo the helmet strap. MERCEDES TAINOT (CONT'D) I noticed something on the ride. LARRY CROWNE WHAT MERCEDES TAINOT IT MAY You smell good. LARRY CROWNE Thanks. He gently removes the strap and helmet from her head. be a bit sexy. Her hair tumbles out. MERCEDES TAINOT Do you have a crush on me? Single student. Unattainable teacher. It's common. Larry has no idea what to say. LARRY CROWNE We all have crushes on you. Even the gals. MERCEDES TAINOT You want to make out with me, you can. I know I'm not a third rate Audrey Hepburn wanna-be but I still GOT MOVES Come on, Gramps. Take this ride. (MORE) 85. MERCEDES TAINOT (CONT'D) My spouse won't be home for 3 to 5 years. Larry ponders this moment for as long as he can. He shouldn't, of course. But, damn. She is Mercedes Tainot. Bang. It's a pretty good whammy kiss. Makes her splay her arms and everything. Larry pulls back. After a bit, though. She could have kept at it, too. LARRY CROWNE Wow... MERCEDES TAINOT Pretty dang good. I still got it, no? LARRY CROWNE Yes, you do.. (THEN) In you go. (Mercedes goes in) Close the door. (SHE DOES) Lock it! Larry hears the sound of the bolt. He walks away. INT. TAINOT TOWNHOUSE - SAME Mercedes leans against the door. What did she just do???? LARRY CROWNE (O.S.) Goodnight, whoever you are! MERCEDES TAINOT Whoever I am... EXT. TAINOT TOWNHOUSE - SAME Larry wistfully starts his bike, looking back at the door. He will not forget that kiss or this night. He drives off. EXT. TAINOT TOWNHOUSE - MORNING A TAXI is pulling up. Out of the back, Dean, looking like he 86. He pays the cabbie, pissed off about everything. Then his world gets much more complicated. P.O.V. All his possessions, stacked up in front of the door. On the top of the heap, his computer. Turned on and showing porn DEAN TAINOT Oh, Jesus Hell and tomorrow... (THEN) Mercy!!! EXT. E.C.C.C. TEACHERS' PARKING LOT - MORNING Mercy feels terrible, stepping from her car, brutally hungover. As she straightens up, her eye catches... LARRY CROWNE On his scooter. Heading towards the Scooter parking. She smiles -- a rare thing on a morning like this but the memory of last night warrants it. She heads in that direction. EXT. E.C.C.C. CAMPUS - SAME Mercy is trying to 'accidentally' run into Larry, but is caught by surprise when.. He is walking right towards her. Oops. That would be uncomfortable. She DUCKS behind a pillar. Still wanting to 'bump' into the man who kissed her last night, she circumvents his path, stalking Larry like a birdwatcher tracks a blue-tailed swallow. Hopping behind a tree, Mercy's SHOE gets caught in some mud. Bending down, a branch catches her sweater and RIPS a seam. Stepping onto the pavement, the tree branch SMACKS her in the head. Still, she keeps and eye on Larry. And pursues... BENCH AREA 87. Staying out of his eye line, Mercy navigates her way around to the other side of the Bench Area and preps her appearance before making a 180 degree reverse, guaranteeing a 'Meet' with Larry. Then she sees her. TALIA Sitting with others, greeting Larry with laughter and hugs and hoots. Talia is announcing to all how she left Larry with a drunken teacher last night, with her arm around his waist and affection in her eyes. MERCY Is crushed. For the obvious reasons sh s ill can't understand. She was hoping to have Larry to herself for a minute or two. TALIA AND LARRY Amid the others... TALIA Oh, come on! I left you all set up! What went down? LARRY CROWNE Epilog. School today. TALIA Lance! A Betty on your Scooter after midnight? Holding on, her arms around you, pressed against your back, is a license to at least cop a feel. LARRY CROWNE If we had ended up making out, you still wouldn't hear it. Talia slugs him. All in play... MERCY Convinced Larry is gossiping about last night, Mercy backs away from the scene, and slinks away toward her class. 88. INT. SPEECH 217 - DAY Mercedes is in the back, wearing the darkest glasses allowed a teacher in a classroom, hiding the fact that Mercy is looking at Larry. Larry is listening to Lala with delight. PINEDO Seeing them -- the Northern Lights, the Aurora Borealis -- should have been beyond me, but I was a little girl in Coach class still awake, a window seat, a moonless night somewhere over Greenland with a shimmering curtain of emerald, gossamer light dancing just for me. (THEN) That is something I will remember forever. The SPEECH is over. The class erupts in applause for Lala, who has hit a home-run. Foremost of the fans, Larry, who rises in applause for the once quiet classmate. Then the applause is over. The teacher says nothing. DIBIASI That was a knockout speech, Lala. Made the news. Caused riots downtown. School's out til 2019. The students look at each other, shrug their shoulders, and head ou . MERCEDES TAINOT Mr. Crowne? A moment please? CALIMERIS Why doesn't she just throw herself at him? PINEDO This is bordering on harassment now. DIBIASI Quiet down. I'm watching the TV show... MACK Why doesn't this ever happen to me? 89. MERCEDES TAINOT I need a few moments alone with Mr. Crowne thank you. DIBIASI Move along folks. Privacy's a right in this great nation of ours. MACK You want I should close this door, lock it, and barricade it so you won't be disturbed?? We hear them cackling like geese in the hall. LARRY CROWNE How are the Triplets? Groggy, Puffy, and Grumpy. He means the hangover. MERCEDES TAINOT Last night was a confluence of too many things happening in too short a time span. LARRY CROWNE Last i ht? Let's see, what was I doing? Studying some. Working some. Can't recall. I've forgotten everything that happened last night as best a gentleman can. MERCEDES TAINOT I had no right to judge you or your relationships. Date who you want. Larry has no idea what that means. MERCEDES TAINOT (CONT'D) But what happened last night -- between adults -- was inappropriate. If gossip were to circulate, the problem could be more than just embarrassing. My status as a professor could be tarnished. LARRY CROWNE I wouldn't want that. MERCEDES TAINOT happened before. (MORE) 90. MERCEDES TAINOT (CONT'D) With parking attendants. Strangers at parties when I've had a bit too much of the demon rum. This was the first time with a student. (THEN) I hope the entire thing will be forgotten. Larry has just had his feelings hurt by his teacher. LARRY CROWNE Sure. Nothing happened. At all. MERCEDES TAINOT So there will be no bravado among you and your pals? LARRY CROWNE None. MERCEDES TAINOT Thank you, Mr. Crowne. LARRY CROWNE I'd better scurry along to Dr. Matsutani's class. I hope I don't have this same conversation with him. Larry leaves - a good mood ruined... Mercy watches him go. What is going on behind those dark glasses? EXT. LARRY CROWNE'S HOME - AFTERNOON Larry and Lamarr are sitting on the curb, watching kids play down the street. They run back and forth in front of them with a soccer ball. They both have pipes, with Lamarr showing him how to light up. LAMARR Puff. Don't suck. Then... relax. (THEN) See? Works. LARRY CROWNE I have to sell my car. Put a new top on it. 91. LARRY CROWNE If I could afford a new top I could afford to keep it. LAMARR What's the job paying you? LARRY CROWNE Half my UniMart salary. LAMARR You're down, Larry Crowne. Down as dirt. LARRY CROWNE I'm looking back on the year Denise left as the good old days. LAMARR Hang in there, neighbor. LARRY CROWNE Everyone keeps saying that. LAMARR I was in the same spot. Look what happened. LARRY CROWNE The odds of two people on the same street winning the lottery are worse than one person on the street winning the lottery. LAMARR I read how the universe is expanding, Larry, taking us along with it. That is a wild concept to grasp, but what it means is, we all have to hold on tight sometimes to get to where we're going to be. LARRY CROWNE (THE PIPE) This thing must be making me dizzy. What? LAMARR Keep your grip. You'll be okay. It's like the wife always says... Shoppers pull up to Lamarr's Yard Sale. The WIFE has a 92. LAMARR (CONT'D) A woman with a measuring tape? That's money in my pocket. A ball flies in and hits Larry smack in the head, sending his pipe flying. EXT. UNIMART - PARKING LOT - DAY Hardly any cars. Shopping carts are herded into their corral by... former Team Leader Larry Crowne. INT. UNIMART MAIN ENTRANCE - SAME Larry stands where he was once king. P.O.V. The place looks different. Shabby. Unkempt. Understaffed. He recognizes no one. AISLE No one is there to help Larry pick out two 'For Sale by Owner' signs. And, he can't help it: he straightens out some messed up racks and shelves. REGISTER Vasquez - Security - is gone, replaced by Cubby -- the former Janitor who is now the skinniest SECURITY GUARD in history. Larry slides the signs for purchase. Manning the thing? Vicky Hurley. Not looking good HURLEY ' ind bargains today?' LARRY CROWNE Vick? How you doing? Larry Crowne. Hurley looks at him. She looks tired. And stupid in her Cashier's Apron. HURLEY Larry. Hi. LARRY CROWNE Why are you on the Register? 93. HURLEY Management Execs are now required to put in 8-hour shifts on the floor. Every day. No overtime. No bonus. Just more hours. Cash or UniMart Bargain Card? Like you have one of them. LARRY CROWNE Cash. No receipt. Hurley is robotic. HURLEY You got out of here just in time... 'Thank you for choosing UniMart, where united we blah blah.' EXT. A PARK - DAY Trees. A picnic table. And Mercedes Tainot writing individual words on pages of a steno book. After each word, she folds each page many times and puts it in a basket. Up walks Dean Tainot, who looks neither happy nor cheerful. DEAN TAINOT Hi. MERCEDES TAINOT Thanks for coming. DEAN TAINOT No notice. No preamble. Just an email and a google map. MERCEDES TAINOT I knew you'd be on the computer. (THEN) Working... DEAN TAINOT Point made. (THEN) So. What up. MERCEDES TAINOT Are we making a mistake here? DEAN TAINOT 94. MERCEDES TAINOT Point made. We could change things. We could start right now. DEAN TAINOT We could. Why should we? MERCEDES TAINOT Because we have history, Dean. But first, my thoughts... I've got to address drinking. I should be able to comprehend and respond to both sides of our conversations. And the morning shower should be refreshing, not a hangover cure. DEAN TAINOT I'd like that too. MERCEDES TAINOT Really? DEAN TAINOT You're not a pleasant woman after a few glasses. Mornings with you are to be survived. MERCEDES TAINOT Okay. Now, you. Dean is caught short. DEAN TAINOT I see. I'm what this is all about. MERCEDES TAINOT There are plenty of items on the relationship agenda but let's start here. DEAN TAINOT You're talking about you but you really mean me. (THEN) I am not yelling or begging or saying you have to stop doing anything. So you don't get to either. MERCEDES TAINOT I'm not saying that. 95. DEAN TAINOT We've both been here before. Why prolong the process? White flag! I give up. This ain't working. (THEN) I'll sign papers and checks, see if there's enough for a cool sports car as a reward for the last few years and eventually I will be fine and you will too. But I am never once going to look at myself as another poor divorced guy who could still be married if only he had done the mea culpa bit for all his faults. (THEN) I just now came up with that, and it is going to be my next posting. He pulls out his Blackberry and makes a note to himself. DEAN TAINOT (CONT'D) I don't think there is anything else to talk about. Do you? Mercedes looks at him. She has been a fool... EXT. TAINOT TOWNHOME - PATIO Mercy -- Margarita pitcher handy -- is still writing words on paper, and drinking. Alone. Not good. EXT. E.C.C.C. PARKING LOT - MORNING The sign reads "FINALS WEEK: ENROLL FOR SPRING QUARTER." INT. SPEECH 217 - MORNING She is in the front of the class with a small box. Hungover? A bit, yes... MERCEDES TAINOT Here I have surprise topics. Friday, in a Lightning Round, you must wax on that topic for 2 minutes without pause, repetition, or lack of charm. No notes. One visual aid. (THEN) Ms Pinedo Draw 96. Ms. Pinedo pulls a paper from the box. MS. PINEDO 'Potatoes?' MERCEDES TAINOT Spuds. Can't wait. Dibiasi draws a paper. DIBIASI 'Disraeli'? What is that? MERCEDES TAINOT Who is that? DIBIASI It's a guy from Disrael. I'm done. Now it's Larry's turn. He shyly draws a paper -- a bit uncomfortable in class since the recent events. LARRY CROWNE 'Consumerism'. MERCEDES TAINOT That's supposed to say 'Communism.' LARRY CROWNE The handwriting is loopy. Looks like 'Consumerism'. MERCEDES TAINOT Fine. 2 minutes on Consumerism. Calimeris picks. Hers is loopy, too. CALIMERIS 'Malpity Hoople.' (THEN) What's this say? MERCEDES TAINOT No idea. Just pick another. INT. ECON 1 -- LATER Dr. Matsutani is going on. Larry is looking for Talia, who is not in class. 97. DR. MATSUTANI (HIS BOOK)) At the end of each chapter is a study guide. Master those and you will have mastered my book. Master my book and you will take over the world. He laughs demonically. DR. MATSUTANI (CONT'D) By now you should be laughing with me. Larry can't believe Talia is not there... EXT. TALIA'S NEW STORE - LATER Larry scoots up. She is inside arranging a "Coming Soon!" window display. Dell Gordo, Stan, and the Squad are all inside building shelves and racks. She comes out of the store. TALIA You digging what you see? LARRY CROWNE You missed Matsutani's class. Review for the final. TALIA I'm done w th college. LARRY CROWNE What? Why? TALIA Because I'm going into business. LARRY CROWNE Talia. Don't be a fool. Stay in school. Don't throw away your education. TALIA And don't drink and drive or do drugs and quit smoking and eat vegetables. I don't. I stopped. I did. I do. LARRY CROWNE 98. TALIA Pretty much. Oh, look. Maurice gave us free tattoos. I wanted something in Japanese so check this out. She shows it to him, just above her butt-crack. It's two Japanese characters. TALIA (CONT'D) That one says 'courage'. That one says 'spirit'. Courageous Spirit. Dell Gordo knocks on the window as Larry has his hands on his gal's butt... "What's this, Lance??" LARRY CROWNE Japanese characters go the other way and that says Soy Sauce. TALIA Oh shut up. LARRY CROWNE It does. Soy sauce. Soy. Sauce. Quitting school is for dopes. It does, actually say Soy Sauce. He is starting his scooter. TALIA Be here for our Grand Opening! LARRY CROWNE Might not make it. I have finals! OPEN SKY Larry comes into frame, with a hammer and stake. EXT. LARRY'S HOUSE - DAY He is pounding the FOR SALE sign into his front lawn. Laurie Gammelgaard pulls up her new VW Bug with a COUPLE in the back seat. They get out and Larry nods as he waves them to the door. He remains on the lawn, looking at his neighborhood -- the kids, the dogs -- Lamarr across the street. It's all over... 99. EXT. PERRY'S COFFEE SHOP - NIGHT Frances and Mercedes have pulled up in her car. FRANCES TAYLOR-BRIEGH This place anonymous enough? MERCEDES TAINOT As long as alcohol's out of my grasp. FRANCES TAYLOR-BRIEGH They have good pie, they say. MERCEDES TAINOT Great. Sugar can replace tequila in my bloodstream, my thighs, and the folds in my neck. They pass a car prominently parked - Larry's Convertible Karmann Ghia with a sign on its windshield: "FOR SALE BY OWNER." FRANCES TAYLOR-BRIEGH (PRE-LAP) So. You're a mess. INT. PERRY'S COFFEE SHOP - SAME They sit in a back booth where she would never see Larry. MERCEDES TAINOT Yep. FRANCES TAYLOR-BRIEGH You'd think leggy blondes like us would be impervious, right? At that moment, Larry Crowne happens to come out of the kitchen to help himself to a cup of coffee. Mercedes sees him just as Perry comes up with menus. PERRY Ladies. Bring an appetite? FRANCES TAYLOR-BRIEGH The mark of a restaurant is their Key Lime pie. Mercedes is surprised to see Larry in a chef's hat. PERRY 100. FRANCES TAYLOR-BRIEGH No Key Lime? PERRY Cream pies I got. FRANCES TAYLOR-BRIEGH Boston Cream? PERRY Boston Cream? Key Lime? Lady, you're killing me here. FRANCES TAYLOR-BRIEGH Phooey. Peach. Peach pie. PERRY Ma'am? MERCEDES TAINOT I'll have the French Toast. FRANCES TAYLOR-BRIEGH French Toast? MERCEDES TAINOT (on the menu) Breakfast all day. Perry leaves to put in the order. MERCEDES TAINOT (CONT'D) You won't believe how far I fell on the Hooch-o-meter. FRANCES TAYLOR-BRIEGH I have seen it happen a time or two. MERCEDES TAINOT I kissed a boy. FRANCES TAYLOR-BRIEGH When, third grade? MERCEDES TAINOT One of my students. FRANCES TAYLOR-BRIEGH You Hoor. (THEN) Gimme the friggin' details! He's not a minor is he? 101. MERCEDES TAINOT Older than me. FRANCES TAYLOR-BRIEGH Hugh Hefner in your class? What went down? MERCEDES TAINOT He sort of... rescued me. And... he smelled nice. FRANCES TAYLOR-BRIEGH He a fireman who bakes bread? MERCEDES TAINOT I wanted to be kissed so asked if he wanted to and he did. FRANCES TAYLOR-BRIEGH Bold. Who is he? KITCHEN Perry slides over a plate of French Toast -- with one bite out of it. Larry looks up from his Econ. 1 Textbook. PERRY You're slipping, Larry. (THE TOAST) Lady says it's not French Toast as she knows it. LARRY CROWNE She's insane. PERRY Take it up with her. Larry heads out of the kitchen. PERRY (CONT'D) No shouting, okay? This is a family friendly establishment. BOOTH Here comes Larry, not yet seeing Mercedes. LARRY CROWNE Frances Taylor-Briegh. You have a problem with your order? MERCEDES TAINOT 102. Knock Larry over with a feather. LARRY CROWNE Mrs. Tainot. FRANCES TAYLOR-BRIEGH (TO MERCEDES) The student of yours!? MERCEDES TAINOT This is Larry Crowne. LARRY CROWNE There's no way in creation I screw up French Toast. MERCEDES TAINOT It was fine, actually. (THEN) I wanted to see if it was really you cooking back there. And say, howdy. Howdy doody. During the following, Frances is trying to get a whiff of Larry -- to find out how he smells. MERCEDES TAINOT (CONT'D) Ready for the final? LARRY CROWNE You'll be the judge of that. The is a beat of silence. LARRY CROWNE (CONT'D) So, your meal is satisfactory? MERCEDES TAINOT Absolutely. LARRY CROWNE Would you let my boss know so I don't lose this job? MERCEDES TAINOT Yes indeed. LARRY CROWNE Shall I prepare you another batch? MERCEDES TAINOT No. Thanks. 103. LARRY CROWNE Then I will return to my station.. Mercedes watches him go. FRANCES TAYLOR-BRIEGH You kissed the cook... (THEN) I got a whiff. He smelled like bell pepper. MERCEDES TAINOT Look at the men in my life. FRANCES TAYLOR-BRIEGH Blame it on the booze... and collect yourself. (THEN) You hoor... MERCEDES TAINOT That's my problem. I'm a drunken hoor. KITCHEN FRANCES TAYLOR-BRIEGH That ends... right now. (THEN) Check please? Larry comes back through the door, humiliation wracking his face. He tosses the French Toast down the disposal. INT. TAINOT TOWNHOME - LATER Mercedes and Frances are ATTACKING the house with vacuums, cleaners, and fortitude. BOOKS on Shakespeare and Shaw go on shelves where Dean's tomes used to rest. Computer wires are not even untangled, just chucked. KITCHEN The cupboard is open. Where there was once booze go coffees and teas. MUSIC is playing as these girlfriends reconstruct Mercy's life... 104. EXT. LARRY CROWNE'S CUL-DE-SAC - NIGHT The street is empty. Larry is on his scooter, riding around and around and around the block that he will soon leave. He can see his NEIGHBORS through the open windows -- KIDS bouncing on a couch...A QUARTET OF OLD FOLKS playing cards and laughing... a MOVIE playing on a big TV. This was Larry's street... CUT TO: SUNRISE EXT. TAINOT TOWNHOUSE - MORNING Mercedes exits the door, crisp, clean -- like we've never seen her in the mornings. See the way she holds, not clutches, her Thermo-Cup? EXT. LARRY CROWNE'S HOME - MORNING He's wearing a zipped up jacket. Kids and dog-walkers pass as his scooter starts pronto, he is off... The FOR SALE sign on his lawn has an addition: IN ESCROW INT. SPEECH 217 - LATER On the projected computer screen: A portrait of DISRAELI. Dibiasi is giving his speech, but we are hearing Mercedes... MERCEDES TAINOT What a difference from day one. I must be a better teacher than I thought. (THEN) Dibiasi is nailing it. Calimeris stopped up-talking. Lala you can't shut up. Mack spoke about Australia for three minutes and mentioned kangaroos only twice. And Larry Crowne... Larry is listening to Dibiasi, wearing what was once his UniMart polo, with his nametag and everything. Compared to the man he is now, that polo looks out of place.. 105. MERCEDES TAINOT (CONT'D) I was tough on him. But he learned fast. How he connected the Circle of Sales to the expanding universe is impressive as hell. I'll never forget about the Value Index now. He gave a perfect speech. (THEN) And... He's polite. Instead of fighting me off that night, what does he do but kisses me one and then all but tucks me in. What kind of guy does that to a loopy tramp like me? He could have ravaged me. I misread this guy and if I had a brain I'd find a way to steal him away from that cutie pie and keep him for myself. I wonder if he'd like that, if he would... What did I just say? (THEN) What did I just say about Larry Crowne? The class has stopped. It seems that Mercedes just said that last bit out loud and everyone heard it. The women eye each other. The men stifle laughs. DIBIASI Nothing. And I was just wrapping up here. MERCEDES TAINOT I'm so sorry. Please go on. DIBIASI Larry? It okay if I get to my climax and denouement? Larry nods. DIBIASI (CONT'D) Thank you... If it was the romance novelist in him that made Victoria the Queen become such a pal, chalk it up as another brick in the legacy of Ben Disraeli -- Earl of Beaconsfield - Educator - and Prime Minister of Great Britain. Not bad for a Jewish guy, huh? Dibiasi is done. Applause. 106. PINEDO Not so much as a bump, Nomad! Why'd you go last? DIBIASI Fourth quarter dramatics. (THEN) Not that it mattered to my Speech professor... MERCEDES TAINOT Congratulations all of you. MACK Who's the MVP, Mrs. Tainot? Can we vote? MERCEDES TAINOT Not me, I have to stay objective. MACK I say... Lala! They all say Lala! It's unanimous! They start chanting her name. "La la! La la! La la!" -- embarrassing her. Larry sits her down in her chair and gets the other guys to pick her up like she's the bride at a wedding. It's a spontaneous party that Mercedes has to back out of. As she leaves, she looks back long enough to see Larry Crowne leading a parade around the room. INT. ECON. 1 - LATER Everyone is taking the final. Dr. Matsutani. Looking around the class. Using his hands like a pair of binoculars. Lala is using a thesaurus and dictionary to polish answers. Larry is finished. He walks up to Dr. M. and hands in his Blue Book. DR. MATSUTANI The first to finish. No surprise. Dr. Matsutani hands Larry his confiscated phone. Larry leaves. 107. INT. LARRY CROWNE'S HOME - KITCHEN The final utensils are going into a box. Larry is doing this part himself. He sits for a moment -- in the breakfast nook -- surveying his kitchen, what was once his. Mack comes in with a box of his LP's. MACK This is the last of them. Damn, you have a lot of records. LARRY CROWNE Priceless at a buck apiece. EXT. LARRY CROWNE'S HOME - LATER His furnishings are out on the lawn. Lamarr and Patience are looking them over. Mack and Dibiasi are putting the last of his things into Mack's huge SUV and Larry's car. PATIENCE A two-bedroom apartment and you don't have room for your furniture? LAMARR Selling this futon-sofabed? All those years across the street and you've learned nothing. (THEN) What's the minimum you'll take for this stuff? LARRY CROWNE You'll get me top price. LAMARR You did learn. DIBIASI Pizza at last! LARRY CROWNE Here's lunch as promised! The BIG STORK PIZZA GUY pulls up in a different car but the same sign. LARRY CROWNE (CONT'D) 108. STRANG Son of a cock. Larry Crowne. The Pizza guy is none other than Jack Strang. LARRY CROWNE Jack Strang. Wow. This is irony. STRANG Two extra large. One Salad Bucket. Box of Frosty Cinnamon Eggs. Sixteen- fifty. Larry hands him the coupon and a Twenty. LARRY CROWNE Jack. I need two bucks back. Times are tough. STRANG Tell me about it. LARRY CROWNE Ah. Forget it. Keep the change. Strang leaves. Larry watches him go. him. It almost was. STRANG I appreciate it. That could have been INT. PERRY'S COFFEE SHOP - LATER Raul and Perry are talking when they see Mercedes Tainot enter. RAUL My next wife just walked in. Perry looks. PERRY I love this business sometimes. (GREETING MERCEDES) Something told me you'd be back. Is Larry Crowne working today? KITCHEN Larry is arranging his station. 109. PERRY Larry, your Speech 217 teacher has a question about the menu. Larry can see her. She looks gorgeous. RAUL Go ahead. I'll take the window even though I'm the boss of the whole kitchen. BOOTH - LARRY'S HQ - LATER Mercedes is having coffee. MERCEDES TAINOT There's Larry Crowne. Are you allowed to sit? (HE DOES) Where does Perry get his coffee? LARRY CROWNE I add chicory and a bit of vanilla. Trick I picked up in the Navy. MERCEDES TAINOT You're probably wondering why I stopped by. Well, it's to tell you your grade for Speech 217. You killed on the final and have an A. Way to go! She offers him a Terrorist Fist Bump. With the hand that no longer has a wedding ring on it... MERCEDES TAINOT (CONT'D) Actually, everybody got an A, but you got the special A where I tell you in person. LARRY CROWNE Didn't expect that. Thanks, Mrs. Tainot. MERCEDES TAINOT Class is out. Call me Mercedes. Or Mercy, for short. (THEN) So. Just wanted to congratulate you. Your girlfriend will be thrilled. LARRY CROWNE 110. MERCEDES TAINOT No. I meant the... never mind. (THEN) Which classes are you going to ace next term? LARRY CROWNE This has turned into a full time gig. Out of necessity. MERCEDES TAINOT I hope you continue your education. Back at East City. You've made such a good start. LARRY CROWNE I'll have to see. MERCEDES TAINOT I got Speech 217 moved to 10 AM, thank God. Who knows what I'll hear with the extra sleep. LARRY CROWNE My first class in college ever. And I get an A. Gotta be the teacher. They look at each other. MERCEDES TAINOT Should get going. (THEN) You don't know anything about car devices, do you? LARRY CROWNE Cars not much. Devices some. They rise. EXT. PERRY'S COFFEE SHOP - PARKING LOT - SAME Mercy is opening her door, starting her car. GPS VOICE Please enter your destination. MERCEDES TAINOT Oh be quiet. That's a MapGenie. 111. MERCEDES TAINOT It is Hellspawn. LARRY CROWNE In my old job, I'd have steered you to a Vortex unit. The MapGenie interface is clumsy and the menu needs too many inputs. He is reaching into the car, across her to tap the unit. MERCEDES TAINOT It was working fine. Then I think I pressed too many buttons. LARRY CROWNE Ah. The Auto On Feature is engaged. Menu. Select. Features. Auto Voice. Select. Change? Yes. On. Off. Done? Yes. Save. Back. Back. Back. Exit. While he was doing that, Mercedes was smelling what she could of Larry. She liked it. She looked at his neck, his ears. And smelled him. LARRY CROWNE (CONT'D) How long was this broken? MERCEDES TAINOT Seemed like years and years. LARRY CROWNE All better now. Should be able to find your way. Nothing to do now but say goodbye. They hear a pounding. Raul is at the window inside the cafe, signaling the break is over. LARRY CROWNE (CONT'D) My Boss. Back to work. (THEN) Thanks for the good news... INT. PERRY'S COFFEE SHOP - SAME Perry greets him at the door. 112. PERRY Kimosabe, holding off til after school to woo the teacher is the move of a class act. Larry turns to watch Mercedes drive away. EXT. E.C.C.C. PARKING LOT - MORNING The sign says "New Term Beginning! $20 a unit! Ask about Financial Aid!" Did you notice? The cost of an education just went up... INT. PORTABLE CLASSROOM - DAY Mercedes has just written "Care" next to "Welcome to Shakespeare!!" up on the board. She turns. And does a quick head count. Only 6 students are enrolled. She's going to lose this one, again. Clumps up the wooden steps are heard... Calimeris, Mack, Pinedo, and Dibiasi come tramping in. Twelve students now. DIBIASI (on his phone) I gotta get off, Baby, or I'm in hot water with Professor Tai-bo... Mercy does a Shakespearean dance of joy. MERCEDES TAINOT Is Larry with you? CALIMERIS Um, no. Should we track him down and drag him in here? Mercedes does her best to hide her disappointment. MERCEDES TAINOT I... Seeing you all... I just thought... (THEN) Choose a seat and lets get started! The four smile at each other... 113. PINEDO Carrying a torch for Larry til it burns her hands... EXT. E.C.C.C. CAMPUS - LATER Mercedes is walking to another building, another class. She may not realize it, but she is looking for Larry Crowne. Busik is busy chatting her up. Seriously chatting her up. BUSIK All the excitement of first day of term, I don't want to go back to my empty apartment. Do you? I need a drink and some talk and some wind- down time. Don't you? DR. MATSUTANI (O.C.) Ms. Tainot? She turns. MERCEDES TAINOT Dr. M. DR. MATSUTANI Larry Crowne is taking six units from me, devouring the material like a starving man. MERCEDES TAINOT Larry's enrolled? DR. MATSUTANI He's continuing his education and tells me it is because of you. That your class changed his life. Mercedes finds herself smiling -- beaming... MERCEDES TAINOT Larry said that about me? BUSIK Oh yeah! I put that guy in your class. So technically, I changed his life. MERCEDES TAINOT He is a good student 114. DR. MATSUTANI And handy on a scooter. (THEN) Is there any chance you would consider having drinks with an older faculty peer who holds a PhD in Economics? MERCEDES TAINOT Well, no. No offense Dr. M. DR. MATSUTANI The rumor is you are newly single and I was just taking a shot. Mercy looks right at Busik. MERCEDES TAINOT News travels fast. Busik pretends he knows nothing... BUSIK If you're going out, I'm not doing anything. DR. MATSUTANI Have you ever been to Hooters? BUSIK For the spicy wings, yes! EXT. E.C.C.C. TEACHERS' PARKING LOT - LATER There is a note on Mercy's car. She takes it. "To test your MapGenie: 4225 Harbor Blvd. 2nd floor. An 'A' student." Her breath catches in her heart... EXT. MERCEDES' CAR - LATER Mercedes is driving. GPS VOICE Right Turn. MERCEDES TAINOT Got it Turning right 115. GPS VOICE Your destination is ahead on the right. MERCEDES TAINOT It is? That was a breeze. Thank you. EXT. TALIA'S NEW STORE - SAME Open for business with bunting and everything. Talia is eating take out sushi and reading the soy sauce packet. She is tying to check out her ass-crack tattoo to see if it really does say 'Soy Sauce'. Mercedes has arrived. Talia sees her and comes out. Lamarr is around. Patience, too. We might notice that Dell Gordo and Larry now dress exactly alike, as we've seen the same jacket once on Lance Corona. TALIA I love that blouse with that skirt but I'd show more leg if I were you. MERCEDES TAINOT I'm Mercy Tainot TALIA Bambi Romp in the Glen. Looking for Lance? MERCEDES TAINOT 4225 Harbor? TALIA This is 4227. (POINTING) 4225. You'll see the stairs. The tattoo parlor. Larry's scooter is right in front. As she goes. TALIA (CONT'D) Little higher heels'll get you wolf whistles. 116. EXT. TATTOO PARLOR - STAIRS TO UPPER FLOOR Music is playing. A nice view is revealed as Mercy arrives on a nice little porch. On a little table sits a potted plant. In the potted plant is an Altoids tin. Mercy gives it a rattle. In the tin, a brand new key. Mercy takes the key. Slides it into the lock and slowly opens the door. The music gets louder. She can't see much into the tiny flat, but she can make out... Larry, arranging the last of his stuff. Mercy stands at the door until he sees her. When he does, he says nothing. But steps to her and smells her - her neck, her hair. MERCEDES TAINOT Did you tell Ed Matsutani taking my class changed your life? LARRY CROWNE Yes. MERCEDES TAINOT How? LARRY CROWNE I met you. That's it. They kiss. Damn fine whammy kiss. INT. LARRY CROWNE'S APARTMENT - KITCHEN No larger than the nook of his old house. Breakfast is being served. The most beautiful woman ever to wear a bathrobe has made French Toast and is settling into the Breakfast Nook. Larry Crowne has his hair all on one side of his head -- post- Afternoon-Of-Amok-Loving. His arm shows a Navy tattoo that may be old or new... Mercy Tainot glows in and out. She slides next to him, close to him The meal is perfect 117. EXT. HARBOR BLVD. - LATER Mercy is still in her robe, riding on Larry's scooter, back and forth in front of the Parlor and Talia's store. Larry is having coffee, sitting on the steps, watching her ride back and forth. She is getting good. Talia and the gang spill out of the store to watch her. Hoots and laughter. Larry uses his robe as a matador's cape, Mercy as the bull. As she passes under his flaring cape... THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Last Boy Scout, The.txt b/unformated_scripts/Script_Last Boy Scout, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..92d853b31a3b0984efc0692c4bd6aad49e06b4f6 --- /dev/null +++ b/unformated_scripts/Script_Last Boy Scout, The.txt @@ -0,0 +1 @@ +THE LAST BOY SCOUT written by Shane BlackBang bang bangDown you goIt's just a job I do Genesis Just a Job to DoYou wanna be a detective? Here's what youdo: Take a trusted friend, and imagine theworst thing, the most despicable thing, thething it would never even cross their mindsto do. Then assume they've already done ittwice. Joseph R. Hallenbeck Private InvestigatorWhen you consider that a career in pro foot-ball means maybe ten years, after which yougot no legs left, and during which you're apainkiller drug addict, a million a yearsounds about right. So when people bitchat me about the money I made, I have a patresponse: Go fuck yourself. James Alexander Dix Former quarterback, L.A. Stallions THE LAST BOY SCOUTFADE IN:INT. DARK BEDROOMThe only light, that of a flickering TV screen.A big MAN lies, shirtless, on the bed.Watching a sports program. We hear: SPORTS FIGURE (V.O.) (on TV) Eliminating the draft? Worst thing ever happened to pro football. Already you got Eric Dickerson, no team's good enough for him... You got Dion Sanders, this guy, Bosworth, bunch of peacocks. Nagurski, I saw him play for 25 bucks a game. And he woulda played for free, you get me? He loved the game. Nowadays? Forget about it.The TELEPHONE SHRILLS in the stillness.The Man On the Bed answers it. Speaks haltingly. MAN ON BED Hello...? MALE (V.O.) Hello, Billy. Do you know who this is?Silence. MALE (V.O.) Kid from Ohio is looking real good, Billie...The Man's hand unclenches. A container of pills spillsover the blanket. He stammers: MAN ON BED I'm... I'm gonna... try real hard... MALE (V.O.) No, Billy. What you're gonna do ... is rush for 150 yards against Chicago. MAN ON BED That's... too much. I can't... (CONTINUED) 2.CONTINUED: MALE (V.O.) You can. And you will. This is a business, Billy. You don't make one fifty, you're history, the kid steps in. No more job... and no more pills, Billy. MAN ON BED Please... Just give me time... MALE (V.O.) One hundred and fifty yards. Goodbye.The PHONE CLICKS off. NFL running back Billy Cole staresstraight ahead, mouth working spastically. CUT TO:AERIAL SHOT - SNOWSTORMOVER Chicago, Illinois, as the CAMERA SPIRALS DOWN TOWARDa teeming football stadium. We hear crowd noise andmarching band music, deafeningly loud, as we SUPERIMPOSEthe legend: SOLDIER FIELD, CHICAGO NOVEMBER 14INT. ANNOUNCER'S BOOTHThe BROADCAST TEAM huddles inside the quilted jackets,squinting through the snow. Speaking into headset mikes. ANNOUNCER Good afternoon and welcome to Soldier Field, Chicago, site of today's confrontation between the L.A. Stallions and the Chicago Bears. This is Vern Lindquist with Terry Bradshaw, and, yes, my friends, it is that cold.INT. LOCKER ROOM - SAME TIMEBilly Cole sits, alone, in front of his locker.Eyes glazed. Face bathed in sweat.He takes a bottle of pills from the locker. Pops three.Hisses a stream of air through his teeth as we -- CUT TO: 3.EXT. FOOTBALL FIELD - DAY (FOURTH QUARTER)A deafening CRUNCH as a defensive back hammers a widereceiver, nearly decapitates him. The ball rolls free.The back recovers it. ANNOUNCER (V.O.) ... Big Ray Walton puts a devastating hit on Bricmont, so Chicago turns over the ball with a minute and forty seconds left.EXT. SIDELINES - SAME TIMEThe injured player goes by on a stretcher, moaning.Cheerleaders jump and frolic.BILLY COLEgets up off the bench. The rest of the offensive unitsprints onto the field. Cole walks. Straight ahead,eyes front. Like a robot. His HEARTBEAT THUDS on thesoundtrack. COLOR MAN (V.O.) And so L.A. has a chance to ice the game, no pun intended... And you gotta be thinking, give the ball to Billy Cole. He has had an outstanding day, racking up 138 yards against a tough defense.DOWN ON FIELDThe huddle breaks.The L.A. team trudges through the snow to the line ofscrimmage.Cole adopts a three-point stance.Everything happens in hyper-real SLOW MOTION:The snow falls. The receivers breeze past, in motion tobegin their patterns. Moving like gazelles.Cole's fingers paw the cold earth. Gouging it.He is like a spring. Coiled and ready.The ball is snapped.Turf and snow. Erupting.A firecracker series of POPS as linemen collide.Legs churning. (CONTINUED) 4.CONTINUED:The ball floats through the snowy air. Pitch-out toCole.He takes it on the run. Tucks it under his arm.Behind him, the quarterback bites the dust, leveled.Cole turns the corner. Picks up a blocker.Feet pounding. Arms pumping.Up ahead, the free safety barrels toward him. Low andhard.Cole does not blink. He reaches beneath his jersey.Pulls out a GUN.Pumps THREE SHOTS into the free safety's head.The bullets go straight through. On the back of hishelmet.A mixture of blood and fiberglass.Cole keeps going, jogging for the end zone.Around him, sound. Fury. Impact. Confusion.Another defensive back. Straight ahead.Reacts with almost comical terror. Dives to one side.Cole FIRES. Blows out the guy's knee. Ends a career.Keeps going.We are now in full-scale panic.The players are fleeing the field. Shouts. Pandemonium.A few brave men gather around the fallen players.POLICEare on the field now. Running full out. They've gotriot guns, cocked and locked. Sprinting through thesnow.Cole crosses the goal line. Touchdown.Drops the ball.Turns, facing the cops. His eyes are insane.The crowd is screaming. People are running back andforth like extras in the Keystone Cops.The first TWO BLASTS from the cops' RIOT GUNS go high andwide. One SHOT BLOWS APART the base of the goalpost.The forty-foot-high monument pitches over, collapsinglike a wounded giant. Lands in a shower of snow and ice.Cole is oblivious to the bars crashing around him. Hesmiles and says: (CONTINUED) 5.CONTINUED: COLE I'm going to Disneyland...Puts the GUN to his helmet. FIRES. CUT TO:EXT. L.A. STREET - IN SHADOW OF FREEWAY - MORNINGWe SUPERIMPOSE the legend: WEST LOS ANGELES, CALIFORNIA DECEMBER 20Good morning, Mr. and Mrs. America, and all the ships atsea. Welcome to another lackluster morning in SouthernCalifornia. Palm trees limp. Windless silence. 80degrees at 8:00 AM.CAMERA CRANES DOWN PAST a huge, rotting billboard. Onthe billboard, a girl in tight jeans. Grabbing her ownbutt. A surprised look on her face. Yes, honey, that'syour butt.MOVE IN ON a tiny, weather-beaten bungalow. In theshadow of the 405 Freeway. A shingle hangs from awrought iron post: JOSEPH R. HALLENBECK, CONFIDENTIALINVESTIGATIONS.On the lawn, a late-model Plymouth.The sprinkers come to life. Fling water across the car.ANOTHER ANGLEInside the car, a lone man is asleep, arms akimbo.Sprawled across the seat. Half-empty bottle of SeagramsV.O. RADIO on, playing tinny JAZZ music.Picture the tiredest, meanest, grouchiest son of a bitchself-hating loser you can.Now give him a two-year-old suit from C & R Clothing.Such is the aforementioned HALLENBECK.ANOTHER ANGLETHREE neighborhood KIDS have gathered around the car.Enjoying the spectacle of a sleeping drunk.One tosses a baseball from hand to hand. One picks hisnose. (CONTINUED) 6.CONTINUED: KID #1 Dude's trashed. KID #2 Shit, we should do something to him.Kid #3 continues mining for nose eggs. It looks like hisentire fist is up there. Pause, then: KID #3 I know where there's a dead squirrel.ANOTHER ANGLE - BUNDLE OF PAPER TOWELS - SOME MINUTESLATERwith a tail sticking out.The youngest Kid holds it aloft reverently.Looks in the open car window at Hallenbeck.Still snoozing. Dead to the world. KID #1 Do it.They heave the squirrel into the car and run away.A pause. Another pause. The sprinkler goes round.Nothing happens.ANOTHER ANGLEHallenbeck snores. The mashed squirrel perches on hischest. A shadow falls across him as --KIDSreturn, scratching their heads. Staring in at him. KID #2 Goddamn. Dude's trashed. KID #3 Take his bottle.Kid #1 smiles nervously. Reaches in with infinitepatience.Trembling hand inches closer and closer --And closes on the bottle as, without warning -- 7.HALLENBECKsits bolt upright and grabs the Kid and stuffs a .38revolver in the Kid's face and cocks it. HALLENBECK Hey, motherfucker.The Kid, of course, shrieks.And the light of sanity dawns in Hallenbeck's eyes.He sucks in a deep breath. Releases the struggling Kid.Swears under his breath. Watches the boys flee interror. Notices a dead squirrel in his lap. Scowls.Heaves it out the window. Pumps a Camel into his mouth.Lights it. Rescues the bottle of Seagrams.Thus begins his morning.He opens the car door. The sprinkler douses him.He gets out. Stands on the lawn.One of the Kids, the toughest one, is standing on thesidewalk. KID #3 I'm not scared.Hallenbeck scowls. HALLENBECK You're on my property, kid. KID #3 Sidewalk belongs to the government.Hallenbeck stares at him. Smiles weakly. HALLENBECK Excuse me.He leans over and vomits on the lawn.One hand gripping the car fender.The sprinkler goes round and round.EXT. MALIBU BEACH FRONT - MORNINGA redwood beach house, mellow in the morning sun.There was a party here last night.Banners. Balloons and streamers. Tawdry in the light ofday. 8.INT. BEACH HOUSE - SAME TIMEA plush bedroom. Sun streams in the window.A YOUNG MAN sits, straddling a backwards chair. Bare-foot, bare-chested. Blond hair, perfect tan.He is nursing a beer. Smoking and staring at --BEDwhere a tawny golden girl lies, serene and innocent.Like a sleeping kitten. Rumpled sheets, one breastexposed. No tan line.The man takes a drag off the cigarette, studies thesleeping girl. Meet Jimmy Dix. Twenty-seven years old,former National League heartthrob.He shakes his head and mutters: JIMMY (YOUNG MAN) Jesus, kid, if only you weren't so damn ugly.He gets up and goes into the head. Pulls out a glassvial. Dips a coke spoon with practiced ease. Sucks itup a nostril.For one moment, he catches his own eye in the mirror. FLASH CUT TO:FLASHBACK - FOOTBALL FIELDSeventy thousand people screaming.Jimmy in the middle. Younger Jimmy. Fresher Jimmy.It's a night game at the Coliseum. He's the quarterback.The snap. Jimmy fakes the draw. Rolls right. Aroundhim, all is impact. Sound and fury.He targets a receiver and unleashes a rocket. Sixty-yard toss, hits the guy between the numbers.JIMMY'S FACECovered with dirt and mud. Blood, too.Young and proud. Seventy thousand voices tell him he'salive. He makes a difference. 9.BACK TO PRESENTAlone in the bathroom... leaning on the counter. Headdown. A voice calls softly from the bedroom: SLEEPY VOICE (O.S.) Jimmy, are you still here...?Pause, then: JIMMY I don't know.He looks up at his reflection. Glazed eyes, beardstubble. Crows' feet around the eyes. JIMMY Yeah. I guess I am.He sniffs, clearing his nose.INT. WEST L.A. BUNGALOW - MORNINGHallenbeck opens the door and shambles in.Dark. Depressing. Sprawl of furniture. Stack afterstack of sports magazines. Drop all your belongings outof a plane. They will land like this.He flicks on the light. Crosses to the couch and flopsdown. Plucks a bottle of aspirin from an end table.Next to the bottle, we see --TWO FRAMED PHOTOGRAPHSside by side. In one, younger Hallenbeck is kissingyounger bride. Smiling.In the other, the President of the United States presentsHallenbeck with a medal. They are both smiling beneaththe Presidential Seal.BACK TO SCENEHallenbeck scowls and chews three aspirin. Swallows.The PHONE RINGS. He groans. Chain-lights another smoke,stubs out his old one. Chins the receiver and says: HALLENBECK Hallenbeck Investigations. (CONTINUED) 10.CONTINUED: MALE (V.O.) Hey, Joe, Mike Miller over at Swerdlow. You got a minute? HALLENBECK Mmmmm. MALE (V.O.) Mmmmm? What's mmmmm? Jeez, you sound fucking terrific. What'd you do last night? HALLENBECK Sat in the car. Looked at the sky. Got hammered. MALE (V.O.) How bad? HALLENBECK I killed a squirrel and don't even remember. MALE (V.O.) That's bad, Joe. HALLENBECK Tell me about it. Look, I crawled out of a perfectly good bottle to answer the phone, what the fuck do you want? MALE (V.O.) Still takin' charity? HALLENBECK No pride here. What'cha got? MALE (V.O.) Stripper in West Hollywood. Lives alone. Very hot. A three on my finger scale. Means I'd cut off three of my fingers if God would let me sleep with her. HALLENBECK Make her a one on your nose scale. Improve your looks. MALE (V.O.) Eat me. Deal is this: She's got a psycho, threatens her over the phone. I'm gonna rape you, cut you, the usual crap. (MORE) (CONTINUED) 11.CONTINUED: MALE (V.O.) (CONT'D) She thinks he's following her. I'm up to here, you got plans? HALLENBECK I was gonna smoke some cigarettes. MALE (V.O.) Can you postpone? HALLENBECK These are really good cigarettes. MALE (V.O.) She goes onstage at seven. It's two hundred bucks, Joe. HALLENBECK (sighs) Gimmee the address. MALE (V.O.) Terrific. And, Joe, big favor, okay? Try to... fix yourself up, if you can manage it. Look the part. Not like the last time, okay?Hallenbeck catches his reflection in the mirror overthe TV. His face is ashen grey. Hollow eye sockets.Blotchy skin. HALLENBECK Gimmee the address.EXT. BUNGALOW - MORNINGHallenbeck emerges into the blinding glare. His tie iscrooked. His cuffs are too short. He looks like agrouchy bear.He looks up at the girl on the billboard. HALLENBECK 'Morning, gorgeous.Gorgeous does not respond: Coy. Very coy.Hallenbeck slides behind the wheel of his Plymouth. KEYSthe IGNITION. Phil Woods' SAXOPHONE fills the air. Helooks at himself in the mirror. (CONTINUED) 12.CONTINUED: HALLENBECK (softly) Nobody likes you. Everybody hates you. You're an asshole and you're stupid. You're gonna lose. (pause) Smile, you fuck.He stretches his mouth into a grimace.Pulls out into the street. Off he goes. CUT TO:INT. MALIBU BEACH HOUSE - MORNINGJimmy Dix leaves the bedroom. Pads barefoot down a halllittered with beer cans, food wrappers. A sleeping guy.Stops at a door, peeks in: all-night poker game inprogress. Four bleary-eyed men. Unshaven. Stack ofwrinkled money on a card table. JIMMY 'Morning, boys.They all grunt. One of them, name of HENRY, looks up athim. Holds out a half-smoked doobie: HENRY Hey, Jimmy. You want some of this? JIMMY No, man. Why do you think they call it dope? (beat) Henry, did I do anything last night that I should know about? HENRY You puked a couple times. Pointed at some lady's tits. Chased a dog for a half an hour. Fucked a congressman's daughter, shit on someone's car. JIMMY No, man, I meant something bad, that I should know about. (CONTINUED) 13.CONTINUED: HENRY Mmmm. Nope. (frowns) My ass hurts, I think I had gay sex last night. I don't remember. When are you gonna come look at my gun collection? JIMMY Soon, Henry.One of the other PLAYERS looks up, says: PLAYER Are you Jimmy Dix? Played for the Stallions? JIMMY '86 and '87, that was me. PLAYER Hell, I think the league gave you a raw deal. JIMMY Thanks. What the hell, shit floats. I'll be back. PLAYER I hope so. JIMMY I'll be back.Everyone plays cards. No one looks at him. He frowns.Leaves.INT. LIVING ROOM - MINUTES LATERJimmy is seated in the devastated living room. Puttingon shoes. He hears a COMMOTION outside: A woman scream-ing. Water splashing. He frowns, puzzled. Gets up.Pads out onto a redwood deck.EXT. REDWOOD DECK - SAMEA six-foot behemoth is seated in a jacuzzi at the far endof the deck. He is dunking a terrified female head underthe water and laughing.Jimmy clears his throat. (CONTINUED) 14.CONTINUED: JIMMY Ho. Ray.The MAN looks up, annoyed. RAY (MAN) What the fuck you want, Jimmy? JIMMY What's with the girl?She surfaces, sputtering and screaming. Ray thrusts herbeneath the surface again. RAY Bitch won't blow me. JIMMY (pause, then) Too early in the morning, Ray. Let her go. RAY Fuck you. She's not coming up till she starts blowing.Jimmy swallows hard. Says: JIMMY Ray. Let her go. RAY Fuck you, loser. What are you doing at a league party, asshole? You and ol' Dex Manley should get together, swap stories about gettin' booted.Jimmy controls himself with an effort. JIMMY Ray, she's gonna drown. RAY Not if she blows me.Jimmy's eyes are smoldering. He steps to the right.Casually scoops up a football lying on the deck. JIMMY Last chance, Ray. RAY Go spit. (CONTINUED) 15.CONTINUED: JIMMY Fine.Jimmy turns, as if to walk away.Instead, he spins back and launches the football.It sings, that's how hard he throws it. And when itsmacks Ray in the face, something breaks. It ain't theball.The big man howls. Clutching his flattened nose.The girl comes up for air. Gagging and choking.Jimmy is at her side instantly. Pulls her out of thewater. JIMMY Get out of here. Go.She goes. He leans over and grabs Ray by the hair.The guy is bleeding. Delirious.Jimmy yanks until their faces are inches apart. JIMMY Best arm in the National League, you son of a bitch. Remember that.He lets go. Ray sags, semi-conscious.The poker players come running as Jimmy walks back inside.EXT. COAST HIGHWAY - DAYJimmy gets into the car. Takes out his vial.Spoons some powder, sucks it up.A voice in the background: "Hey, someone shit on my car!"EXT. SUBURBAN NEIGHBORHOOD - DAYJoe Hallenbeck slides his Plymouth to the curb in frontof a cozy stucco dwelling. Gets out, crosses the lawn.A fat NEIGHBOR is watering shrubs next door. He waves. NEIGHBOR 'Morning, Joe, how's it going? HALLENBECK My ears are burning, Andy. Even as we speak, someone, somewhere is calling me an asshole. NEIGHBOR You're funny. HALLENBECK I'm playing Tahoe on the 15th. 16.INT. HALLENBECK'S HOUSE - SAME TIMEHallenbeck enters and crosses the living room.A woman, forty-ish, once beautiful, appears in the bedroomdoorway. Wearing a terry cloth robe. This is Joe's wifeSARAH. SARAH I thought you were in Las Vegas. HALLENBECK I was. SARAH Where did you sleep? HALLENBECK Office.He brushes past her and crosses to the bed. On the pillow,a big stuffed cat toy smiles benignly. HALLENBECK Hey, Furry Tom.He sits on the bed. Lights a cigarette. Opens the nightstand and removes a speedloader for his .38. Starts toload the gun. SARAH How much did you lose? HALLENBECK I wasn't there to gamble. I was doing a skip trace. SARAH How much did you lose? HALLENBECK Fifty bucks.He suddenly notices a sheet of paper on the night stand.A crayon sketch. He picks it up, frowns: HALLENBECK What's this? SARAH Darian's class drew holiday pictures. That was hers. Her teacher wants to see us, Joe. 17.CLOSE ON DRAWINGIt's a picture of Santa Claus, except this Santa has long,stringy hair, bloodshot eyes, and grotesque talons. Alittle girl's severed head is clutched in one hand.Underneath, in block capitals, is written: SATAN CLAUS.BACK TO SCENE HALLENBECK Satan Claus. Kid's got some talent, don't you think? SARAH It's hideous.Her voice is ice cold. Joe turns and regards her levelly. HALLENBECK You okay, Sarah...? SARAH I'm tense. I couldn't get to sleep last night. HALLENBECK Hmmmm. Well, I think the kid will be fine. Boys still tease her about the headgear? SARAH Are you kidding? Brace Face, that's the latest. Little bastards. HALLENBECK (under his breath) She'll be fucking them by the time she's fourteen. SARAH Watch your Goddamn mouth, Joe. HALLENBECK Well, Christ, you let her wear enough makeup. The kid looks like a goddamn raccoon. She comes in late at night, I think, 'Christ, a burglar.' I almost shot her twice. SARAH You're not funny. All the girls at that school wear makeup. (CONTINUED) 18.CONTINUED: HALLENBECK Yeah, but they don't apply it with a paint sprayer. And for your information, our neighbors think I'm very funny. SARAH Go live with them. HALLENBECK Don't tempt me.He tosses the holstered .38 on the bed. Stalks intothe bathroom.INT. BATHROOM HALLENBECK Damn raccoon.He sighs, tosses his cigarette butt in the toilet.Walks back out into the bedroom.INT. BEDROOMHe kneels, looks under the bed.Frowns.Straightens and says, very conversationally: HALLENBECK Who's the guy in the closet?Sarah stops dead. Spins and stares at him. SARAH Excuse me? HALLENBECK (frowns) Oh, that's right, you sometimes forget that I'm a detective. (lights a cigarette) See, first I noticed how tense you were, but I let that pass. Then I noticed there was steam in the shower like someone was just in there, but meanwhile your hair is completely dry, you follow? So. Why the steamy shower? (MORE) (CONTINUED) 19.CONTINUED: HALLENBECK (CONT'D) Because someone else was in there, right, and since he's not under the bed you must have stuck him in the closet when you heard my key in the door a day early. Tah-dah. Please, no applause.A silence hangs between them. Sarah just stares. Shakesher head. SARAH Well, nothing changes. You're still a lunatic. HALLENBECK Mmmmm. I'm sorry, honey, I don't enjoy being observant, but someone's gotta do it. (beat) What's his name? SARAH Please leave. I have to get dressed. HALLENBECK It's okay, I've seen you naked. So, apparently, has someone else. What's his name? SARAH You want me to open the closet, Joe? Huh? You want me to indulge your fucking paranoia, I'll throw the door open, is that what you want me to do...? HALLENBECK Is this a trick question? SARAH I'll do it, Joe. Okay? And then we'll both know you're a psycho, is that what you want? Huh??An awkward pause. Finally Hallenbeck scowls and says: HALLENBECK No. We won't open the door. SARAH Thank you. (CONTINUED) 20.CONTINUED: HALLENBECK (sighs) Nope. Door stays shut. Instead, what I'm gonna do is... (he scoops up the .38) ... I'm gonna count to three, and then I'm gonna put a bullet in there, and you can stop me anytime by speaking the truth. One. SARAH If you shoot up my house, Joe, I will make you eat that gun. HALLENBECK Two. The truth is a beautiful thing.He cocks the hammer. Arm extended, hand rock steady. SARAH Call your shrink, Joe. I still have the number. Call him and tell him you're losing it, I cannot fucking deal with you like this -- ! HALLENBECK Three. Last chance. SARAH Joe, dammit -- !He sighs. Starts to pull the trigger. And Sarahscreams -- SARAH Jesus, no -- !And grabs the gun.Everything freezes. She looks at him. He looks at her.Understanding occurs.CLOSET DOORswings slowly open, then...And out steps a man in a bathrobe.Compact. Wiry. Hair still soaking wet.None other than MIKE MILLER, Joe's early morning phone call.We know this because Joe says: (CONTINUED) 21.CONTINUED: HALLENBECK Hello, Mike. Keeping her warm for me?The gun barrel does not waver. Not an inch. MILLER Easy, Joe. Don't do nothing dumb. HALLENBECK How as she, Mike? On your finger scale, how was my wife...? MILLER It just happened, Joe. It just happened. HALLENBECK You call me from here this morning? MILLER She said you were in Vegas. I was gonna leave a message on the machine. HALLENBECK When you found out I was back. Why didn't you split? MILLER She said relax, he never stops home once he's in the office. HALLENBECK Normally I wouldn't. MILLER (stares at him) You knew? HALLENBECK I suspected. So how about it, Mike? On a scale of one to ten. How was she? MILLER Joe, come on, how long we been friends, huh? HALLENBECK How long? Mmm. I'd say roughly until you put your dick in my wife. (CONTINUED) 22.CONTINUED: MILLER You gotta understand -- HALLENBECK I know, I know, it just happened. It was an accident. Sure. You tripped. You said, 'Whoops,' and accidentally fucked my wife. Gee, Mrs. H., I'm sorry, just isn't my week. Sure, Mike. Happen to anybody. (beat) I don't gotta understand anything.Sarah speaks then. Head down. Eyes averted. SARAH Put the gun down. HALLENBECK Hmmm? Oh, right, the gun. (sighs) You're right, Sarah, I'm acting nuts.He pulls the trigger.The SHOT is DEAFENING in the closed room.Mike Miller screams and clutches at himself.The bullet goes high and wide. Over his head.On the wall is a framed wedding photo. The twin of theone in Hallenbeck's office. The bullet strikes it deadcenter.Blows it to pieces.Silence. The tinkle of glass hitting the floor.Hallenbeck turns. Regards his wife with hooded, lifelesseyes. HALLENBECK Where was Darian? SARAH She stayed at Cindy's last night.He nods. Turns and waves the gun at Miller. HALLENBECK Let's take a walk, Buddy.EXT. SUBURBAN STREET - DAYThe two men come out the back door and cut through thehedge. (CONTINUED) 23.CONTINUED:Miller's car, a Pontiac Sunbird, is parked at the curb.Hallenbeck stops in the middle of someone's yard.Holsters his gun.A neighbor's dog approaches, happily wagging its tail.Hallenbeck bends and ruffles its fur. HALLENBECK Where you want it, Mike? Head or gut? MILLER Listen, Joe, I -- (stops, sighs) Gut.Hallenbeck pats the dog. Straightens. Plants his backfoot and spins. Punches like a sledgehammer, into Miller'sgut.Miller drops to his knees. Begins to retch.Hallenbeck takes out a cigarette. Lights it. HALLENBECK If I see you again, I'll kill you.Miller nods weakly. Gasping for breath. HALLENBECK So. West Hollywood at seven, right? MILLER Huh...? HALLENBECK The job. Seven o'clock, right? MILLER You still... want the job...? HALLENBECK It's two hundred bucks. MILLER Yeah. I guess it is.He climbs to his feet, still doubled over. MILLER I'm sorry, Joe. (CONTINUED) 24.CONTINUED:Hallenbeck says nothing. Miller turns and stumbles tohis car. Hallenbeck's face betrays nothing. A dead mask.He walks back toward the hedge.The neighbor's dog runs up, a tennis ball in its mouth.Behind him, Mike Miller gets into the Sunbird.Hallenbeck takes the tennis ball. Throws it.The DOG BARKS and bounds after it.Mike Miller turns the key in the ignition.The CAR BLOWS to pieces.An ERUPTION OF FLAME.Flying glass and metal. The car becomes airborne.Engulfed in fire. Does a lazy spin. Comes down.The shockwave catches Hallenbeck. Slams him ass overteacups.Windows blow in up and down the street.Smoke and fire roll to the sky.The DOG cowers, HOWLING in fear.Beside it on the grass, the tennis ball is on fire.Hallenbeck rolls to his feet. Covered with twigs andleaves. Clothing scorched. Stares. Eyes glazed. CUT TO:EXT. SUBURBAN STREET - AN HOUR LATERA mobile crane hoists what's left of Mike Miller and hisPontiac. Policemen direct traffic, curb bystanders.OFF TO ONE SIDEa UNIFORM COP questions Hallenbeck and Sarah, who standstiffly. Not looking at each other. UNIFORM COP Why did Mr. Miller visit your home this morning, Mr. Hallenbeck?Joe lies easily: (CONTINUED) 25.CONTINUED: HALLENBECK He came by to talk business. He had a case he was to busy to continue with, a routine surveillance. He farmed it out to me. UNIFORM COP I see. Is that all you talked about? HALLENBECK Yeah. That's all.He looks the Officer in the eye. Betrays nothing. CUT TO:NAKED, GYRATING BODYFemale, for the record. Signaling us that we are now:INT. "BOTTOMLESS PIT" CLUB - NIGHTRowdy strip club in West Hollywood. Just like the namesuggests; if it's a virus, you're sitting on it. Afterthree drinks, every girl on stage looks like your highschool sweetheart. Was your sweetheart fat? Did shehave excessive body hair?FUNK MUSIC, played LOUD. The Monday crowd stomps andclaps. Onstage a stripper grinds away with an enthusiasmusually reserved for standing in line at the DMV.Jimmy Dix sits at the bar, hooting and whistling. Behindthe bar, a black man in a wheelchair serves drinks. Hisname is HARP.Off to one side, a twenty-five-year-old BEANPOLE speaksinto a microphone: EMCEE (BEANPOLE) Flash of green buys a flash of pink, gentlemen. So reach into your pockets if you aren't there already, and reward the lovely and talented Ms. Vixen...!The black man shakes his head. (CONTINUED) 26.CONTINUED: HARP My son. He writes his own material, he's proud of that. Some people are proud, they cured leukemia. Old guy stops beating off long enough to laugh, my son thinks he's Eddie Murphy.Jimmy uncaps a beer and raises it in a toast. JIMMY Alex the astronaut.Harp raises his own glass. HARP Alex the astronaut.It seems to be a common ritual between them. Jimmydrinks, thumps the bottle down. Says, resolutely: JIMMY I've had it, Harp. HARP Had what? JIMMY It, man. I've had it. (takes a swig) I don't remember what I did last night. I'm an idiot, Harp, I act like a complete dickhead. I don't have friends. I drink too much. I fuck anything that's warm and breathing. HARP Stay on that side of the bar. JIMMY (sighs) I cheated on my girl friend again. HARP You cheated on her? You must be crazy. JIMMY Maybe so, Harp. Maybe so.His gaze wanders across the crowded room, fixating on -- 27.SCANTILY-CLAD WAITRESSWho makes her way between the tables. She is beautiful.Stands out like a teamster at a gay rights rally. Supplebody. Deep green eyes. Flaxen hair. Her name is CORY.She stops at a table against the wall. Puts down aSeagrams V.O. in a rocks glass.Seated at the table is a broad-shouldered man in a badsuit. The essence of boredom. Looks like he's beenthere three days. A cloud of smoke hangs around hishead. Mr. Joe Hallenbeck, no less. HALLENBECK The police won't help you, huh? CORY Sure. After I'm dead they'll perform the autopsy. HALLENBECK Guess you don't want to wait that long. CORY Guess not. HALLENBECK (scowls) They only play this kind of music? CORY What did you expect? HALLENBECK Pat Boone? The Four Freshmen? CORY What are you, my father? HALLENBECK Yes, I'm your father. Get your clothes on. (beat) I hate this funk shit. It's gonna be an extra hundred bucks. CORY You're hilarious. Sit next to the speaker, you'll get used to it. After a while you'll be screaming play that funky music white boy. HALLENBECK The screaming part I believe. (CONTINUED) 28.CONTINUED:She smiles and moves away.Hallenbeck sips his drink. Scans the crowd with shrewdeyes.ANOTHER ANGLEThe lovely Cory approaches Jimmy at the bar. Harp lookson. CORY (seductive) Hello, handsome. How'd you like to buy me a bottle of champagne? JIMMY How much for a bottle? CORY Forty dollars. JIMMY No thanks. Nothing personal, my seventh grade teacher was killed by a drunk driver. CORY Tall guy? Sandy hair? JIMMY That's the one. CORY I had to swerve three times to get him. JIMMY Ha-ha. CORY So no bottle, then? JIMMY For forty bucks I'd rather drink my own piss. CORY That's extra.And with that, she leans over and moulds her lips to his.Time passes. These two know each other, it would seem.Cory pulls away. Jimmy smiles. JIMMY Hi, Cory. Rough night? (CONTINUED) 29.CONTINUED: CORY Arrgh. I've had it to here. JIMMY (grins) I'll bet you have.She slaps his face. He feigns innocence. Points toHallenbeck. JIMMY Who's the stiff? CORY He's nobody. (beat) I have to get ready to dance. JIMMY Come back soon. I want to buy you a drink.She smiles and moves off, swishingly. Jimmy watches hergo. His gaze wanders across the room to Hallenbeck. Hefrowns.ANOTHER ANGLENear the stage, the would-be Eddie Murphy steps up tothe mike and says: EMCEE You know, crowd, these ladies are fine, but let me tell you the three reasons men prefer sheep: they're always in the mood, they never bitch, and after you fuck 'em you can eat 'em.A few chuckles. Some coughs. More coughs than chuckles. EMCEE (plowing ahead) And now, here's a lady that's always in the mood, put your hands together for the lovely and talented Ms. Cory...!Applause. A syncopated DRUM BEAT kicks in. AEROSMITH'SLATEST erupts from the SPEAKERS.And then she comes on.And even Joe Hallenbeck must draw in a sharp breath. (CONTINUED) 30.CONTINUED:Her body is exquisite. She moves like breath. Her eyescan put you under. She is simply that beautiful.HALLENBECKsits with his drink untouched before him. Pats hissuit pockets, searching for a smoke. Removes a crumpled,empty pack, as:JIMMY DIXsaunters up, looking less than friendly. He looks atHallenbeck. Hallenbeck does not look at him. JIMMY Hi. You're nobody. HALLENBECK Shhh. Don't tell anyone. JIMMY That's what Cory said. She said you were nobody.Only Hallenbeck's eyes move. He looks up, regards Jimmycoolly. They size each other up. Hallenbeck sighs. HALLENBECK Easy, Junior, I'm not raining on your parade. She's too young for me. I'm just keeping an eye on her for a few days. JIMMY I see. What are you, some kind of bodyguard? HALLENBECK Something like that. You got a cigarette? JIMMY No. Is Cory in trouble? HALLENBECK I hope not. You tell me. JIMMY She didn't mention anything to me. HALLENBECK Mmmm. That bothers you, doesn't it? (CONTINUED) 31.CONTINUED: JIMMY Maybe. HALLENBECK Don't sweat it. Women have secrets. Water is wet, the sky is blue, and women have secrets. (beat) I'll buy you a beer. Sit down.Jimmy remains standing. JIMMY She hired you, huh? What, you in the phonebook? HALLENBECK Yeah. Actually, she hired my buddy Mike. I'm filling in. JIMMY Where's Mike? HALLENBECK He died. JIMMY Sorry to hear it. HALLENBECK Don't be. He was a lousy surveillance man.Jimmy leans forward, palms flat on the table. JIMMY Look, friend, I don't know who you are or what's going on. But Cory is my girl friend and if she's in trouble, I want to hear about it. HALLENBECK That's client confidential. JIMMY Tell me anyway. HALLENBECK Nope. JIMMY I say two words to Cory and you don't get paid, asshole. (CONTINUED) 32.CONTINUED: HALLENBECK Do it. JIMMY You sure? I'm looking at your suit, you could use the dough. HALLENBECK You don't like my suit, guess what? I don't like your money. JIMMY Good, 'cause you're not getting any. HALLENBECK Story of my life. JIMMY What is? HALLENBECK Not getting any.They stare each other down. Hallenbeck calmly sips hisbourbon. JIMMY You couldn't protect a cup of warm piss. HALLENBECK (nods) Hit me. JIMMY Excuse me? HALLENBECK Hit me. Bust me in the chops, chickenshit. (beat) You're not afraid, are you, Jimmy...? JIMMY (freezes) You know who I am? HALLENBECK James Alexander Dix, L.A. Stallions, '86 and '87. Barred from the N.F.L. on gambling charges. Allegations of point shaving to support a cocaine habit, never proven. (MORE) (CONTINUED) 33.CONTINUED: HALLENBECK (CONT'D) Busted once for possession. You had the makings of a first class dumbshit. JIMMY Mister... You are now pissing me off. HALLENBECK About fucking time. (extends his hand) Joe Hallenbeck. I'm a private detective. JIMMY (ignores the hand) I don't know, Joe... You look like a dumb wop to me. HALLENBECK At least I didn't shit my talent away on coke, motherfucker. JIMMY Can I hit you now? HALLENBECK Absolutely.Jimmy throws a short jab at Hallenbeck's chin.It never gets there.Joe moves, lightning quick, and suddenly Jimmy's fistis trapped. Dead stops. Fingers grinding into palm.Jimmy swears. Stumbles. Sits down hard.Hallenbeck releases him. HALLENBECK Please, have a seat. JIMMY (gasping) You think you're some kind of hot shit tough guy, huh? HALLENBECK (shrugs) It's not a question of tough. I'm bigger than you, and I was trained. So I can take you. That's just the way it is. You can throw a better pass. (beat) How about that beer? (CONTINUED) 34.CONTINUED: JIMMY Piss off. HALLENBECK (signals the waitress) You were a great quarterback, Jimmy. I watched you play at Washington State. Red shirt freshman in '82. Followed you with the Stallions. Good scrambling ability, seventy percent completions from the pocket... You had the best gun in the N.F.L.Jimmy looks at him, puzzled. Didn't they just swappunches? JIMMY Yeah. Thanks. I guess. HALLENBECK (big smile) Hell. I'm a fan.ANGLE ON STAGEOnstage, the MUSIC GRINDS TO a CLOSE as Cory dispenseswith the last of her clothing. Strikes a pose to wildapplause and we HOLD ON her radiant beauty and -- CUT TO:INT. DINGY DRESSING ROOM - NIGHTCory and Jimmy are engaged in very hot sex.This is not a love scene; this is a sex scene.Sigh. I'm not even going to attempt to write thisquote-unquote "steamy" scene here, for several goodreasons:A) The things that I find steamy are none of your damn business, Jack, in addition to which --B) The two actors involved will no doubt have wonderful, highly athletic ideas which manage to elude most fat-assed writers anyhow, and finally --C) My mother reads this shit. So there.(P.S.: I think we lost her back at the Jacuzzi blowjobscene.) (CONTINUED) 35.CONTINUED:Suffice to say, they fog the screen.At last, Jimmy rolls over and pours champagne into twocrystal glasses. Lifts one in a toast. JIMMY Alex the pediatrician. CORY (giggles) Alex the pediatrician.They drink. And from this blissful affirmation of lifewe -- CUT TO:INT. BACKSTAGE CORRIDOR - SAME TIMEJoe Hallenbeck is pounding an already-dented cigarettemachine. No dice. It has eaten his money. He shakeshis head, muttering.Looks at his watch. Looks at the dressing room door.Shakes his head again. Walks to the end of the corridor.Goes through the fire door. Out into:EXT. PARKING LOT - CONTINUOUS ACTIONStarry, moonlit night. A chill breeze. Joe draws abreath.In front of him, on the wall of the club, is a poster:BAYNARD FOR SENATE, it reads. Above the logo, a pictureof a benevolent-looking gray-haired man.Hallenbeck regards it balefully. HALLENBECK I didn't vote for you, you bastard.He looks away, and suddenly notices something on theground:A half-smoked cigarette butt.Just sitting there.Joe stares at it. Thinks it over.Starts to walk away. Stops. HALLENBECK You're a fuckin' lowlife, Joe. (CONTINUED) 36.CONTINUED:He bends to pick up the butt.A steel sap whistles over his head, missing by inches.Hallenbeck spins, startled. Reflexively lashes out witha flattened palm. Misses, chops the air.Two more men, behind him. Nowhere to go.A sap pops him behind the left ear. A sickening thud.The world spins out of focus. He goes down.Hits the pavement like a ton of bricks.Rolls over, staring up.Vision muddy, indistinct.HALLENBECK'S POVThree silhouettes hover over him, backlit by streetlamps.Their voices are fuzzy. HITMAN #1 That's him. He was with her. HITMAN #2 Shit, he's packing. What should we do? HITMAN #3 Get him away from here. Then kill him. HITMAN #2 There's no contract for him. HITMAN #3 Then do it for free. Just do it elsewhere.The men disperse. One of them drags Joe to his feet.A stocky, crag-faced man. He jams a silenced pistolin Joe's kidney and points him toward a vacant lotnearby. HITMAN #2 Start walking. I'm right behind you.ANOTHER ANGLEThe two other Hitmen return to their gray, late-modelsedan. Climb into the car and sit, watching thenightclub.Waiting. (CONTINUED) 37.EXT. VACANT LOT - NIGHTA rusty chain-link fence separates the lot from the boule-vard. Choked with weeds. Broken glass. A rusted-out car.A towering billboard looms overhead, inviting people todrink Scotch or get laid, it's hard to tell.Hallenbeck staggers drunkenly across the lot.The crag-faced man follows behind him. CRAG-FACE (HITMAN #2) Wrong place at the wrong time, buddy, that's all it is. Just want you to know it's nothing personal. HALLENBECK That's what you think. Last night I fucked your wife.The gunman cracks up. Hallenbeck grins drunkenly. CRAG-FACE Oh, you did, huh? How'd you know it was my wife? HALLENBECK She said her husband was a greaseball with bad breath.The guy cracks up again. CRAG-FACE You're pretty cool for a guy gonna take a bullet. HALLENBECK After fucking your wife, I'll take two.The hitman wheezes laughter. Joe just grins. CRAG-FACE You're a funny guy. It's a shame to take you off. Here, kneel down. HALLENBECK Are you kidding? We barely know each other.The hitman is now giggling, shaking his head. CRAG-FACE This is wild. I never shot no funny guy before. (CONTINUED) 38.CONTINUED: HALLENBECK You need a special funny bullet. CRAG-FACE Come on, cut it out. Head or chest? HALLENBECK That's what your wife said. CRAG-FACE Would you quit with the wife? Enough is enough. HALLENBECK Ask me how fat she is. CRAG-FACE How fat is she? HALLENBECK She's so fat I had to roll her in flour and look for the wet spot. You wanna fuck her, you gotta slap her thigh and ride the wave in. (the hitman loses it) Like the Pillsbury doughboy, except when you poke her in the stomach, she farts. I got a buddy he's an archaeologist, organized an expedition to her chin. They got lost in her nasal hair. But seriously, her eyes are like the streets of Paris: crossed. They're so crossed when she cries the tears run down her back. She's got back-tearia. CRAG-FACE (can't stop laughing) Oh, that's awful. Buddy, you're a fucking rio --From a kneeling position, Hallenbeck flings a handful ofgravel at the man's eyes.The man cries out. Stumbles backward.And Hallenbeck moves like a coiled spring. Not drunk atall. He takes the broken bottle he's been clutching andcuts the guy's throat like a knife through butter.The hitman stands with a shocked look on his face.Blood bubbling.FIRES the GUN once, into the ground. Drops it from nerve-less fingers. Stares at Hallenbeck, aghast. (CONTINUED) 39.CONTINUED: CRAG-FACE Bastard.Hallenbeck meets his gaze. A savage, feral gleam in hiseye. HALLENBECK And then some.The guy pitches over dead.Hallenbeck kneels beside him.Retrieves his .38, holsters it. Slips the hitman's pistolinto his waistband. HALLENBECK I'm playing Tahoe on the 15th.He takes off running.EXT. STRIP CLUB - NIGHTCory and Jimmy emerge from the club into the parking lot.She scans the area, shaking her head. CORY I can't believe it. The bastard split on me. (sighs) I'm staying at a motel for a couple days. Will you follow me? JIMMY Sure.He heads for his car.ANOTHER ANGLEThe Hitmen wait in the darkened sedan.Watching Jimmy and Cory.The driver keys the ignition. Starts the car.In his lap is an automatic rifle.EXT. BOULEVARD - NIGHTJoe Hallenbeck is running full out.Headlong down the sidewalk. Gasping for breath. HALLENBECK Move!! (CONTINUED) 40.CONTINUED:He slams into a man. Knocks him flat. Groceries fly.Joe doesn't care. He stumbles. Keeps going.EXT. NIGHTTIME STREET - SAME TIMEJimmy Dix is behind the wheel of a silver Jag.Cory is driving a spanking new Ford Fiero.Jimmy follows behind Cory, watchdogging. Humming withJOE COCKER on the RADIO.Cory comes to a red light. Pauses. Turns right onto asidestreet.Jimmy slows, pausing at the intersection.GRAY SEDANpasses Jimmy. Accelerating. ENGINE REVVING.Jimmy only gets one glimpse into the passing car.It's enough:Everyone inside is armed to the teeth.The SEDAN ROARS around the corner, cutting in front ofJimmy. JIMMY Oh God. This is a hit this is a fucking hit!!GRAY SEDANcomes up behind Cory. Comes up fast.Rams her car. Metal crumples. Meanwhile:JIMMYfrantically floors the pedal of his Jag, pops the clutch-- And stalls out.He roars with anger.Flings open the door.Leaps out and runs forward, screaming: JIMMY Cory, get out of there!!Too late. Cory is already out of her car, yelling: CORY Hey, can't you fucking drive?? (CONTINUED) 41.CONTINUED:Her eyes go wide with shock.The Hitmen burst from their car. OPEN UP on full auto.Cory is cut down. Blown backward over the hood of herFord. Flung to the street. JIMMY Oh Gooood!!And without missing a beat, the Hitmen turn --And OPEN FIRE on Jimmy.He takes a running start.Clears the hood of his Jag in a single leap.BULLETS DICE the metal behind him.He lands, hard. Sucks the ground. Huddled behind hiscar, as:TWO HITMENmove toward him, triggering THREE SHOT BURSTS.The kid is dead meat. Or so it seems until, withoutwarning --JOE HALLENBECKcharges into the intersection. Screaming bloody murder.He's got a GUN in each fist, and both are BLAZING.One Hitman dies immediately:Dances like a puppet, racked by gunfire.Bullets go through him. SHATTER the sedan's WINDSHIELD.The second Hitman turns and OPENS UP on Hallenbeck.Too late. Joe rolls behind a mailbox.BULLETS chase him, blowing apart the metal box.The Hitman swears. Turns, running for the sedan.He knows when a getaway is in order.Just one problem. He forgot about Jimmy Dix.A SCREECH of TIRES.As Jimmy's Jag slews around the corner, laying rubber.Rockets toward the Hitman, pins him in its headlights --The Hitman screams as Jimmy plows through him --And CRUNCHES into the gray sedan. (CONTINUED) 42.CONTINUED:Shatters the Hitman between the two cars...And holy Christ, the guy's still alive.Pinned like a butterfly, legs broken...He raises his rifle, screaming.Jimmy dives flat on the front seat. The WINDSHIELD ERUPTS.The Hitman. Still pinned. Still screaming.He FIRES SHOT AFTER SHOT into Jimmy's car.Hallenbeck walks up behind him.Puts a BULLET in his head. He stops screaming.JIMMYis still huddled on the front seat in a sea of brokenglass. Hallenbeck walks up, leans in the window. HALLENBECK Hey. (as Jimmy looks up) Back up.ANOTHER ANGLEJimmy puts it in reverse. The car backs up.Steam pouring from the crumpled hood.The Hitman, now freed, collapses to the street.Like a sack of flour.Hallenbeck limps toward him, wheezing.He stops as:MOTEL MANAGERstands outside a door marked OFFICE.Holding a pump action shotgun leveled at Hallenbeck.Hallenbeck nods at the bodies in the street. HALLENBECK It's all over, compadre. MANAGER Get off my property, mister. (CONTINUED) 43.CONTINUED: HALLENBECK (scowls) Sidewalk belongs to the government.He turns and looks at Jimmy. The kid is in pain.Staring at Cory's bullet-riddled body. Eyes glazed.Hallenbeck says nothing. He crosses to the shatteredHitman. Kneels down, fishes through the guy's coatpockets. Comes up with a bloody pack of cigarettes.Extracts one. Lights it.SIRENS fill the air.And Jimmy snaps out of it long enough to reach into hiscoat -- Takes out the vial of coke. Ditches it.Drops it down a sewer grating, out of sight.No one sees him do it.POLICE CRUISERScome SQUEALING up, flashers turning.Surrounding Jimmy, who stands, head down and motionless --And Joe, who smokes and looks at the moon. CUT TO:INT. POLICE STATION - NIGHTSERGEANT BENJAMIN BESSALO sits behind his desk, scanninga stack of typed pages. A tired-looking cop named McCASKEYlounges in the doorway. A Christmas tree in the cornersheds needles.Through the glass window, we can see Hallenbeck and Jimmyseated outside in the squad room proper. Bessalo stopsreading. Sniffs the air. Frowns: BESSALO Something stinks in here. (widens his eyes) My God, it's this statement!He flings the paper onto his desk. McCASKEY Sarge? BESSALO It's shit. Hallenbeck is hiding something. (CONTINUED) 44.CONTINUED: McCASKEY How do you know? BESSALO I know how the bastard's mind works. Every lie has eighty percent truth to it. Guy scares me.McCaskey is staring out the window at Hallenbeck. McCASKEY We lookin' at the same guy? BESSALO (smiles) Go ahead. Tell me what you see. McCASKEY I see a guy, looks like he just slept in his suit. BESSALO (nods) Yep. That's what most people see. McCASKEY There's more? BESSALO Oh, yeah. There's more. (beat) A long time ago, that son of a bitch saved the President's life.INT. SQUAD ROOM - SAME TIMEOutside the office Hallenbeck and Jimmy are perched sideby side on a wooden bench. Jimmy is crumpling pieces ofpaper and tossing them at a wastebasket. He throws withunerring accuracy. Beside him Hallenbeck frowns, deep inthought. Finally, Jimmy speaks: JIMMY That stuff Cory fed you about a weirdo hassling her. That was all bullshit, wasn't it...? HALLENBECK Yeah. I don't know what she was into, but those were professional hitters tonight. Mob style. (beat) Tell me about Cory. What was she like? (CONTINUED) 45.CONTINUED: JIMMY None of your fucking business. HALLENBECK Listen up, friend. I'm trying to get a handle on this. How was she fixed for money? JIMMY (pause) I don't know. Pretty strapped, I guess. HALLENBECK Always kept an eye out for work? JIMMY No hooking, if that's what you mean. HALLENBECK It isn't. Tell me what she did at the club, besides dance. JIMMY The usual. Waitressing. Get a guy to buy you a bottle of champagne. Sit in a private booth, let the poor fuck spill his troubles. Used to say she'd make a great psychiatrist. HALLENBECK She get many high rollers? JIMMY Sure. Even rich guys get lonely. HALLENBECK Fine. (beat) So suppose one night, her 'guest' gets a little too drunk, and brags to her... reveals something about himself. Something that could hurt if it came out. What would she do? JIMMY I don't get it. HALLENBECK Would she blackmail him? JIMMY Jesus, I've had about enough of you -- (CONTINUED) 46.CONTINUED: HALLENBECK Would she consider the possibility of blackmail? JIMMY (sighs) She'd consider it. If she could get away with it. But she'd need hard evidence. Otherwise, it's 'I never said that,' his word against hers. HALLENBECK Right. So what does she do? JIMMY I don't know. Follow the guy? Have him followed? HALLENBECK Bingo. Kid, this is making sense. She hires somebody to follow the mark and obtain blackmail evidence. JIMMY Who does she hire? HALLENBECK Ah. She hires my buddy Mike. (beat) Right? Right. It makes sense. Except -- JIMMY Except you told me that Mike was a shitty surveillance man. HALLENBECK Exactly. He got spotted. They made him, and they killed him. Then they took out Cory. JIMMY Christ, what did the two of them stumble onto? HALLENBECK Whatever it was, it was way over their heads. They knew they were in trouble. JIMMY How you figure? (CONTINUED) 47.CONTINUED: HALLENBECK Because Mike was scared. He bailed out and threw the case in my lap. JIMMY He handed it to you... without telling you how dangerous it was?Hallenbeck stares straight ahead. Sighs and says: HALLENBECK He was fucking my wife, Jimmy. (beat) I die. He gets my wife.Jimmy just looks at him.At that moment, McCaskey pokes his head out of Bessalo'soffice. McCASKEY Okay, you guys are cleared to go. Pick up belongings at the property desk.INT. PROPERTY ROOM - NIGHTHallenbeck is collecting his firearm from the propertyclerk. Jimmy lounges against the wall. Winks at ahooker as she goes by in the hall, followed by a patrolcop.Jimmy eyes his rumpled trousers. Ripped shirt. JIMMY Shit. This shirt cost me eighty bucks. HALLENBECK (holsters his gun) Glad to see, at a time like this, at least you got your priorities straight. JIMMY Do me a favor and shut up. You think I don't care that Cory's dead? (rubs tired eyes) Christ, I feel like I been rode hard and put away wet. (CONTINUED) 48.CONTINUED: HALLENBECK Get some sleep. JIMMY Wow. What stunning advice. I was gonna go hiking. HALLENBECK Fuck you.They start down the hallway, side by side. JIMMY You know something, Joe, for a private eye, you sure don't go in for snappy comebacks. HALLENBECK How's this? Fuck you and the horse that looks like you. JIMMY Get some sleep.A passing PATROLMAN stops. Eyes Jimmy thoughtfully.Frowns: PATROLMAN You look real familiar. Do I know you?Jimmy grins, shrugs. Obviously flattered. JIMMY You might. Some people recognize me. PATROLMAN Got it. Peanuts Morton. Used to sell hash in Crenshaw District. JIMMY No, man. I played football. Jimmy Dix, L.A. Stallions. PATROLMAN What position? JIMMY Forget it. PATROLMAN Fuckin' football. Free agents ruined the damn game. (CONTINUED) 49.CONTINUED:He walks away. Jimmy scowls. Grumbles to himself. HALLENBECK We gotta cross the parking lot. You wanna borrow my sunglasses? JIMMY Fuck you. HALLENBECK Hey, snappy comeback. You a detective?As the two cross the muster room toward the front doors,they pass the hooker we saw earlier. She is talking toher pimp.There is a heated exchange. The pimp slaps her. Hard.Suddenly, Jimmy lunges forward. Balling his fists. JIMMY That son of a bitch!He's ready to clean the pimp's clock when Hallenbeckgrabs him, spins him bodily. Propels him out the frontdoors.Away from trouble.EXT. POLICE STATION - NIGHT HALLENBECK What the fuck are you trying to do, Tarzan? JIMMY He hit the chick. HALLENBECK You don't start a fight in a police station, dickhead. Are you really this stupid or did you take lessons? JIMMY Guy shouldn't treat a woman like that, is all I'm saying. He just shouldn't, okay? HALLENBECK Why? Because they're weak and need protecting? (CONTINUED) 50.CONTINUED: JIMMY (pause, then) Yeah.He's serious. Hallenbeck starts to chuckle. Shakes hishead, lights a cigarette. Laughs through the smoke.This may be the funniest thing he's ever heard. CUT TO:EXT. POLICE IMPOUND LOT - SAME TIMEHallenbeck walks across the parking lot toward his car.Jimmy trots behind him. JIMMY Mind if I catch a ride with you? HALLENBECK Yes. JIMMY My car's fucked up, remember? HALLENBECK Take the bus. JIMMY Cut it out. Look, you sorta saved my life. Let me buy you a beer. HALLENBECK I'm not thirsty. Good night.He approaches his battered Plymouth. Jimmy scowls. JIMMY That's it. Good night? HALLENBECK Go home. Get some sleep. JIMMY What are you gonna do? HALLENBECK I'm gonna get a message to the people who killed your friend. JIMMY What's the message? (CONTINUED) 51.CONTINUED: HALLENBECK That we're out of it. That whatever they're doing, they don't have to worry about us. JIMMY You're kidding.Joe gets in the car. Says nothing. JIMMY You're backing off, you're not gonna do anything? I watch T.V., what the fuck kind of private eye doesn't do anything? HALLENBECK The kind with a wife and kid. Look, it's over. My job is done. JIMMY Fuck you your job is done. We witnessed a murder, Joe! HALLENBECK Yes, it was very exciting. Tomorow I'll take you to the zoo. (beat) You wanna play hero, go ahead. When you die, I'll take your closet full of eighty-dollar shirts. JIMMY Look, until this is over, I'm sticking with you. HALLENBECK The hell you are. JIMMY I'm part of this. We do something, we do it together. HALLENBECK Have a ncie night.He STARTS the CAR. JIMMY Don't drive away, Joe.Joe puts it in gear. Pulls away. (CONTINUED) 52.CONTINUED: JIMMY Joe -- ! I'll tell the cops, Joe.Joe taps the brake. Stops. Leans out the window, sayssoftly: HALLENBECK Tell them what, Jimmy? JIMMY That Mike Miller was fucking your wife. (beat) Only reason you're not in the cooler, tough guy, is the cops got no motive for Miller's death. When they find out Mikey was dickin' your old lady, seems to me you become suspect numero uno. I'm scared, and I'm coming with you, got it?Joe gets out of the car and advances on Jimmy. HALLENBECK You little creep, I'm gonna beat the shit out of you. JIMMY Go for it. Then the cops'll really love my story. (smiles) You don't start a fight in a police station, dickhead. HALLENBECK You and me is not a fight. You and me is a massacre. JIMMY Gosh, you're tough. HALLENBECK Get in the fucking car.INT. CAR - DRIVING - NIGHTHallenbeck is in a foul mood. Jimmy lights a cigaretteand applies for a position as pep chairman: JIMMY You got any hobbies? (CONTINUED) 53.CONTINUED: HALLENBECK Mmmm. Used to be a pretty fair ventriloquist. JIMMY Ventriloquist, really? I hear Ps and Bs are the hardest. HALLENBECK Yeah, well, actually -- JIMMY (interrupts) Hey, you got any tapes in here? (leans forward) Man, what is this shit? Dick Haymes. Who the fuck is Dick Haymes? Jeez, you must be older than I thought.Hallenbeck grimaces and shifts in his seat. JIMMY What's the matter? Stomach problems? HALLENBECK Ear problems. JIMMY What kind of ear problems? HALLENBECK The kind that won't shut up.He stops at a traffic light. Sees a torn poster on anearby telephone pole: CALIFORNIA HAS A VOICE - BAYNARDFOR SENATE. He grumbles. Gives it the finger. JIMMY Baynard, huh? What's the matter, you got some kind of beef with the guy? HALLENBECK You might say that. JIMMY You wanna share with the class? HALLENBECK (sighs) Bastard got me fired from my old job. (CONTINUED) 54.CONTINUED: JIMMY Yeah? What were you, cop or something? HALLENBECK Secret Service. JIMMY You're high. Get outta here. (grins) Really...? You protected the man? Holy shit, you musta got laid every night. HALLENBECK That's me. Every night. (beat) Where did Cory live? JIMMY She had an apartment on the West Side. Why? HALLENBECK I want to check it out.Jimmy stares at him, puzzled. JIMMY I thought you were off the case. HALLENBECK (scowls) Look, dipshit, I told you that to keep you out of my hair. (pause) My client's dead and I haven't earned my fee. JIMMY Whoa, back up. You mean, we're gonna nail these fuckers after all...? (grins) Damn. I knew there was a hero lurking beneath that gruff exterior. HALLENBECK Yeah, I'm a prince. Shut the fuck up. 55.EXT. ADULT LIVING COMPLEX - NIGHTJimmy and Hallenbeck make their way down a flagstone walkbetween tiny, palm-shaded cottages. The moon casts apale glow. HALLENBECK Bet these places run a fortune. JIMMY Tell me about it. I'm paying the fucking rent. HALLENBECK How charming. Sounds like a great girl. What else did you spring for? Clothes? Car payments? JIMMY Wasn't like that. Cory could've had lots of rich guys. Me, she loved. HALLENBECK Oh. Love. Well, forget about it, then. JIMMY Let me guess. You don't believe in love. HALLENBECK (lights a cigarette) I believe in cancer. I believe in love. JIMMY What, they're both diseases? HALLENBECK Something like that.Jimmy shakes his head sadly. JIMMY Man, I don't want to meet the bitch that fucked you up. HALLENBECK I'm sure she'd love meeting you. Probably blow you on the front porch. JIMMY Little bitter, Joe? HALLENBECK Eat shit. 56.EXT. MOONLIT COTTAGEThe two men approach the door. Jimmy takes out his keyring. HALLENBECK The cops are gonna want to check this place out, so don't disturb anything. JIMMY Yes, massah.INT. COTTAGEJimmy opens the door. Flips on the lights. Stops inhis tracks.The room has been systematically torn to pieces.A knife has been used to rip open the couch.Broken furniture, shredded clothing. Everywhere.It looks like a combat zone. JIMMY I think someone disturbed some stuff, Joe. HALLENBECK Well, shit. Looks like somebody beat us to it. JIMMY Beat us to what? HALLENBECK Whatever evidence Cory was holding. JIMMY Assuming there was any. Stay here a minute. HALLENBECK Where you going? JIMMY Bathroom. You wanna come with me? Doctor said I shouldn't lift anything heavy. HALLENBECK I'll pass.Hallenbeck starts inspecting the wreckage. 57.INT. CLUTTERED BATHROOMJimmy enters and shuts the door behind him.He scans the floor, covered with clothes, bottles, etc.Picks up a carelessly discarded can of Right Guarddeodorant.Turns it upside down, and unscrews the bottom.Inside, the can is hollow and empty. The perfect hidingplace.Jimmy heaves a sigh of relief. Removes a little plasticBaggie filled with white powder. Stashes it in hisshorts.Starts to replace the lid. Stops. Frowns.Reaches into the can a second time --And pulls out a yellow envelope.He looks at it, perplexed.Puts it in his pocket. Replaces the lid. Tosses the canon the floor. Flushes the toilet. Leaves.INT. LIVING ROOMHallenbeck, meanwhile, is prowling the living room,looking at photographs on the walls.The girl in the photos seems young, beautiful, and naive.One shot depicts Cory and a friend in cheerleader outfits.On it is scrawled, GOOD LUCK IN HOLLYWOOD BABY! LOVE,JANISHallenbeck gazes around the devastated cottage. HALLENBECK Looks like you made it, baby.Jimmy emerges from the bathroom. JIMMY Find anything? HALLENBECK Yeah, there's some really nice rubble. (CONTINUED) 58.CONTINUED: JIMMY I may have something. HALLENBECK What? JIMMY Later. Let's get out of here.EXT. COTTAGE - NIGHTThe two men emerge from the house. Joe heads for hiscar. Jimmy peels off toward a battered GMC Pacer parkedat the curb. HALLENBECK Where the hell are you going? JIMMY As long as we're here, I might as well take Cory's car. HALLENBECK You got the keys? JIMMY Yeah. I'll follow you.Hallenbeck starts to turn away. Jimmy gets in the car.Hallenbeck stops. Frowns. HALLENBECK Cory has two cars? JIMMY Yeah. This one's just sitting here until she can sell it.The color drains from Hallenbeck's features. HALLENBECK Jimmy, no!!He sprints across the sidewalk and yanks Jimmy out of thedriver's seat before he can key the ignition. JIMMY Ouch -- ! What's your problem?ANOTHER ANGLEHallenbeck kneels and peers under the car. (CONTINUED) 59.CONTINUED:Swears softly as he sees two thin copper wires, glintingin the moonlight. HALLENBECK They used a car bomb on Mike, it figures they'd try it on her, too. (stands) Except they wired the wrong car.Jimmy pales noticeably. JIMMY Oh. Shit. Oh. Jeez.Hallenbeck claps him on the back. HALLENBECK Easy, kid. No harm, no foul. We caught it in time.He strolls toward his Plymouth, whistling.Cheerfully unaffected.Jimmy catches his breath. Swallows hard.Turns, and bumps into Hallenbeck, coming back the otherway. JIMMY What are you doing?Hallenbeck brandishes a pair of wire-cutters. HALLENBECK Gotta disconnect the fucker. JIMMY Whoa. Hold on. Um, shouldn't we call the bomb squad or something? HALLENBECK (smiles) Relax, Junior, I used to do this for a living.He isolates one wire. Turns and offers the cutters toJimmy. HALLENBECK You wanna do it? JIMMY No, man, I -- (CONTINUED) 60.CONTINUED: HALLENBECK Come on, chickenshit. Just snip the wire.Jimmy hesitates, then takes the cutters. Reaches beneaththe wheel well. Plucks at the wire tentatively. Cuts. HALLENBECK Oh, shit not that one!Jimmy screams and stumbles backward. Lands on his ass.Hallenbeck is chuckling softly. Shakes his head as hewalks around to release the hood. JIMMY You're a fucking asshole! HALLENBECK And then some, Junior. And then some. TIME CUT TO:THREE STICKS OF DYNAMITE - ONE MINUTE LATERhave been taped to the car's ignition system. Hallenbeckremoves the taped bundle. Holds it up for inspection. HALLENBECK We'll hand this over to the cops. They can analyze it. JIMMY Great. So what now? HALLENBECK (shrugs) You tell me, kid. JIMMY Give up? Flee? Go really far away? HALLENBECK I got a better idea. Let's check in with my family.They start walking toward Hallenbeck's Plymouth.Hallenbeck tosses the car keys to Jimmy. HALLENBECK I'm tired. You drive. (CONTINUED) 61.CONTINUED: JIMMY Sure. Family, huh? You got kids? HALLENBECK Yeah. Little girl. JIMMY Does she like you? HALLENBECK Not much, no. And she likes Prince, so go figure. JIMMY I like Prince. HALLENBECK Great, you can marry my daughter. Or better yet, fuck my wife. I hear all it takes is a credit card and two valid I.D.'s. (beat) Open the trunk. JIMMY (indicating bomb) You're just gonna stick that in your trunk? HALLENBECK (nods) You're right. Let's leave it here for the neighborhood kids to play with.Jimmy opens the trunk. As he does, however, a voicerings out suddenly from the darkness. VOICE (O.S.) Hold it right there, gentlemen.They stop. Slowly they turn.TWO MENare approaching from out of the trees.One holds a flashlight trained on Hallenbeck and Jimmy.The other carries a silenced Beretta. JIMMY Is it the cops? HALLENBECK No, Jimmy. It's not the cops. (CONTINUED) 62.CONTINUED:Working quickly, Hallenbeck tapes the bomb to the insideof the truck lid. Slams it shut. Turns, facing the newarrivals.The MEN wear tailored suits with matching ties.One is tall and lean. The other is a bruiser, short andstout. They both have the seasoned look of professionalmob hitters.The Taller Man speaks, gun held rock steady. TALL MAN Good evening, gentlemen. Bit late for a stroll, don't you think? HALLENBECK Yeah, you two better be getting home. JIMMY The streetlights are on. TALL MAN That's amusing. How delightful to find such amusing men so late at night. (beat) I don't believe I've had the pleasure. HALLENBECK No, I don't believe you have. (to Jimmy) He'd like to have the pleasure. JIMMY Tell him it's not for sale. HALLENBECK He says it's -- SHORT MAN What's your name, fuckface?This from the Shorter Man, who is clearly not happy. HALLENBECK (shakes his head) I'm asshole. He's fuckface. TALL MAN Jake, apprise Rodney Dangerfield here of his situation. (CONTINUED) 63.CONTINUED:Jake slips on a pair of brass knuckles.Steps up and delivers a looping right to Hallenbeck'sface. A sickening crunch. A two inch gash streams blood.Jake relieves Hallenbeck of his gun. TALL MAN Perhaps we can dispense with the fun and games now, yes?Jimmy rushes forward, snarling. The Beretta swivels.Jimmy stops, the gun aimed at his gut. HALLENBECK (gasping) Easy... Jim... All they want is the evidence... TALL MAN The evidence. Very smart. See, Jake, he knows when a situation is untenable. (smiles) You like that word? HALLENBECK Great word. TALL MAN It occurs to me that you may have the evidence in question. HALLENBECK (spits out blood) Give up, Jimmy. We're dealing with geniuses.Another fist to the head. Hallenbeck grunts. Spits moreblood. JIMMY Leave him alone, you fuck! HALLENBECK Back off, Jimmy.The Tall Man turns and eyes Jimmy. TALL MAN Leave him alone...? (shrugs) Whatever you say. Jake?The Short Man steps away from Hallenbeck. Turns andlaunches a kick at Jimmy's groin. Connects. The kiddrops to the ground, retching. (CONTINUED) 64.CONTINUED: TALL MAN (sighs) Ah, my young friend... I neglected to tell you that Jake attacks his job with a certain... exuberance. JIMMY Christ... I'm being beat up by the inventor of Scrabble. TALL MAN He's still in a good mood, Jake. Kick him again.Jake steps forward. HALLENBECK Wait!Hallenbeck speaks through cracked, bloody lips: HALLENBECK You want the fucking evidence that the stripper had. I've got it. So we can play games, or I can hand it over. JIMMY And then you'll let us go, right? TALL MAN Sure. We'll let you go. (to Hallenbeck) Where is it?Hallenbeck meets the Tall Man's gaze. Speaks softly. HALLENBECK Hand me the car keys, Jimmy.Jimmy stumbles to his feet. Looks at the Tall Man. TALL MAN Walk over and hand him the keys. Slow and easy.Jimmy takes out the car keys. Crosses to Hallenbeck.Gives him the keys. HALLENBECK The evidence is in the trunk. TALL MAN Open it. Slow. (CONTINUED) 65.CONTINUED:Hallenbeck smiles. Shakes his head. HALLENBECK I don't think so.He turns and throws the keys as far as he can.They fall out of sight behind a cottage. HALLENBECK Oops. I guess nobody gets it. TALL MAN You dumb bastard, you're going to pay for that. Jake, open the trunk.Jake steps forward, drawing a .38 silenced pistol.He is going to shoot open the lock.ANGLE ON HALLENBECKThis is what he's been waiting for. He tenses, lookingto one side: next to him is a sloping hillside, anglingdown and away. He grips Jimmy's wrist, signalling to getready.Jake raises the PISTOL. Take aim at the lock and FIRES.The SHOT is SILENCED. What follows is not.Because the bullet blows through the trunk --And hits three sticks of live dynamite.SERIES OF SHOTSHallenbeck is already moving, pitching to one side,throwing himself and Jimmy down the hillside.The night lights up like a SUNBURST.A tower of fire...Climbs up and outward from the car.The TRUNK LID is BLOWN fifty feet in the air.The tires are pulped.GLASS SPRAYS for fifty yards in every direction.And, most importantly: both hitmen are engulfed inflame. (CONTINUED) 66.CONTINUED:SOUND. Fury.Flames, rolling skyward.TINKLE of raining GLASS.Bits of falling metal.All in all, a helluva blast, and meanwhile:JIMMY AND JOEcontinue to careen down the hillside.Bouncing like rag puppets. Out of control.Lurch to stop at the bottom.Covered head to toe with dirt. Bruised. Bloody.Alive.They lie side by side, sucking air --Until they both hear an odd noise:The sound of CRUMPLING METAL.The sound is GETTING LOUDER.They both crane their necks in time to see --The flaming car, tumbling end over endComing down the hill.Heading straight for them. JIMMY Jesus fucking Christ!They both dive for cover, out of the way.Barely make it.The CAR plows past them in a shower of dirt.CRUMPLING. Heaving. Spitting fire.Finally SLAMS to a halt against a palm tree.Burns.The night is filled with SHOUTS and CURSES.The sound of DOORS OPENING. The crackle of flames.ON GROUNDJoe rolls over. Looks at Jimmy. Jimmy looks at Joe. (CONTINUED) 67.CONTINUED: HALLENBECK You alive? JIMMY Don't know yet.They crawl to their feet, inspecting for broken bones. JIMMY The dynamite? HALLENBECK Either that, or we're looking at a major factory recall. JIMMY Dead guys... don't make bad jokes, right? HALLENBECK Right. JIMMY So we're alive. HALLENBECK Yeah. Hooray.He spits blood as SIRENS once more fill the night air,APPROACHING. HALLENBECK Go. Get out of here. JIMMY What? HALLENBECK Get the fuck out of here, I'll take the heat on this one. Rent a car. Then go home and wait for my call. Do it.Jimmy meets Joe's eyes. Nods. Dashes off into the night. CUT TO:INT. L.A.P.D. ROBBERY/HOMICIDE DIVISION - NIGHTSergeant Benjamin Bessalo is in the mood to kick things.A metal trashcan is booted across the room with a clangas he whirls, glaring at Joe Hallenbeck, who is seatedbefore him. (CONTINUED) 68.CONTINUED: BESSALO Goddammit, this is a police matter, you son of a bitch! I'm sick and fucking tired of sweeping up your dead bodies, Joe, and the next time I see your ugly mug I'm puttin' a bullet in it. You got that? You are off the case, buddy. Is that clear?Hallenbeck stares at him. Blows smoke. Says nothing. CUT TO:INT. RENTAL CAR - DRIVING - NIGHTJimmy's at the wheel of a rented Subaru. Hallenbeckbeside him. He hands Joe the envelope he found in Cory'sapartment. JIMMY If you thought there was dynamite in the trunk, wait'll you see this.Hallenbeck reaches into the envelope and extracts aphotograph: Two men having lunch together on a secludedpatio.Both are older, distinguished-looking.Joe suddenly looks very pale. JIMMY The guy on the left is Connie Marcon, the owner of the L.A. Stallions. HALLENBECK Forget about him. Look at the guy on the right. JIMMY Sort of familiar. Who is he? HALLENBECK Senator Calvin Baynard.Jimmy draws a sharp breath. Pause, then: JIMMY Let's go back to the cops. I'm scared. HALLENBECK Take it easy, kid. It's not so bad. (CONTINUED) 69.CONTINUED: JIMMY Not so bad. Excuse me, did you just say the words not so bad? You don't understand, Joe, see, if a guy vomits on the sidewalk, you don't say, 'Oh, hey, it's not so bad, there's some ham in there.' It's fucking vomit, okay? This is bad.Hallenbeck nervously lights a cigarette.Stares straight ahead through the windshield. Begins totalk: HALLENBECK When I was thirty, I was on the President's personal security force. Once night I was on the way home from a late session. I'm on the highway just outside of Georgetown when I see something up ahead.MEMORY FLASHAnother time. Another night.A younger-looking Hallenbeck.Rugged features. Clipped military haircut.He is driving.Down a turnpike, squinting through dense evening mist.Up ahead, a shape materializes out of the fog:WRECKED CARis lying upside down in a pool of shattered glass.He SCREECHES to a stop.ANOTHER ANGLEIn a dream-like SLOW MOTION, he approaches the overturnedcar.There are two dead bodies inside.A woman. A little boy.In the window, a stuffed Garfield doll clings withsuction cups to the remaining glass. The furry cat issplattered with blood. (CONTINUED) 70.CONTINUED: HALLENBECK (V.O.) It was a high-speed collision. Both cars were totaled. The woman and the boy were dead. The driver of the other car wasn't.STAGGERING DRUNKis weaving toward Hallenbeck.Leaving behind his crumpled Mercedes.He wears an $800 suit. Tan Cordovan loafers. Silk tie. DRUNK Fuckin' bitch... She got in front of me, man. Shit. My fuckin' car. Stupid bitch wrecked my car...He stumbles toward Hallenbeck, eyes attempting to focus. DRUNK Do you know who I am...? I'm Louis Baynard, my father is Calvin D. Baynard, man. Call my father, he'll take care of it.The man lurches to a stop in front of Hallenbeck.Clutching at Joe's lapels. Wheezing liquor fumes.He presses a hundred dollar bill into Joe's hand. DRUNK You'll tell 'em what happened, right...? Bitch swerved in front of me, man. Wrecked my fuckin' Mercedes. Right...? HALLENBECK (V.O.) I could smell bourbon on him, big time. He was standing there, not a scratch on him. I went a little nuts. I hit him.In SLOW MOTION, Hallenbeck backhands the rich drunk,with a head-snapping impact that bursts lips. Breaksteeth.We see the Drunk's head slowly strike the asphalt.A sickening concussion. HALLENBECK The blow was non-lethal. But when he fell, his head hit the pavement funny. Put him in a coma. (CONTINUED) 71.CONTINUED:The younger Hallenbeck stands on the highway of eightyears past, staring at the Drunk with fierce, blazingeyes as we -- SNAP BACK TO:JIMMY AND JOE - BACK TO PRESENTDriving. HALLENBECK Even when he came out of it, he was never right in the head. His dad fixed everything with the cops. The accident report disappeared. A week later the police found half a kilo of crack cocaine planted in my house. Acting on an anonymous tip. JIMMY The senator fucked your job. HALLENBECK And my pension. And my marriage. Only reason I'm still licensed to carry a gun, the man himself made a few calls. Since then I'm just playing it out. Day by day.Jimmy is silent for a moment. Then: JIMMY Cory tumbled to some sort of deal between Marcon and the senator, and they had her killed. (beat) We gotta show this photo to the cops. HALLENBECK Not yet. I need more evidence. (beat) I want Baynard, Jimmy. I want to bring him down. I could use your help. JIMMY Why should I help you? HALLENBECK Because if Baynard takes a fall, so does Marcon. The man who kicked you out of professional football. 72.INT. PLUSH BEDROOM - NIGHTA tall, thin, almost effeminate MAN is seated on a couch.High cheekbones. A shock of blond hair.Glittering, malignant eyes.He is directing a pornographic film.PRETTY GIRLis bound hand and foot to the posts of a lavishlyappointed bed. Around her, the room is filled withKleig lights. Reflectors. Camera equipment.The girl is scowling furiously. She speaks to thedirector: GIRL I want the sheets changed, Milo. MILO (MAN) Of course you do, but we're running behind, dearest. GIRL I don't give a shit. I'm an actress, not a piece of meat, and I want clean sheets! MILO Fine. It's done. Right after this next shot.A strident BEEPER GOES OFF on Milo's belt. He turns tothe two-man crew and claps his hands for attention. MILO Okay, let's do it. (beat) Roll camera. CAMERAMAN Rolling. MILO And... action!The closet door opens. A hulking man emerges.He is carrying a chainsaw.The Girl on the bed stares, incredulous. GIRL Milo... What the fuck is this, some kind of joke? (CONTINUED) 73.CONTINUED: MILO Not at all, dearest. It's what's known as a snuff film.The hulking man pulls the starter cord. The SAW ROARSto life. GIRL Oh God Milo please oh God oh no please Miloooo!!A smile twitches Milo's upper lip. MILO Easy, Pablo. She's not a piece of meat.He exits. Closes a sound-proofed door behind him.INT. WOOD-PANELED STUDY - CONTINUOUS ACTIONMilo enters, all business.Crosses to a telephone with a blinking light.Stabs a button. Scoops up the receiver. MILO Yes, Mr. Marcon? How can I help you? MARCON (V.O.) Is this line secure? MILO One hundred percent, sir. I wouldn't have used your name otherwise. MARCON (V.O.) Sid and Jake are dead, Milo. Killed in an explosion. Looks like we got a new player in the game. MILO Who is he working for? MARCON (V.O.) From available information, he appears to be a free agent. Guy by the name of Joe Hallenbeck.Milo sits and begins punching keys on a computer. (CONTINUED) 74.CONTINUED: MARCON (V.O.) Get me everything you can on this fucker, Milo. I want it on my computer screen in fifteen minutes. MILO Yes, sir. And then? MARCON (V.O.) And then you'll be handling it personally.EXT. HALLENBECK HOME - LATE NIGHTDawn is a ghost on the horizon as Jimmy parks the rentalSubaru outside. The two men emerge. Head for the frontdoor. JIMMY So I get to meet your family, huh? What's your daughter like? HALLENBECK She's like thirteen. And if you even look at her funny, I'll shove an umbrella up your ass and open it.INT. HALLENBECK HOUSE - CONTINUOUS ACTIONAs they come through the front door, Joe's daughter,DARIAN, is slumped in a big Lazy-Boy, staring sullenlyat a movie on TV. Cute kid, cursed to wear ridiculous-looking dental headgear.She doesn't bother to look up. HALLENBECK First things first. I'm starving. (notices Darian) Hey, kiddo. Why aren't you in bed? DARIAN I'm watching television. HALLENBECK I can see that. DARIAN I hate you. Leave me alone. (CONTINUED) 75.CONTINUED:She still won't look at him. The two men cross to thekitchen. Hallenbeck opens the refrigerator, takes outsome lunchmeat. HALLENBECK She's pissed off because I wouldn't let her go out on a date with her friend Billy. DARIAN I missed the biggest party of the year. JIMMY Why couldn't she go? HALLENBECK (incredulous) Because she's thirteen, that's why. (to Darian) I bought you some ice cream. DARIAN I'm not talking to you. HALLENBECK Gee, that's a shame. You always have such pleasant things to say. 'I hate you, Dad.' I'm gonna miss that, darn it... (beat) It's chocolate chip, your favorite. DARIAN I don't care. You're an asshole.Without missing a beat, Hallenbeck opens the windowand heaves the ice cream outside. HALLENBECK That's for saying asshole. God, I hate wasting food. Wanna abuse me some more? Go ahead, shock me. You know, I hardly ever hear the word asshole. DARIAN Bullshit, I bet you get it all the time. HALLENBECK All right, knock it off. (CONTINUED) 76.CONTINUED: DARIAN What're you gonna do, ground me some more? HALLENBECK Hey, you want it, you got it, lady. DARIAN Thank you, asshole. HALLENBECK You're grounded for a week. DARIAN Yes, sir, asshole. HALLENBECK That's two. You wanna play this game? I love this game. DARIAN Just leave me alone. (to Jimmy) He thinks he's fuckin' Ward Cleaver. HALLENBECK All right, that's it. You wanna be a gutter mouth? You wanna sound like your mother, well that's terrific. Christ, all day long I don't take enough abuse, I gotta listen to shit from you! JIMMY Hey, Joe, take it easy... HALLENBECK Don't you tell me how to talk to my kid. DARIAN All I wanted was to go to a party, but Pop here thinks I'm out to get laid. HALLENBECK Go for it, kiddo. All the dirty words. Come on, shock me. Go ahead. DARIAN Sure thing, you dumb fuck-up. (CONTINUED) 77.CONTINUED: HALLENBECK All right, I've had it. Go to your room. Or I will whip your behind. DARIAN You'd probably like it.Hallenbeck takes her by the arm and drags her out of thechair. Toward her room. HALLENBECK Goddammit, you are my daughter and you will respect me, got that? You got it? You don't ever call me a fuck-up. DARIAN Why shouldn't I, Mom calls you that all the time.That stops him. He looks at her, stricken. HALLENBECK Your mother called me a fuck-up...? When? DARIAN On the phone to Uncle Jay. HALLENBECK Uncle Jay? Ohh, Christ, I'm a fuck-up, but Uncle Jay, now there's a real stand-up guy. Shit, the bastard cheats on his tax form, I'm surprised he hasn't done time! Why don't you ask your mother why Mister Wonderful isn't in jail for tax evasion? DARIAN (smiles) Because he doesn't fuck up.She goes into her room and shuts the door.Hallenbeck rubs his eyes. Leans against the wall,exhausted. JIMMY You know, for fifty bucks you could get a guy to pull out her fingernails with a pair of pliers. (CONTINUED) 78.CONTINUED: HALLENBECK No. Anything that much fun, I'd want to do myself. JIMMY I think we could both use a drink.Hallenbeck crosses to a cabinet, breaks out a bottle ofSeagrams. Swigs. Hands it to Jimmy. As Jimmy drinks,he notices a photo on the wall: Hallenbeck shakinghands with George Bush. JIMMY That's you? HALLENBECK Yeah. That's me. JIMMY You look like the dad on 'The Brady Bunch.' HALLENBECK Yeah, I was a regular Boy Scout.Joe starts to fix a sandwich. Jimmy takes nips from thebottle. JIMMY So. You gonna get a divorce? HALLENBECK Don't know.He bites into the sandwich. Not really tasting it. JIMMY You don't like women much, do you, Joe? HALLENBECK (mouth full) Mike Miller wasn't the first time. Sarah has cheated on me before. Twice. I never told her I knew. At first, my opinion of women took a real dip, yeah. JIMMY And now? HALLENBECK Now I'm content if I like the guy she's fucking. This last one was my best friend. (CONTINUED) 79.CONTINUED: JIMMY Horseshit, he was a scumbag private eye. HALLENBECK What am I, Jimmy? JIMMY He tried to get you killed. HALLENBECK Friends can't be perfect. (sighs) I wish the sky wasn't blue. I wish water wasn't wet. I wish I didn't still love my wife.He eats in silence. Jimmy says: JIMMY You know what I did last night? HALLENBECK What? JIMMY I went to a party and shit on a car. HALLENBECK Damn. You, too? JIMMY I'm a complete loser. Capital 'L.' All I ever wanted... was to be somebody's hero, you know it...? Now I mostly sit around. Watch T.V. Get laid. I'm a fucking slug, throw salt on me I'd curl up. Life sucks. HALLENBECK You're wrong. JIMMY Life doesn't suck? HALLENBECK No, life sucks. But you're not a loser. Cory loved you. JIMMY Yeah, and the last thing I did was cheat on her. (beat) Why do people cheat, Joe? (CONTINUED) 80.CONTINUED: HALLENBECK Because it's easier than paying the tax, Junior. JIMMY Ooooooh. Very deep. HALLENBECK So deep I don't know what the fuck it means. JIMMY It means another drink is required.He raises the bottle. JIMMY Alex the accountant.He drinks. Hallenbeck frowns, watching him. HALLENBECK Is Alex your accountant? JIMMY No. But he could have been. (beat) Alex was my son.Hallenbeck stares at him. JIMMY I was married at 19. Sweet young thing, looking to get out from under daddy's thumb. I didn't know she was a junkie. All during her pregnancy. Shooting up. There were complications. She died. Alex lived for seventeen minutes in the incubator. Fell asleep. Died before he woke up. (takes a drink) He was born... He had time for one dream... and then he died. I wonder what his dream was about. HALLENBECK I'm sorry. JIMMY I think about him a lot. I mean, who was this... guy? (MORE) (CONTINUED) 81.CONTINUED: JIMMY (CONT'D) This little guy who only got seventeen minutes, who was he, Joe...? What was he like? (beat) What would he have been? HALLENBECK He would have been a great ball player. Like his dad. JIMMY (shakes his head) No. He had to die, Joe. Don't you see? HALLENBECK Why did he have to die? JIMMY (softly) Because he came out of me.He puts aside the bottle. Scowls. JIMMY I'm gonna borrow your shower.He exits. Hallenbeck watches him go. Says nothing.INT. BATHROOM - CONTINUOUS ACTIONJimmy enters and shuts the door. Turns on the shower.Makes no move to undress.Instead, he reaches inside the waistband on his pants.Removes a vial of coke. Dips a spoon.The door opens.Hallenbeck is standing there with a handful of freshtowels. He stops. Staring at Jimmy. They freeze intableau.Then Hallenbeck crosses the floor with two quick stridesand slugs Jimmy with all his might. Decks him.The kid goes over backward into the shower, head strikingthe porcelain. He swerves. Claws his way out, drenched. HALLENBECK Not in my house, you dumb motherfucker. (CONTINUED) 82.CONTINUED: JIMMY Joe, man, you don't get it -- HALLENBECK Shut up.He picks up the vial of powder. HALLENBECK This is what you went looking for in Cory's apartment, isn't it? You found this when you found that envelope.He crosses to the toilet. Jimmy cries out. JIMMY Joe, please!Joe drops the vial in the water. Flushes.Jimmy darts forward. Joe shoves him back. JIMMY You stupid bastard, do you know what you've done? That was a thousand bucks' worth of shit! HALLENBECK You got it, son. I'm just mixing it in with all the other shit. (beat) Get the fuck out of my house. Now. JIMMY You don't understand. HALLENBECK I said, get out. I'll break your fucking neck, kiddo.Jimmy glares at him. Coldly defiant. JIMMY Go ahead, tough guy. Go ahead. (beat) I'm trying to survive, man. I use that stuff to get by, so fuck you. HALLENBECK I don't use it. I get by. (CONTINUED) 83.CONTINUED: JIMMY Oh, sure, Dudley fucking Do-Right, you stand there and judge me, and, meanwhile, you never had your old lady die on you, did you, pal?? And your fucking kid?? And I said to God, 'Hey, buddy, what gives? I go to church, I give to the United Way, what is this dead wife and kid shit...?' And he didn't say nothin', Joe.He grabs a towel. Scrubs savagely at his wet torso. JIMMY And then I lose my job, my fucking life, okay, and why...? You know why? Because I gambled. Whoa, hold on, stop the presses, Jimmy gambled, well shit, of course I gambled, everybody does, and the fucking league knows it!He advances on Joe, trembling with anger. JIMMY Why, Joe? Why is there an injury report in pro football, huh...? Nobody else has a fucking injury report, but the N.F.L. does, so the fucking gamblers will know the spread! Marcon... the commissioner ... those fucking hypocrites... killed the last thing I could do, Joe...! I can't do anything... anymore.And suddenly he is crying. JIMMY I couldn't save my wife... She died screaming and I couldn't do a Goddamn thing... And my baby came out... and he was so fuckin' small, Joe... He was too fuckin' small...He collapses against the wall.Slides down to a sitting position. Huddled on the floor.Hallenbeck watches him. Says nothing.For a moment, he seems moved to compassion...Then his gaze hardens. He kneels next to Jimmy. (CONTINUED) 84.CONTINUED: HALLENBECK When you're through feeling sorry for yourself, the front door's that way. JIMMY (wipes his eyes) You're a total bastard. HALLENBECK You brought cocaine in my house. End of story.Jimmy is silent. He stands. Exits into the hall.Joe's daughter, Darian, is standing there. DARIAN You're Jimmy Dix, aren't you? JIMMY Huh?There is an awkward pause. Darian holds out a footballcard.Young, smiling Jimmy.The card is old. Tattered. DARIAN I'm sorry I acted like a bitch. Would you sign my card?Hallenbeck steps forward. HALLENBECK I told you to go to your room. DARIAN But, Dad -- ! HALLENBECK Go to bed. This guy's not signing anything. DARIAN Aw, come off it. HALLENBECK Forget it, Darian. (beat) The guy's a loser. Big time.Darian's face is a mask of confusion. (CONTINUED) 85.CONTINUED:Jimmy walks past her to the front door.Stops with his hand on the knob. Turns. JIMMY I never shaved points, Joe. I never did.Joe is silent. Stone-faced. JIMMY If you want my help, I'm at the Casa Loma Apartments on Ventura.He exits. Shuts the door behind him.Darian goes into her room, fuming. Shuts the door.Joe is alone. He turns. Sees his reflection in the hallmirror. HALLENBECK Smile, you fuck.INT. MASTER BEDROOM - DAWNThe first light of day streams through the window.Hallenbeck pushes Furry Tom to one side.Sits on the bed.Regards his sleeping wife with hooded, lifeless eyes.She is peaceful. Serene. He reaches out to touch her.Stops. Withdraws his hand.Crushes out the cigarette. Stands. Leaves.INT. DARIAN'S ROOM - SAME TIMEHallenbeck enters. Crosses to Darian's bed.She is asleep. She looks vulnerable. Helpless.He leans over and kisses her.She stirs in her sleep.Murmurs: DARIAN Billy...Hallenbeck recoils.Stares at her.The DOORBELL RINGS.Startling him. He mutters under his breath.Stalks out of the room. 86.ANOTHER ANGLE - FRONT DOORDown the hall to the front door. Flings it open, pissedoff. HALLENBECK Goddammit, Jimmy, I told you -- !It isn't Jimmy.Standing on the porch is a tall, thin man with blondhair. The man removes a TASER GUN from his overcoat. MILO Good morning, Joseph.He FIRES point-blank.The electrode hits Hallenbeck in the chest.A CRACKLE of electric current. Hallenbeck jerksspastically.The world spirals away.He plunges down into darkness. CUT TO:INT. CLUTTERED APARTMENT - MORNINGJimmy looks bad.Sprawled out on a tangle of dirty sheets.Jeans. Bare feet.Smoking.Staring at a football card.A duplicate of the one Darian showed him.He swings his legs off the bed.Stands, crushes out his cigarette.Moves into the bathroom.The Baggie of coke is on the counter.He stares at it with bloodshot eyes.Swallows hard.Acts before he can think.Grabs the Baggie. Tosses it in the toilet.Flushes. Watches as it goes down the drain.EXT. CASA LOMA APARTMENTS - MORNINGAnother Goddamned day.A chill drizzle. The palm trees look forlorn. 87.AT CORNER NEWSSTANDJimmy buys a paper. Trudges along Ventura Boulevard.Huddled against the chill.SLEEK, BLACK SEDANslides to the curb in front of him.Two men get out:One is Pablo, who last we saw wielding a chainsaw inMilo's snuff film; the other is an ugly piece of hiredmuscle who we'll call CHET.The two men flank Jimmy and walk alongside him.He looks up, startled. PABLO Good morning, Jimmy. JIMMY Who are you, and how the fuck do you know my name? CHET (frowns) This is the guy? You sure it's the guy? PABLO This is him. CHET The kid with the million-dollar arm? PABLO Yeah. CHET Shit. He don't look like much. I wouldn't pay no million dollars for this bozo. PABLO Neither will anyone else, anymore. JIMMY I'm growing whiskers here, guys. You got something to say, fucking say it. CHET Wow. Tough guy stuff. Must have caught it from his buddy Hallenbeck. (CONTINUED) 88.CONTINUED: JIMMY Who? PABLO Don't play dumb, shithead. You were with him last night at the club. CHET Mr. Marcon sent us to teach you a lesson, Jimmy. Something about keeping your big coked-up nose out of his fucking business. PABLO Get ready, kid. This one's an E ticket.And, with that, they grab Jimmy under the arms.Carry him across the sidewalk to a plywood fence. JIMMY Please, guys, don't do this... Jesus Christ, I was just her boyfriend, I swear to God, please!They toss Jimmy over the fence.ANOTHER ANGLENot a terrible fate, under normal circumstances.In this case, however --A fifty-foot drop...Awaits him beyond the fence.A huge, looming pit dug into the earth.Foundation for a new parking garage.Jimmy plummets like a stone.Under normal circumstances, he'd be dead.But since it rained last night, he's got three feet ofwater to land in.He hits with a splash. Disappears beneath the water.Surfaces, screaming in pain.Thrashes in the muddy water, and only when he looks downdoes he notice the splintered bone jutting out of hisskin at a crazy angle. (CONTINUED) 89.CONTINUED:His million-dollar arm. His throwing arm.He clutches at cracked ribs, screaming: JIMMY Oh, God, my arm, my fucking arm, oh Jesus Christ!!!He kneels in the muddy water, rocking back and forth.LONG SHOT - JIMMYAlone in the pit.Huddled in a pool of muddy water.His screams of pain ECHO in the chill, morning air.INT. LAPD ROBBERY/HOMICIDE DIVISION - DAYBen Bessalo's office, to be precise.Bessalo reclines grumpily at his desk. Scanning reports.McCaskey hangs up the phone and calls across the room: McCASKEY I got bad news and bad news. BESSALO Gimmee the bad news first. McCASKEY Bad news is, they just pulled Jimmy Dix out of a construction site on Ventura. He's busted up. BESSALO Okay, now gimme the bad news. McCASKEY I just got a call from Hallenbeck's neighbor.Bessalo looks up, intrigued. McCaskey continues: McCASKEY Now, according to Hallenbeck, Mike Miller came to the house early that morning to talk about a case, right? BESSALO Right. (CONTINUED) 90.CONTINUED: McCASKEY Okay. So how come Hallenbeck's neighbor claims that Miller's car was parked there all night, in the same spot?Bessalo sits bolt upright. Eyes glazed. Wheels turning. BESSALO He lied. Why did he lie...?Realization hits him like a thunderbolt. BESSALO Shit. Miller was fucking his wife. McCASKEY What? BESSALO That's why the car was there, Miller was fucking Hallenbeck's wife, Hallenbeck just got back from out of town, remember? (beat) Christ, Joe wasted the bastard himself!He stabs a button on the phone. Barks into the receiver: BESSALO I want an A.P.B. out on Joe Hallenbeck. Now. Find him and if he resists arrest, shoot the bastard.He slams down the phone. Stares, stricken, at McCaskey. BESSALO I let him go, Mick. He wasted Mike Miller and waltzed right out of my office, I let him go, Goddammit! McCASKEY Relax, Ben. We'll bring him in. He's not that good. BESSALO You wanna bet?And, with that, we promptly -- CUT TO: 91.JOE HALLENBECK'S UNCONSCIOUS FACEWeathered. Sallow. Dark circles under the eyes.HANDcomes INTO FRAME and slaps him. Hard.Rocks his head to one side.INT. ELEGANT BEACH HOUSE - LIVING ROOM - ANOTHER ANGLEThick carpet. Polished, wood furniture. Window walls.Outside, the sea is angry and grey.PABLO AND CHETare standing over Hallenbeck, who is slumped in a chair.Both hitmen wear holstered sidearms.Chet leans over and slaps Hallenbeck again.The big detective begins to stir.His eyelids flutter. CHET I think he's awake. PABLO Make sure.Chet's hand flashes out for a third slap --And from nowhere, Joe Hallenbeck's hand magicallyappears.Intercepts the blow.Clamps onto Chet's hand and wrenches it.A cry of pain.Chet stumbles backward, cradling the wrist. HALLENBECK I'm awake.His eyelids creak open.He squints, adjusting to the light.Studies his captors. CHET You nearly broke my wrist, man. HALLENBECK Life's a bitch. (CONTINUED) 92.CONTINUED:He starts pawing his coat pockets, looking for a cigarette.In the corner, Pablo chuckles: PABLO Milo warned us to watch out for this guy.Chet is seething. He glares at Hallenbeck.Hallenbeck yawns. CHET Fuck that. Look at him. He's nothin'. Guy's a piece of shit.Hallenbeck ignores him. Sits up. Rubs tired eyes. HALLENBECK Anybody got a cigarette...?Chet steps forward. Grins wickedly. CHET Sure, buddy. I got a cigarette.He reaches into his shirt pocket. Extracts a Marlboro.Hands it to Hallenbeck. Takes out a lighter.Hallenbeck places the cigarette between his lips.Leans forward for a light --And Chet slugs him in the face.The cigarette goes flying.Hallenbeck's head snaps back.Blood creeps from his lower lip. CHET (guffaws) Hey, baby, I thought you were tough. See, Pablo, he ain't so bad.Hallenbeck's eyes glint fiercely. He takes a breath.Leans forward and says: HALLENBECK I seem to have dropped my cigarette. May I have another?Chet turns, meets his gaze. The grin falters a bit. CHET (unnerved) Sure. Sure thing, buddy. (CONTINUED) 93.CONTINUED:He hands Hallenbeck another smoke.Hallenbeck puts it between his lips. HALLENBECK I need a light. (beat) And if you touch me again... I'll kill you.A pregnant pause.The challenge hangs in the air.Slowly, Chet takes the lighter from his pocket.Pablo looks on, a smile twisting his features.Hallenbeck leans forward for a light.Chet extends his arm --And slugs Hallenbeck in the face again.Rocks him.Chet howls with laughter.Pablo grins. CHET Baby! Two for two!The laughter continues.Hallenbeck takes a deep breath.Stands up.Strikes with a flattened palm.Breaks Chet's nose.Drives it up into the brain.Chet stands, pole-axed. Blinks once.Pitches over dead.And suddenly Pablo isn't laughing.He stares at Hallenbeck, incredulous.Stares at Chet, lying on the carpet. PABLO Jesus Christ. (draws his gun) You son-of-a-bitch. Jesus Christ!!He rushes to Chet. Kneels beside him.Hallenbeck calmly returns to his seat. PABLO You killed him! 'Fuckin' A, you killed him, he's fuckin' dead!!!Hallenbeck says nothing. (CONTINUED) 94.CONTINUED:At that moment, a door opens, and Milo enters.Slick. Well-dressed. Utterly composed. MILO Is there a problem? PABLO (still dazed) He killed Chet, Milo. The mother- fucker just killed him!Milo looks toward Hallenbeck. Hallenbeck says nothing.Instead, he calmly leans forward and picks up Chet'slighter from the carpet. Lights his cigarette. Blowssmoke.A tense moment... and then Milo does something un-expected: He starts to laugh. Advances into the room,chuckling. MILO Oh, my. Oh, Goddamn. Joseph, Joseph, you don't disappoint me.He draws a Walther PPK and approaches Hallenbeck.Smiling and cheerful. MILO You seem to have killed one of my men. HALLENBECK (shrugs) I needed a light.Milo nods as if this makes perfect sense. MILO You took an awful risk. Pablo here could have shot you dead. HALLENBECK If you wanted me dead, you'd have already killed me. MILO Yes, that's true. (sits down) I suppose introductions are in order. HALLENBECK (waves his hand) Fuck it. You're the bad guy, right? (CONTINUED) 95.CONTINUED: MILO Yes. I'm the bad guy. HALLENBECK And you've got the gun, and I'm supposed to tremble in fear, something like that? MILO Something like that. HALLENBECK Fine. I'll start trembling in a minute. Mind if I have a drink first? MILO (smiles) I don't see why not. Pablo, please take Chet's corpse into the other room, and then fix Mr. Hallenbeck a drink.Suddenly a voice rings out from the doorway: VOICE (O.S.) Make that two.Hallenbeck turns toward the new arrival. HALLENBECK Hey, look who's here. Connie Marcon himself.Sure enough, CONRAD MARCON saunters in, just like he ownsthe place. Which, by the way, he does. Tall, strong,Texas-tough. Dressed in a Saville Row suit. He frownsat Hallenbeck: MARCON Careful, son. Only my friends call me Connie. HALLENBECK You got friends? When did this happen? MARCON (chuckles) I'll give you one thing. You're pretty calm for a man in your position. (CONTINUED) 96.CONTINUED: HALLENBECK You're pretty calm for a man whose team is three and six on the year. MARCON They're having some problems. HALLENBECK They stink.Marcon's composure falters, but only for a moment. MARCON I'm glad you're here, Joe. We got a few things to discuss.He takes a moment to gather his thoughts. MARCON For starters, I'm sure you're aware that professional football is changing, and not for better. (lights a cigar) Used to be, you went to the local stadium come Sunday, you saw heroes. Guys who fought for their hometown. Anymore, no one gives a shit. Ever since Sonny Werblin paid $400,000 to Joe Namath back in '66, the sons of bitches just got greedier. Playing only for themselves. Giving nothing back to the game.Pablo hands him a double bourbon. MARCON This year, the final blow: the N.F.L. votes to decertify the Players Organization. Eliminates the draft, reduces all athletes to free agents. Reduces football, once and for all, to commerce. To greed, you follow? HALLENBECK When do I say the Pledge of Allegiance?Marcon looks directly at Hallenbeck. (CONTINUED) 97.CONTINUED: MARCON Do you know how many ratings points Monday Night Football lost this year? Per week? An average of two point eight. HALLENBECK Oh, for Chrissake. You're telling me this whole thing is about TV ratings? MARCON People have stopped watching, Joe! Everybody's turning the channel, they're still looking for heroes, you follow? Guys like you. Milo here tells me you took a bullet for the President, jumped in front of a sniper rifle.Hallenbeck reacts, startled. Looks at Milo. MILO We took the liberty of researching your background. MARCON How about it, Joe? Is it truth or hype? HALLENBECK (shrugs) I got the rifle in my closet as a souvenir. MARCON There you go, that's what I'm saying. The public wants real heroes. Not a bunch of football prima donnas, jumping from team to team with their fancy lawyers. (beat) In fact, Joe, and this is my point, there's only one reason left nowadays to watch pro- football. Can you guess?It begins to dawn on Hallenbeck. HALLENBECK Gambling. (CONTINUED) 98.CONTINUED: MARCON Exactly. Gambling. (puffs his cigar) Just one problem: football gambling is illegal in all but two of the fifty states. And that, Joe boy, is where I come in. HALLENBECK (sudden realization) Shit, that's what this is about! You're bribing United States senators. Paying them to pass legislation -- MARCON -- Legalizing football gambling in all fifty states. Exactly. HALLENBECK Attendance goes up again. TV ratings go up again. MARCON You got it, son. The networks are happy. I'm happy. Everybody's happy. HALLENBECK Before we get too fucking happy, let's get a couple things straight: first, I'm not your fucking son, and second... why am I still alive?Marcon stops pacing. Sighs and sits down facingHallenbeck. MARCON It's like this, Joe: everything was going great until a couple weeks ago, and then I hit a snag: Senator Calvin Baynard. HALLENBECK (takes a sip of bourbon) I don't get it. What's the snag? MARCON I offered him the bribe and he wouldn't take it.Hallenbeck actually does a spit-take. Sprays bourbon. (CONTINUED) 99.CONTINUED: HALLEBECK Baynard? Are you nuts? The guy's so crooked he shits slinkies. MARCON Allow me to clarify: I offered him the bribe, and he turned it down because he wanted more money. HALLENBECK (sighs with relief) Thank God. For a minute there I felt hell freezing over. Did he ask for more than a million? MARCON Does the Pope shit in the woods? He wants two million or he'll blow the lid off my whole plan. I don't feel like paying no two mil, so basically that good ole' boy's gotta die. HALLENBECK Taking off a U.S. senator, that's pretty ballsy. Even for an asshole like you. MARCON Oh, I'm not going to kill Baynard, Joe. HALLENBECK Who is?Marcon says nothing. Just looks at Hallenbeck andsmiles. HALLENBECK Oh, shit.He rubs tired eyes. HALLENBECK I'm the perfect fall guy. Everyone and his uncle Max knows I hate Baynard. MARCON (nods) Anything goes wrong, all the heat lands on you, Joe boy. My hands are clean.Hallenbeck scowls. (CONTINUED) 100.CONTINUED: HALLENBECK Any particular reason I should go along with this prize-winning scheme? MARCON (smiles) Just one.He motions to Milo, who disappears through a doorway.Reappears a moment later.He's got Joe's wife.ANGLE ON HALLENBECKHe stands. Face contorting. Fists clenched.Rage courses through him like an electric current.Marcon cocks his gun. MARCON Sit down, Joe.A moment. Joe stands, smouldering. On fire. Sarahspeaks: SARAH Do what he says, Joe.Joe sits. Breathing shallowly.Eyes locked on Milo. HALLENBECK Are you alright, Sarah? SARAH Yes. MILO That's a temporary condition, Joseph. As you may be aware, there are distributors in Mexico who positively crave snuff films. And unless you do every fucking thing Mr. Marcon tells you... your wife will make her motion picture debut.He meets Joe's murderous gaze... and smiles. 101.INT. HOSPITAL EMERGENCY ROOM - DAYMeanwhile, back at the ranch, Jimmy is seated, shirtless,on a metal examining table. His ribs are taped. Hisarm in a cast.Two men loom over him, sour expressions on their faces:Sergeants McCaskey and Bessalo.Jimmy shakes his head, exasperated: JIMMY Look, I'll say it again for the cheap seats: I don't know anything and I can't help you. Okay? Can I go now?Bessalo grimaces in disgust. BESSALO Let me get this straight: you're walking along, minding your own business, when two guys you never met jump you and throw you in a ditch for no particular reason. Is that it? JIMMY That's it. BESSALO You're full of shit, kid. (beat) Tell me where Hallenbeck is. JIMMY How the fuck should I know? Try his house. BESSALO We did. Where is he? JIMMY For Chrissake, I just met the guy. (beat) Look, Sergeant. I don't give a shit about Joe Hallenbeck. I just busted my throwing arm and I'm in a real pissy mood, so you got two choices: either charge me with something or let me the fuck outta here.He glares defiantly at Bessalo. CUT TO: 102.EXT. CASA LOMA APARTMENTS - DAYThe grey day wears on.Jimmy trudges stiffly down the walk toward his apartmentunit. Pulls up short, staring ahead --DARIAN HALLENBECKSlumped outside the door to his apartment. Asleep. Acrumpled piece of paper clutched in her hand.He kneels beside her. Touches her shoulder. JIMMY Hey. Wake up.She stirs. Awakens, looking at him.Her eyes are puffy and red from crying.Her hair is a tangled mess.She hands him the piece of paper, and promptly burstsinto tears.Buries her head in his chest, sobbing.He cradles her with his good arm.Awkwardly unfolds the crumpled paper and reads: MOMMY AND DADDY ARE WITH US CALL THE POLICE AND WE'LL KILL THEM BOTH.He stares at the note, dumbstruck. CUT TO:EXT. BEACH HOUSE - DAYA savage wind sweeps in off the ocean.Gulls wheel overhead.FORTY FOOT YACHTis tethered to a wooden dock outside the beach house.Milo and his crew prepare to cast off. Meanwhile:PABLOapproaches along the dock, looking lean and mean in anIzod shirt.He stops in front of Sarah and Joe Hallenbeck. (CONTINUED) 103.CONTINUED:They are seated on the dock.Each handcuffed to a metal railing.Pablo kneels and unfastens Joe's cuffs. PABLO Get up. HALLENBECK Go fuck yourself.Pablo delivers a savage kick to Hallenbeck's ribs.Hallenbeck gasps in pain. HALLENBECK I meant that... in a good way...Pablo hauls him to his feet. Props him against therailing. PABLO Time for a little payback, Joe. Call it a service to dear departed Chet.He slams a fist into Hallenbeck's middle.Sarah cries out in alarm. PABLO How's that feel, fuckhead? HALLENBECK (weakly) I'm asshole... she's fuckhead.And with that, Pablo lets him have it.Rains punches on his chest and gut.Slams an elbow into his kidneys.Drives a knee into his groin.Joe hits the deck.Milo calls out from the boat: MILO Easy, Pablo. I want him conscious.Pablo is kicking Joe's prone form. SARAH Goddamn you, stop it!! Oh, Jesus, leave him alone! (CONTINUED) 104.CONTINUED:Pablo gives Joe a last swift kick. Spits on him.Hallenbeck vomits. Lies bleeding on the dock.Sarah crawls over to him. As far as the cuffs willallow. Cradles his head in her lap. HALLENBECK Don't... look at me... SARAH Shhh. It's okay, Joe. I'm here, it's okay. (strokes his hair) I love you, Joe.Hallenbeck looks at her like she's just grown threeheads. HALLENBECK I get the shit beat out of me... puke all over myself... and now you love me? SARAH I never stopped loving you, Joe. HALLENBECK Christ, you slept with three guys. SARAH You knew about the others? HALLENBECK I knew. SARAH You never said anything. HALLENBECK Figured... you needed them. SARAH Joe, Goddammit, why didn't you say something? HALLENBECK Like what? 'Fuck you, Sarah'? SARAH Yes. Fuck you, Sarah! Anything to show that you... that you had some pride left.A pause. Then Hallenbeck heaves a sigh. (CONTINUED) 105.CONTINUED: HALLENBECK Sorry... I'm fresh out. SARAH I'm scared, Joe. Get me out of this. HALLENBECK Must be my trick ear. Sounded like you said, 'Get me out of this.' SARAH You can take these guys, Joe. HALLENBECK I've got cracked ribs and a concussion. SARAH Save me, Joe. Be a hero. HALLENBECK I don't believe in heroes. SARAH That's no excuse.He stares up at her for a moment. Then, through bloodylips: HALLENBECK Fuck you, Sarah...And he smiles.Just then, Milo signals from the boat.Seeing, this, Pablo approaches the couple again. PABLO All right, lovebirds, break it up.He yanks Sarah to her feet.Lets his gaze roam up and down her body. PABLO Nice tits.He rips open her blouse. Roughly fondles her breasts.Hallenbeck. On the ground.He growls with fury. Starts to push himself up. (CONTINUED) 106.CONTINUED: PABLO Stay down, fucker. Don't you move.At that moment, Milo comes striding down the dock.Whistling cheerfully. MILO Careful, Pablo. We don't want to get Mrs. Hallenbeck all excited in front of hubby.He squats next to Joe. MILO Hello, Joseph, guess what? Time to go, and remember: you follow orders, or the missus pays the price. HALLENBECK You're gonna kill us both anyway. MILO Perhaps. But there are ways to die, and then there are... ways to die. Capisce? You determine your wife's fate.He yanks Hallenbeck to his feet.Propels him toward the boat.As her husband is being led away, Sarah calls out: SARAH Joe...!He stops. Turns. Looks at her.Boys and girls, there is, within Joe Hallenbeck, a spark:Tiny. Fizzling. Almost gone.But now, looking at his wife, that spark unexpectedlykindles --And eight years melt away.Just like that.The old Joe Hallenbeck looks his wife in the eye andsays, with deadly calm: (CONTINUED) 107.CONTINUED: HALLENBECK I'll be back. (beat) That's a promise.Milo clubs Joe in the head with his pistol. MILO You're wasting my time, Joseph. Let's go.Hallenbeck turns. Dirty. Tired. Unshaven. Bloody.He looks at Milo... and grins: HALLENBECK If you touch me again... I'll kill you.They stare into each other's eyes.Hallenbeck does not give an inch.Milo hits him again.INT. TOPANGA CANYON HOME - DAYRemember Jimmy's friend, Henry, who we met briefly nearthe opening of the film? Of course you do, you're ahighly-paid reader or development person.Well, Henry is seated in a big, lived-in den watchingfootball films. The walls around him are adorned withhunting paraphernalia. Rifles. Trophies.There is a KNOCK at the door. He gets up.Crosses to the door. Opens it.And Jimmy Dix is there. He gets right to the point: JIMMY I need to borrow a gun, Henry.INT. EXPENSIVE, WOOD-PANELED OFFICE - AFTERNOONConrad Marcon sits behind a huge teak desk.Surrounded by football paraphernalia. Paintings.Trophies.The PHONE CHIRPS. He picks up the receiver. Stabs abutton. MARCON Marcon.INTERCUT: 108.ON SHIPBOARD - MILO MILO It's Milo, sir. We're now underway and should be lying off Catalina within two hours. MARCON Good boy, Milo. The commissioner's party starts at six. I'll put in a token appearance around six-thirty. MILO Very good, sir. MARCON Any problems with Hallenbeck? MILO No, we're getting along famously. MARCON Glad to hear it. No fuckups, Milo. I want him deep-sixed. MILO I assure you, neither he nor the senator will see another sunrise. MARCON Christ, Milo, how come you always have to talk like a fruit? MILO If it annoys you, I could always adopt a Texas drawl, though I'm afraid I don't know any stories about fucking pigs. Sir. MARCON Cows, Milo. Never pigs. MILO I'll remember that, sir.He hangs up.Marcon replaces the receiver and chuckles. MARCON Goddamn fruitcake.He turns, and suddenly we realize he's not alone in theroom: a STRANGE MAN is seated in the shadows off to oneside. His face is obscured... Marcon addresses him: (CONTINUED) 109.CONTINUED: MARCON So far, so good.The Man in the corner nods, then speaks. As he does, wenotice he has a speech impediment; it sounds like he'stalking with his mouth full. STRANGE MAN We've worked too hard, Con. There's no margin for error. MARCON Take it easy, buddy. We're covered. STRANGE MAN You're using the first team, yes? MARCON Absolutely. (sighs) Actually, I have no choice. STRANGE MAN How's that? MARCON Fuckin' Hallenbeck killed the second and third teams.EXT. LONG BEACH BOAT YARD - AFTERNOONA sign reads, BOAT RENTALS: DAY AND WEEK.Jimmy moves briskly down a concrete ramp toward aHatteras sport charter. He is obsessed. Determined.Darian trots along behind him. She's holding up prettywell, considering. DARIAN What do you need a boat for? JIMMY I'm gonna crash a party out on Catalina. Marcon will be there.He swings a bag of gear onto the boat. Starts to storeit. DARIAN Maybe... we should call the police. (CONTINUED) 110.CONTINUED: JIMMY No, honey. Not now. There's some big shots involved in this mess, and it's my word against theirs. If I blab to the cops, your mom and dad will disappear and they'll never find the bodies. (beat) I'm sorry, Darian. DARIAN (about to cry) So... what do we do...? JIMMY What I do... is confront Conrad Marcon and threaten to go to the cops, unless he gives them back. DARIAN Is that gonna work? JIMMY Beats me, but I think it's what your dad would do. DARIAN I'm scared. JIMMY Me, too, honey.His gear stashed, he turns to Darian. Tries a smile. JIMMY So... why'd you come to me, anyhow? DARIAN I don't know. I thought you'd... know what happened, know what to do... (beat) I mean, you were one of my dad's big heroes.Jimmy almost chokes... JIMMY What? (CONTINUED) 111.CONTINUED: DARIAN When I was little, he used to talk about you all the time. Best football player in the game. Great this. Wonderful that. You shoulda seen him when you got busted.Jimmy stares straight ahead. Takes a deep breath. JIMMY I'll get them back, kiddo. I'll get them back. CUT TO:EXT. CATALINA ISLAND - ESTABLISHING SHOT - NIGHTThe island sits beneath a dark, cloud-filled sky.Fog nestles in the foothills, rolling in off the ocean.CATALINA FERRYslices through the murk, filled with light, laughter,MUSIC.ON SHOREBoats are arriving at a private dock.A steady stream of guests. Tuxedoes and evening gowns.A parade of phony hair and phony boobs.All mounting the stairs to a huge chalet.Inside, a dinner party is in progress.INT. OPULENT LIVING ROOM - PARTYin progress.People with six-figure incomes.Pretending they're important.Mingling. Schmoozing.At a raised bar, Conrad Marcon bends the ear of aJapanese businessman. A lot of laughter. Back-slapping.A sudden commotion near the front door.FLASHBULBS POP. People crane their necks.Marcon turns to look, as: 112.SENATOR CALVIN BAYNARDenters the party, surrounded by an entourage of men inArmani suits. Seeing this, Marcon's face changes.Gone is the affable Texan.In his place, a ruthless murderer.He smiles. CUT TO:AUTOMATIC RIFLEas a thirty-shot clip is snapped into place.INT. FORTY-FOOT YACHT - CABIN - NIGHTMilo is preparing the weapon.He works the action. Pumps a round into the chamber.Looks up at Hallenbeck, who is bound hand and foot.Seated across from him in the boat's cabin. MILO Your wife's very pretty. HALLENBECK Fuck you, cocksucker. MILO My, my. Little testy this evening.He pulls a switchblade out of his Windbreaker. MILO That's not very polite, you know, calling someone a cocksucker. A lot of hard Ks. Very abusive sounding.Hallenbeck says nothing. MILO What would you do, Joseph, if someone called you that? Would you cut out one of his eyes...? HALLENBECK Nope. MILO What would you do? (CONTINUED) 113.CONTINUED: HALLENBECK I'd go off and suck some cock and leave him the fuck alone.Milo studies Hallenbeck the way a museum curator mightstudy a new species of fish. MILO It occurs to me, Joseph, that I would very much like to hear you scream. HALLENBECK Come again? MILO You're so cool, aren't you? So... if you'll pardon the expression... hard-boiled. I'd like, just once, to hear you scream in pain. HALLENBECK Play some rap music.Milo chuckles, shakes his head. MILO Fascinating. HALLENBECK When do I kill Baynard? MILO (laughs) Come now, Joseph, did you really think that I'd hand you a loaded gun? (beat) You're not really going to kill anyone. HALLENBECK I'm not? MILO No.He leans forward. MILO You're going to be framed for the senator's murder... when they find your corpse at the scene of the crime. 114.EXT. PRIVATE DOCK - NIGHTBoats, lots of them. Sportfishers. Yachts. Floatingboats. Money, money, everywhere, and plenty of drinksto drop.HATTERAS SPORT BOATPURRS quietly into the harbor. Jimmy at the rudder.Nudges up to the dock.In the chalet above, the party rages.SERIES OF SHOTS - JIMMY'S PREPARATIONJimmy lashes the boat.Goes below.Grabs a tuxedo from the closet.Stands, dressed, in front of the mirror.Opens a box. Removes a 9 millimeter Baretta.Works the slide. Jacks a bullet into the cylinder.Stashes it in the waistband of his pants:In back. Concealed by the tuxedo.Studies his own grim face in the mirror. JIMMY Okay, hot shit, let's do it.EXT. DECK - NIGHTJimmy emerges from the cabin. Heads for the rail.A voice calls out: DARIAN (O.S.) Nice tux.He turns, and sees Darian Hallenbeck.Peeking her head out from under a tarpaulin. JIMMY Goddammit, I told you to go home! DARIAN Fuck you, I stowed away. They're my parents, okay?Jimmy shakes his head. Exasperated. JIMMY Fine, whatever. Just stay here. With the boat. (CONTINUED) 115.CONTINUED:Darian starts to protest.He throws her the keys. JIMMY Anything funny happens, get the fuck out of here.Darian takes the keys. Frowns, says: DARIAN You look terrible. JIMMY I feel terrible. DARIAN Are you really a drug addict? JIMMY I was. I kicked the habit. DARIAN When? JIMMY This morning. Stay here.He swings over the side, onto the dock. DARIAN Don't let them break your other arm. JIMMY Thanks, kid. You're a fuckin' inspiration.INT. MILO'S YACHT - CABIN - SAME TIMEMilo speaks to Hallenbeck. Clipped. Businesslike. MILO At eight-fifteen, Senator Baynard will leave the party, hopefully unobserved. He and his entourage will board a fast boat, and rendezvous with us at sea. HALLENBECK Jesus. He thinks he's geting his two-million-dollar payoff.Milo nods. Points to two identical suitcases in thecorner. (CONTINUED) 116.CONTINUED: MILO Baynard will not leave his boat. One of his men will board us, and inspect the contents of the suitcase. This suitcast.He opens one of the cases. Hallenbeck stares.HUNDRED DOLLAR BILLSTwenty thousand of them, to be precise. Neatly bundled. MILO Then we pull a simple switch. When the man returns to his boat, he's carrying this suitcase.He points to the identical twin. HALLENBECK Plastics? MILO (nods) Detonation upon opening. Enough to kill the passengers, not enough to sink the craft. (smiles) And when we place your charred corpse amidst the wreckage, the police will draw the inevitable conclusion: a down-on-his-luck P.I. makes a suicide strike against the man who cost a career. HALLENBECK That sounds lovely, but how is my body gonna get charred?With a flourish, Milo pulls aside a tablecloth.Under the table is a five gallon can of gasoline. MILO Maybe I'll get to hear you scream, after all...Just then, one of Milo's crew sticks his head in thedoor. CREW MEMBER You better get up here, we got a problem. 117.EXT. YACHT - ON DECK - NIGHTMilo's yacht is anchored about a half mile offshore.Island lights blink in the distance. Fog rolls in.Milo emerges from the cabin onto the deck.Crosses to the railing, looks down at:FISHING BOATbobbing in the water about thirty yards away.A FISHERMAN is waving his arms. Hailing them.Beside him, his wife and seventeen-year-old son. FISHERMAN Hey! Buddy, I got a cracked engine casing, I'm dead in the water! Can I get a tow?Milo swears under his breath. Calls out: MILO I'm sorry, sir. This boat is Island Security, we're under strict orders to stay within this sector. FISHERMAN Aw, shit! Look, it'll take ten minutes! MILO I'm sorry, we can't help you. FISHERMAN Goddammit, now I gotta call the Coast Guard!Milo's crewman steps up to the rail. Speaks urgently: CREW MEMBER Milo, he's gonna bring the Coast Guard down on top of us.Milo ponders for maybe three seconds. Then he calls out: MILO Excuse me. Sir?The Fisherman turns. His family beside him. MILO Fuck you, sir. (CONTINUED) 118.CONTINUED:He reaches under his Windbreaker.Pulls out an Ingram model MACHINE GUN.OPENS FIRE.The entire family is blown away.WOOD SPLINGERS POP and fly.GLASS SHATTERS.The bodies topple like broken toys.Milo ceases fire. Turns to his crewman. MILO Problem solved. Get over there and put the bodies below where they can't be seen.He saunters away as if nothing unusual has occurred.EXT. PARTY HOUSE - NIGHTJimmy is strolling along a hedge behind the house.Looking for a back entrance.He hears VOICES, approaching.Pulls up short. Ducks into the shadows.Senator Baynard goes by, with two bodyguards.Brisk. Businesslike. SENATOR Christ, I can't believe I agreed to this dog and pony show. Let's get it over with.The head for the boats.Jimmy stares after them, mind racing.Makes a decision: heads for the boats.Following Baynard.INT./EXT. JIMMY'S BOAT - NIGHTJimmy casts off the lines.Heads for the cockpit. Darian is inside. JIMMY Gimmee the keys, kiddo. DARIAN Where are you going? (CONTINUED) 119.CONTINUED: JIMMY The Senator's here, and he's leaving by the back door. I'm gonna follow him.He keys the ignition. JIMMY Get off the boat. DARIAN Fuck you, man. No way. JIMMY Darian, Goddammit --She runs below decks. DARIAN (O.S.) I'm not coming out!Jimmy looks up:The Senator's boat, a sleek, powerful Marlineer, is evennow pulling out of the cove. JIMMY Okay. Shit. Okay. Easy. Shit.He throttles forward.The Hatteras pulls away from the dock. CUT TO:EXT. SKY - NIGHTThe sound of THUNDERING ROTORS, as a refitted Bell CobraHELICOPTER cuts through the night sky over Catalina.Banks sharply, cruises offshore.INT. COCKPIT - SAMEThe PILOT works the stick while the CO-PILOT searches thewater below through infra-red binoculars. He speaks intoa microphone. CO-PILOT This is Air One, over. MALE (V.O.) Roger, Air One, over. (CONTINUED) 120.CONTINUED: CO-PILOT The drop zone is clear, repeat, the drop zone is clear, over.INTERCUT WITH:MILO'S YACHT - SAME TIMEMilo is at the other end of the connection.Beside him, two crewmen. MILO Roger, Air One, over and out. (replaces the mike) Up anchor, gentlemen, we have a go. (points to Hallenbeck) Gag him and stash him.As Milo goes topside, one of the men tapes Joe's mouth.The other opens a cramped storage compartment.They stuff him inside. Shut and lock the door.EXT. PACIFIC OCEAN - NIGHTAbout two miles offshore. The Senator's Marlineer cutsthrough the waves, converging with Milo's yacht.The two boats pull up alongside. The lines are made fast.One of Milo's crewmen greets Senator Baynard's AIDE, aslick-looking Italian in a $1,000 overcoat.Baynard's man hops from one boat to the other.Boarding Milo's yacht. Meanwhile --EXT. OFFSHORE WATERS - IN FOGBANKJimmy Dix is clearly lost.He bangs his fist in frustration. JIMMY Goddammit, I lost him. I can't see a fucking thing. DARIAN See if this boat has sonar. JIMMY Oh, yeah, little Miss Know-It-All. (CONTINUED) 121.CONTINUED: DARIAN Fuck you. JIMMY Watch your mouth. DARIAN Take a bath in my ass.They're clearly having no fun. CUT TO:INT. MILO'S YACHT - CABIN - SAME TIMEThe payoff is in progress.One of Milo's crewmen carries the suitcase over to thewall. Places it on a built-in counter. Underneath thesuitcase is a half-finished jigsaw puzzle. Off to oneside is a half-empty coffee container.The case is opened. Greenbacks galore.Baynard's Aide whistles softly.Examines the stacks of bills. Nods, satisfied. AIDE Okay. We're cool.Just then Milo enters the cabin. Adopts a harsh New Yorkaccent as he angrily barks: MILO Hey! Any of you stupid fucks bother to frisk this goombah? CREWMAN No, sir, we didn't think -- MILO Exactly, you didn't think! Goddammit, that's two million bucks there, now frisk the fuckin' guy! AIDE Hey, baby, I'm clean, take it easy -- MILO Fuck easy. Against the wall, spread 'em! (CONTINUED) 122.CONTINUED:As Baynard's man assumes the position --Milo hits a concealed button.It happen in less than a second: the built-in counterrotates into the wall, only to be replaced by anindentical counter.Identical half-finished jigsaw puzzle. Identical coffeecup. And, of course, the identical suitcase.The indignant Aide turns around, pat-down concluded. AIDE Okay? Satisfied?Milo smiles apologetically. MILO We're cool, baby.He hands over the suitcase.BACK TOPSIDEBaynard's man emerges onto the deck, carrying the suitcase.Steps over the rail, crossing to the Senator's boat.Gives a thumbs up to the men waiting there.They cast off the lines. Freeing the two boats.INT. MILO'S YACHT - BRIDGEMilo watches, tense.As the lines are freed, he says: MILO Hard to starboard, get us out of here. Back off a hundred yards and wait for the blast.INT. SENATOR'S CABIN - SAME TIMEThe go-between heads below deck, carrying the suitcase.Senator Baynard puts down his wine glass.Looks up, expectant.The Aide flashes an "A-Okay" grin.Sets the suitcase on a table. Meanwhile --INT. JIMMY'S SPORT BOAT - BRIDGEJimmy has had about enough. He sighs with frustration.Stares ahead into the fog. (CONTINUED) 123.CONTINUED: JIMMY All we're doing is burning gas. Sorry, kid, I'm turning back.The words are barely out of his mouth when he hears athrobbing NOISE, growing louder... Darian looks uppuzzled. DARIAN Do you hear that -- ?And with that --AIR ONEbursts from the fog.Directly in front of them.Hovers like an avenging angel, TURBINES SCREAMING -- JIMMY Holy fucking shit!Rotor wash sprays in every direction.The noise is deafening.INT. AIR ONE - COCKPITThe PILOT grabs the mike and shouts into it: PILOT Code yellow, code yellow, we got a bogie, repeat, we got a bogie, over.INT. MILO'S YACHT - BRIDGEMilo snaps his head to one side, hearing this.Grabs the mike: MILO Air One, Air One, where the fuck is he? PILOT (V.O.) Nine o'clock, repeat, on your nine, and closing fast! 124.ANOTHER ANGLEJimmy's BOAT ROARS out of the fog...And suddenly he's in a world of shit.Less than fifty yards to port is Milo's yacht.Fifty years to starboard is the Senator's Marlineer. JIMMY Oh, wow. We're fucked.He GUNS the ENGINE. Spins the wheel, banks to port.AIR ONEscreams past, cutting across the bow, nearly taking offthe roof --Jimmy, wrestling the wheel, and meanwhile --INT. BAYNARD'S CABINThe Senator actually has his hands on the suitcase toopen it, when one of his MEN yells: MAN Shit! Something's going on. BAYNARD What is it? MAN Another boat. It's a fucking setup! BAYNARD Get us out of here, now!The guy relays the order, and:EXT. HIGH SEASBaynard's Marlineer surges forward.Full throttle, heading for shore, as --EXT. MILO'S YACHTMilo skids out on deck, grabbing for his machine gun.Calls out: MILO Who the fuck is he?A crewman grabs a pair of binoculars. Meanwhile -- 125.INSIDE STORAGE COMPARTMENTHallenbeck has no fucking idea what's going on, but hecan hear everthing that's said, as:BACK ON DECKthe Crewman lowers the binoculars in disbelief: CREWMAN Son of a bitch! It's Dix, the Goddamn quarterback!INT. STORAGE COMPARTMENTHallenbeck's face goes through various stages of shock.It's nothing compared to when he hears: CREWMAN (O.S.) There's a little girl with him!With that, he goes berserk.Draws his legs back, thunders them against the compart-ment doors. Kicks with all his might. Over and overlike a crazed horse, as:BACK TOPSIDEAir One does a flyby, circling, awaiting instructions.ON DECKMilo grabs the hand mike and says: MILO Air One, Air One, follow the Senator, roger? I'll take the sport boat, you take Baynard, over. AIR ONE (V.O.) That's a roger. Over and out. MILO (turns to his men) Okay, let's go. Full throttle.INT. YACHT - SAME TIMEWith a final, resounding crash, Hallenbeck kicks open thecompartment. Topples out onto the cabin floor. (CONTINUED) 126.CONTINUED:Works his bound hands over his knees so they're now tiedin front of him.Everybody's topside; for the moment, at least, he isforgotten.He half crawls, half lurches over to the kitchen nook.Worms beneath the table... awkward, desperate...Drags out the can of gasoline.Tries to unscrew the top. No dice. Can't get a grip.Finally, in frustration, he tips the can on its side.Brings his legs up in the air --Slams them down on the can.Over and over until, with a metallic pop -- ! it bursts.Floods gasoline over the carpet, meanwhile:BACK TOPSIDEMilo's yacht is plowing ahead, gaining on Jimmy'sHatteras. The crew members take up positions on theprow. OPEN FIRE.WITH JIMMYAs he throws Darian to the deck, shields her with hisbody.The wheelhouse is RAKED by GUNFIRE.He grits his teeth. Reaches beneath his tux.Yanks out the BERETTA and returns FIRE, BAM -- BAM -- !and meanwhile:INT. YACHT CABINHallenbeck is opening a box of kitchen matches with histeeth.Dozens of matches fall scattered on the carpet.He releases the box. Bends. Picks up a single match inhis teeth.Presses his face to the wall. Gives his neck a wrench --Lights the match.He drops the match on top of the GAS CAN. (CONTINUED) 127.CONTINUED:A WHOOSH of combustion. It bursts into flame.Joe swivels around. Balancing on his backside.Thrusts his legs into the fire.Strains. Pulls. Sweat runs in rivers.Until the ropes binding his legs snap.He lurches to his feet, lets free.Now there's only one problem: He's on fire.The legs of his pants are soaked with gas.Flames race up his legs.He plunges headlong up the stairs.ON TO DECKwhere he hurtles toward the rail, dives --into the sea, swallowed by the waves.A CREWMAN suddenly screams: CREWMAN Fire in the hole!Fire, indeed. It's a rapidly-spreading blaze.The pursuit is momentarily forgotten as the crew races toput out the fire, and meanwhile:HALLENBECKsurfaces, gasping for air. Trying to swim with his handstied.DARIANspots him first. Sees her father bobbing like a cork inthe ocean, screams: DARIAN Daddy!!Jimmy whirls around, startled. JIMMY Shit. I don't believe it. DARIAN Do something! Hurry! (CONTINUED) 128.CONTINUED:Jimmy spins the wheel. Banks hard to port.Brings the boat around in an arc. Yells to Darian: JIMMY Keep the wheel like this! Don't let it move!She grabs the wheel. Jimmy bends down. Opens a compart-ment. Takes out the boat's anchor. Metal hook, attachedto seventy yards of chain. He hefts it like a grapplinghook. JIMMY Third and long, baby, lets' go...And, sure, his left arm isn't his good arm --But, boy, does he heave that anchor.It soars through space, chain playing out behind it...Hits water, thirty yards past Hallenbeck --Who turns, sees the anchor skimming toward him over thewaves.EXT. MILO'S YACHTMilo, meanwhile, has also spotted Hallenbeck.He growls in rage. Hefts the Ingram machine gun, as:ANOTHER ANGLEHallenbeck thrusts forward, hooks his bound hands aroundthe passing anchor and whoosh -- !He is catapulted forward, jerked like a rag puppet.BULLETS CHOP the water where he just was.He skims over the waves. Bounced. Battered.Trailing behind Jimmy at fifty miles an hour.Jimmy and Darian begin to haul him in.Struggling. Straining.The boat rushing headlong, driverless.With a last, desperate surge of energy --They drag Hallenbeck over the side. Into the boat. DARIAN Dad...! (CONTINUED) 129.CONTINUED:She collapses, weeping, atop her father.Hugs him for all she's worth. HALLENBECK What the hell's she doing here?? DARIAN I stowed away...GUNFIRE splits the air.Reminds them they're not out of the woods.MILO'S YACHTis behind them again. The fire is out. The chase is on.It steadily cuts the distance.JIMMY'S BOATHallenbeck staggers to his feet. HALLENBECK Get below, Darian. And stay there.He stumbles into the wheelhouse. Dazed. Barelyconscious. JIMMY Got any ideas? HALLENBECK Yeah. Go really fast and hope they don't catch us. (beat) Oh, shit. JIMMY What? HALLENBECK Fog bank, dead ahead. Hang on.Into the fog they go, and, folks --This is really scary.Because you can't see a foot in front of your face.They plunge through the fog at fifty miles an hour.Hallenbeck sweats, eyes glued to the windshield. (CONTINUED) 130.CONTINUED:And then a shape materializes off to port:Milo's yacht.Running alongside. Drawing closer.Hallenbeck wrestles the wheel. No dice.The yacht draws ever closer... men on deck... machineguns...Joe looks over... and his face tells the story: HALLENBECK We're dead.Except, just then, a strange thing happens:Milo's yacht veers off to the left. Away fromHallenbeck. Jimmy stares, dumbfounded. JIMMY What the fuck? They're peeling off. Why?A pause... then it hits Joe like a thunderbolt: HALLENBECK 'Cause they got sonar, that's why! Hard to port! JIMMY Port? HALLENBECK Left, Goddammit.The boat slews to the left, as, from out of the fog --The Catalina ferry looms right in front of them. JIMMY Shit fuck piss!They almost make it.As it is, they avoid a head-on. Instead, they hitbroadside.A sickening CRUNCH -- !Jimmy and Joe are thrown from their feet.A momentary glimpse of faces rushing past -- Horrifiedtourists -- And then the ferry is behind them.Jimmy gets up. Staggers to the controls.Pushes the throttle. The boat lurches forward --Then SPUTTERS. Fizzles.He swears violently. (CONTINUED) 131.CONTINUED: JIMMY We're on half power, we lost an engine!EXT. FOG BANK - SAME TIMEThe crippled boat chugs through the mist.JIMMYswears again. Bangs his fist. JIMMY We're sitting ducks. They got sonar. They can find us. HALLENBECK Kill the running lights and radio the Coast Guard.Jimmy flicks off the lights. Grabs the mike. As hedoes, a VIBRATING RUMBLE fills the cockpit, causing himto pause... and then stare in shock as their boat emergesfrom the fog --And Air One hovers directly overhead. JIMMY Fuck me.The two men watch, helpless, as the helicopter descends,the Co-Pilot taking aim with a LAWS rocket. HALLENBECK Get down!They both hit the floor. Hands over their heads --And then the pilot makes a costly error:He descends right into the path of Milo's yacht.With no warning whatsoever, the boat comes bursting outof the fog --PLOWS right INTO the HELICOPTER.Second number one: The boat pierces the chopper, rips itto shreds.Second number two: The whole boat-slash-chopper mixerupts in a shower of wood and fiberglass. Turns nightinto day. 132.JIMMY AND JOEare still huddled on the floor.Pause. They look up. Bewildered.There was a big light... Big noise...Why aren't they dead?ANOTHER ANGLEThey move like sleepwalkers to the cockpit window.Stare in disbelief. Joe looks at Jimmy. Jimmy at Joe.Debris rains down. CUT TO:EXT. CRASH SITE - MINUTES LATERJimmy, Joe and Darian are on deck, chugging through thewreckage. Darian clings to her father's arm, in shock.Hallenbeck sees something in the distance. Squints: HALLENBECK What's that?Jimmy looks: A bright object... going in circles... JIMMY That's Baynard's boat! HALLENBECK (nods) It can get us to shore faster than this one, don't you think?He starts to turn away. Notices something in the water.Speaks over his shoulder to Jimmy. HALLENBECK Hand me the pole.Jimmy hands him a long, wooden pole with a hooked end.He fishes in the water. Snares a large, floating object.Swings it aboard. Drops it at Jimmy's feet.The suitcase. JIMMY What is it? HALLENBECK Birthday present. (CONTINUED) 133.CONTINUED:He turns away. Jimmy bends to open the suitcase.Joe heads into the cockpit, Darian beside him.Steers the boat away from the crash site. Toward thesenator's boat. Chugs forward on half an engine.O.S., Jimmy suddenly yells: JIMMY Holy fucking shit!!EXT. BAYNARD'S BOAT - SAME TIMEThe once-mighty Marlineer runs aimless circles in themist. Half the cockpit is blown away, probably by a LAWSrocket.The Hatteras pulls up alongside, and Hallenbeck steps tothe rail, carrying the Baretta. HALLENBECK Wait here.He swings aboard the senator's boat.Gun cocked. Ready.INT. SENATOR'S BOAT - COCKPITEnters the cockpit. What's left of the roof is bullet-pocked.The navigator is dead. Slumped over the controls.Joe pulls him off the panel. KILLS the ENGINE.INT. MAIN CABINJoe bursts inside. Hard and fast. Gun leveled.No need. It's a slaughterhouse.The walls are perforated. Baynard and his men are dead.The suitcase's evil twin lies unopened on the table.Hallenbeck walks over to Baynard's lifeless body.Stares into the wide-open eyes. HALLENBECK Sorry, Cal. Life in the big city. CUT TO:EXT. LONG BEACH BOAT RENTALS - NIGHTThe senator's boat pulls up to the dock. No one isaround. 134.EXT. DOCK - SAME TIMEHallenbeck crouches next to Darian, looks her in the eye. HALLENBECK Listen carefully. I'm gonna go get your mom back, okay? You're gonna go in the Denny's restaurant and stay there. Talk to the waitress but don't mention me. Mom and I will come pick you up later, got it? DARIAN (crying) They're gonna kill you...! HALLENBECK Are you kidding? I do this for a living. (hands her a twenty) Buy me an ice cream. I'll be back. (beat) I love you.She throws her arms around him. CUT TO:INT. RENTAL SUBARU - DRIVING - NIGHTAll business now. Deadly serious.Jimmy and Joe stare ahead through the windshield. Grim.Tense.In the back seat sits the coveted suitcase. JIMMY Your prints are all over that boat. What happens when they find the bodies inside? HALLENBECK Quit being a fuckin' killjoy.He cuts the headlights. Cruises to a stop behind a road-side dumpster. HALLENBECK Come on. We've got some things to pick up.EXT. HALLENBECK'S HOUSE (WEST L.A.) - NIGHTThey creep across a suburban lawn, hugging the shadows. (CONTINUED) 135.CONTINUED:Across the street, Hallenbeck's house is dark. Deserted.Truly a sight: Jimmy, in a white shirt and tuxedo pants,nursing a broken arm; and Joe, drenched to the skin,pants hanging in scorched tatters.Joe suddenly puts up a restraining hand. They stop.Crouched behind a eucalyptus tree. Joe points:THEIR POVA late-model Buick is parked just up the street from hishouse...There is a man slouched inside. Smoking.BACK TO SCENE HALLENBECK Shit. Someone's staking me out. JIMMY (clears his throat) Oh, I forgot to tell you. The police want you for killing Mike Miller.Hallenbeck shoots him a withering look. CUT TO:EXT. COASTAL WATERS - NIGHTA Coast Guard cutter is circling the site of the boat/chopper crash. A uniformed ENSIGN shines a light on thedark waters. ENSIGN I think I got someone! Four o'clock!MILOis draped over a piece of wooden wreckage.Half his hair is burned away. His face is blistered.He looks up, pleading, at the Ensign, as:ANOTHER ANGLEHe hides the Ingram beneath his body, cocked and ready. CUT TO: 136.INT. PARKED BUICK - NIGHTThe sour stakeout cop reaches for a job necessity: thepot to piss in. He undoes his fly. Pees into an oldMaxwell House coffee can.Opens the door to dump it out.A hand reaches in, lightning quick.Grabs the can, throws it back in his face.As he jerks backward, blinded, the hand knocks him cold.EXT. BUICK - SAME TIMEHallenbeck drags the unconscious cop from the car. HALLENBECK Let's get him inside and tie him up. JIMMY Are you crazy? That's a cop! You don't punch cops! HALLENBECK I forgot. Hurry up.INT. HALLENBECK'S BEDROOM - MINUTES LATERThe cop is bound and gagged in the corner. Unconscious.Hallenbeck moves hurriedly. Not a second to waste.Pulls a dark turtleneck from a drawer.Rips off the sleeve. Throws it to Jimmy. HALLENBECK Wear that.He strips off his own shirt. Crosses to the closet. HALLENBECK You know how to use a gun? JIMMY The trigger's the little black thing. HALLENBECK Here.He hands Jimmy a shotgun and a box of odd, blackcylinders. (CONTINUED) 137.CONTINUED: HALLENBECK Use these. They're shredders. Equipped with an explosive charge. When you fire the gun, they spray on impact. Take out anything within ten yards. JIMMY What are you gonna use? HALLENBECK A little souvenir...He reaches into the closet. Pulls out a sniper rifle.The rifle. The one responsible for the puckered scar onhis chest. HALLENBECK Go bring the car around.EXT. HALLENBECK'S HOUSE - SAME TIMEJimmy emerges, starts across the lawn.Pulls up short. Stares ahead at:HIS POV - TWO BLACK SEDANSparked at the curb.BACK TO SCENEHe starts to cry out --And a dark figure looms behind him.Clubs him in the head.INT. HALLENBECK'S BEDROOM - SAME TIMEHallenbeck snaps a full magazine into the rifle.Stuffs extras into a black Windbreaker.Hears a NOISE. Looks up, expecting Jimmy --Draws a sharp breath:PABLO AND ASSORTED GOONSstanding in the doorway. All of them have guns.Pablo grins, shakes his head: PABLO Face it, pal. You're fucked by God. CUT TO: 138.PAD AND PAPERas they're placed in front of Hallenbeck.He is seated on the bed. Three guns covering him.Beside him sits Furry Tom, grinning his stuffed-toy grin. PABLO Are you a literate man, Joe? HALLENBECK I got a subscription to Jugs magazine. PABLO That's good. See, Joe, what you're gonna do, you're gonna write a little story.A GOON sticks his head in the door. GOON We've got Jimmy Dix in the trunk. PABLO Get him out of here. Take him to Mr. Marcon. I'll follow you as soon as my business here is finished.The Goon departs, leaving Hallenbeck with Pablo and twoothers. He studies them. Calculates the odds. Verdict:Bad. PABLO Yeah, you're gonna write a little story, Joe. About how guilt- stricken you are over Senator Baynard's death, which is all over the air waves, by the way. Yeah... you're so guilty about paying those hitmen to kill him, that you're gonna kill yourself. HALLENBECK Hey, who's writing this story? You're doing all the good parts. PABLO Oh, and, Joe...? Don't forget to include how guilty you are over that cop you murdered. HALLENBECK What cop? (CONTINUED) 139.CONTINUED:Pablo draws his pistol.PUMPS TWO SHOTS into the unconscious cop in the corner. PABLO That one. HALLENBECK You son of a bitch...!Pablo is making a big mistake, but he doesn't know it.He is fueling Joe Hallenbeck's rage.Pity the fool.Hallenbeck regards him with dead, lifeless eyes.A thoroughly unnerving stare.Then Joe does something very odd.He says, softly: HALLENBECK We don't like Pablo very much, do we, Furry Tom...?There is a pause... And then, incredibly -- Furry Tomanswers. A high-pitched, squeaky stuffed cat voice. HALLENBECK (as Furry Tom) No, Mr. Hallenbeck, we think Pablo is a motherless fuck who takes it up the ass.Dead silence. Pablo is completely thrown; so are we, forthat matter... and then it hits us: Joe is doing ven-triloquism.And the funny thing is, he's really good.Pablo overcomes his shock. PABLO Shit, is he doing that?Hallenbeck's face remains cold. Expressionless. HALLENBECK Furry Tom, tell Pablo what I'm gonna do to him. HALLENBECK (as Furry Tom) You're gong to make Pablo eat all his teeth, Mr. Hallenbeck. (CONTINUED) 140.CONTINUED:Pablo can't help it. He bursts out laughing. PABLO That's amazing, man!Hallenbeck picks up Furry Tom. Inserts his hand, makesthe furry head bob back and forth. HALLENBECK (as Furry Tom) Hey, Mr. Hallenbeck, they're laughin' at me. That's not very nice.By now, all three hoods are in hysterics. HALLENBECK Are you mad, Furry Tom? HALLENBECK (as Furry Tom) I don't get mad. I get even.And, with that, Furry Tom's mouth opens --And EXPLODES, showering stuffing.One of the goons is still laughing when he realizes halfhis throat is gone...And Furry Thomas BELCHES FIRE again, and the second goongoes down in a spray of blood, and if you haven't guessedalready --Joe has a gun hidden inside Furry Thomas.Pablo is a little sharper. A little quicker.He dives forward, knocks the puppet from Joe's hand.Joe drives upward, into Pablo's gut.They reel across the room. Locked in combat.Lamps topple. GLASS BREAKS.Pablo slams Joe's head into the wall. Leaves a dent.Does it again, a sickening impact...Starts to strangle Joe --And the truth is, Joe's not thirty anymore.He's not going to make it. The world swims away.Then, as if through a tunnel, Joe notices somethingbeside him... something hanging on the wall.Fights to focus. Breath gone. Strength gone.Identifies the object: (CONTINUED) 141.CONTINUED:His Presidential Medal of Valor.Shiny medal. Shiny ribbon. His name...It hits him quite suddenly:The medal has sharp edges.With the last of his strength, he plucks it from thewall. Drives it into Pablo's throat.The big man stumbles backward. Eyes wide. Gurgling.He thrashes, the red-white-blue ribbon flapping obscenelyfrom his gushing neck.Drops to the dusty carpet. Dies.Hallenbeck takes a deep breath. Eyes wide. Insane.He is surrounded by corpses. He takes another deepbreath.Picks up the sniper rifle.Slings it over his shoulder.Heads for the door.INT. CONRAD MARCON'S LIVING ROOM - NIGHTJimmy Dix is on the floor, and Marcon is kicking himsavagely. Pointed alligator boots lashing out. Againand again. MARCON You know I don't enjoy doin' this, Jim.Jimmy curls up in a fetal ball. Marcon paces, shakinghis head. MARCON I remember how much you hated the pain... You got hooked on Demerol, didn't you...? I'll make a deal with you. Tell me who you talked to, and I'll give you all the painkillers you can swallow. JIMMY Nobody knows. Just... just me... and Hallenbeck... MARCON Now, see, I'd love to believe you. But we are talking about the future of my football team. (CONTINUED) 142.CONTINUED:He crosses to the fireplace. Removes a poker. MARCON And ain't nothin' more important than my ball club, 'cept maybe my collection of autographed footballs. Got one of yours, you know. (softly) Who'd you talk to, Jimmy? JIMMY Nobody...Marcon raises the poker.Brings it down on Jimmy's broken arm.EXT. HOLLYWOOD HILLS - NIGHTHallenbeck leaves the rented Subaru by the side of theroad.He is dressed in combat black. Government issue.Rifle over one shoulder. Hunting knife in a hipscabbard.Like an angel of death, he moves into the brush.Heading down the canyon.EXT. MARCON'S HOME - SAME TIMEAn armed sentry patrols the grounds.Below him, nighttime L.A. stretches to the Pacific.Joe Hallenbeck emerges like a wraith from the trees.Clamps a gloved hand over the sentry's mouth.Drives the hunting knife into his back.INT. LIVING ROOM - SAME TIMEMarcon stirs the fireplace logs, stoking the blaze.Replaces the poker. Crosses to his desk and sits.Jimmy is on the carpet, delirious. Out of it.Marcon presses a button. An armed HARDGUY appears. HARDGUY Mr. Marcon? (CONTINUED) 143.CONTINUED: MARCON He's nothing, he can't hurt us. Take him somewhere and kill him. HARDGUY Yes, sir.The Hardguy crosses the room. Grips Jimmy by theshoulders.With a soft SPIT of sound, his forehead blooms crimson.He collapses, lifeless.At his desk, Marcon whirls, stunned, as:JOE HALLENBECKsteps through the French doors behind him.He resembles nothing human. A demon in black.Eyes burning. Gun held loosely. An extension of hisarm.Marcon reaches for the button to summon help. HALLENBECK Don't.He jams the rifle barrel into Marcon's throat, nearlycrushing his larynx. Hisses: HALLENBECK The gun is silenced, I'll fuckin' kill you. Where's my wife? MARCON I... I don't remember, I...Joe shoves on the gun. The barrel chokes him. HALLENBECK My wife.Grabs a pen. Shoves it in Marcon's hand. HALLENBECK The address. Now! MARCON It's... Milo's film studio... HALLENBECK Write it down, dumbfuck. (CONTINUED) 144.CONTINUED:He speaks over his shoulder: HALLENBECK Jimmy, you okay...?Jimmy stirs. JIMMY Hurts like hell.Marcon finishes writing. Hallenbeck snatches up theaddress. Stows it in his pocket. HALLENBECK Okay, Connie, you're gonna walk us out of here, nice and easy, got it? (beat) Can you walk, Jimmy? JIMMY Yeah... I think so -- Joe, behind you...!Too late. A revolver is cocked a foot from Joe's head. STRANGE MAN Drop it.It's the same odd voice we heard earlier.The man with the speech impediment. HALLENBECK You drop it, asshole, or I kill Marcon.The Strange Man chuckles. STRANGE MAN Sorry, but that won't work. I don't care if he lives or dies, now drop the gun.A pause. Once more, Joe calculates the odds. No dice.He places the rifle on the desk. STRANGE MAN Walk over there by your friend, Joe.Hallenbeck turns around... and, for once, his jaw drops.He's looking at a man he never thought he'd see again. Aman who suffers from facial paralysis ever since his headbounced off the Georgetown turnpike eight years ago. 145.LOUIS BAYNARDSon of the late senator. The right side of his facedoesn't quite match the left. The muscles don't work.Hallenbeck recovers his composure. As Jimmy climbs tohis feet, Joe walks over and stands next to him. Twogunmen appear behind them, covering the rear. HALLENBECK Well, Goddamn. How's the head, Lou? BAYNARD (STRANGE MAN) Aside from permanent facial neuralgia, just lovely. HALLENBECK Next time, Lou, just say no. JIMMY Shit. This is the drunk guy you slugged, look what you did to his face!Marcon, meanwhile, is positively livid. He snaps atBaynard: MARCON You son of a bitch, you were gonna let him kill me! BAYNARD Nothing more or less than you'd do for me, Conrad. (turns) I never thought I'd see you again, Joe. HALLENBECK Speaking of which, what the fuck are you doing here? BAYNARD Call it a financial partnership. For a price, I agreed to connect Mr. Marcon to the necessary people in Washington. HALLENBECK In other words, you dropped your father's name a bunch of times. (CONTINUED) 146.CONTINUED: BAYNARD (ignores him) But imagine my delight this morning, Joe, when Mr. Marcon informed me of a golden opportunity: a chance to kill my father and frame you for the crime... What can I say, inherit a fortune and humiliate you in the bargain, who could resist? HALLENBECK Do I also have you to thank for dragging me into this mess? BAYNARD (sighs) It was I, unfortunately, who bought a forty-dollar bottle of champagne... spoke a little too freely to that hooker. JIMMY She wasn't a hooker, dickhead. HALLENBECK He should know, Jimmy. With a face like that, he's gotta be paying for it. BAYNARD You can die fast or slow, so watch your mouth.Jimmy chimes in: JIMMY We'd rather watch yours. It's goofy-lookin'.Marcon has had enough. He pounds his fist on the desk. MARCON Kill them, Goddammit, waste 'em both! JIMMY Any bright ideas, Joe? HALLENBECK Gimmee a minute. JIMMY Excuse me, could you give him a minute? He's trying to think of a way out of this. (CONTINUED) 147.CONTINUED:Behind them, the two hardguys COCK their GUNS.Jimmy sweats. He's scared shitless underneath.Hallenbeck clears his throat: HALLENBECK You know of course, Connie, that you're a dead man.Marcon holds up his hand. MARCON Wait.The gunmen lower their weapons. MARCON Let's humor this asshole. What are you talking about? HALLENBECK (shrugs) Nothing much, just that I made a phone call from the boat on the way in. MARCON You called the cops? Fuck it, they can't prove a thing. HALLENBECK Oh, but I didn't call the cops. I called the mob.Marcon stares at him. Blinks. HALLENBECK See, Connie, every year, the mob rakes in two and a half billion from football bookmaking. If you succeed in making gambling legal, all that money goes to the government. (beat) I wouldn't be surprised if they put out a contract on you. Of course, I might be able to call it off.Marcon stares him down. A pause. Then Marcon smiles: (CONTINUED) 148.CONTINUED: MARCON He's bluffing. He's not connected to the mob, what a load of horseshit. Nice try, asshole. (waves his hand) Kill them. HALLENBECK (plowing ahead) Then there's the matter of two million dollars. Or didn't you know that watertight suitcases float...?He once again looks Marcon in the eye. HALLENBECK I've got your money, Connie. Stashed in the back of a rented Subaru. We'll take you to it. MARCON (laughing) Jesus, I don't believe it. This guy's a riot. JIMMY (sotto) I don't think it's working, Joe. Try another one. HALLENBECK Hell, I'm fresh out. You wanna try one, kid, go for it.A pause. Then, without warning, Jimmy turns --And slugs Hallenbeck with his good arm. Decks him. JIMMY Fuck you, Joe, I'm not just gonna stand here and die. Mr. Marcon, he's lying. We do have the money, but it's not in a car, it's in a storage locker. I have the key on me. I'l hand it over if you let me go.Hallenbeck stares in disbelief.The kid's actually trying something. MARCON Where is the key, Jimmy? (CONTINUED) 149.CONTINUED: JIMMY It's stashed in my shorts. MARCON (nods) All right. Slow and easy. JIMMY Sure. Slow and easy.Jimmy reaches inside his jeans. Slowly, cautiously pullssomething out, concealed in his fist.We see, but Marcon doesn't:It's a shredder shell. He holds it in his fist. JIMMY Promise you'll let me go. MARCON Hell with that, son. Hand it over or I'll have you kneecapped. JIMMY Oh, yeah? Well, that's too bad. See, it's one of those new plastic keys. The kind that melt...?And, with that, he hurls it into the fire.So fast that nobody can see just what he threw. JIMMY I guess nobody gets the money.The two hardguys rush to the fireplace. MARCON Pull it out of there!One of them grabs a pair of tongs --and the SHREDDER EXPLODES.Sprays the two hardguys. Cuts them to ribbons.Then, several things happen at once:Everybody goes for a gun.Hallenbeck lunges, scoops up a fallen pistol --As Marcon draws his GUN and FIRES, missing --Joe RETURNS FIRE, BAM-BAM -- !Catches Marcon in the shoulder, and meanwhile -- (CONTINUED) 150.CONTINUED:Baynard draws down on Jimmy, who picks up a flaming logand hurls it, knocks the SHOT wild, as:Marcon darts out the French doors, into the night, soHallenbeck spins, FIRES at Baynard --Blows him backward in a bloody spray. Baynard sagsagainst the mantel. Collapses, dead.ECHOES. Silence. Jimmy and Joe are alone with threecorpses.Jimmy snatches up a pistol. Joe slings the sniper rifleover his shoulder. Stares at Jimmy: HALLENBECK Plastic keys...? The kind that melt? JIMMY Hey. Short notice, best I could do. HALLENBECK You did fine, junior. JIMMY Learned it from a pro. Come on.EXT. MARCON'S HOUSE - NIGHTThe wooden garage DOORS EXPLODE outward, bursting tosplinters, as a Ford BRONCO DRIVES right THROUGH them,Conrad Marcon at the wheel. He careens off into thenight. Makes a getaway.INT. GARAGE - SAME TIMEJimmy and Joe come racing out of the house, just in timeto see Marcon's taillights disappearing up the canyon. JIMMY Son of a bitch! HALLENBECK Forget about him. Let's get my wife.He crosses to a parked Mercedes. SHOOTS open the door.Gets in. Pops the ignition package. Hotwires it.The CAR ROARS to life. (CONTINUED) 151.CONTINUED: HALLENBECK Get in.He's so slick, it's scary.EXT. MARCON'S HOUSE - SAME TIMEThe Mercedes barrels out through the splintered garagedoors. BURNS RUBBER down the hill.INT. CAR - DRIVINGThey stare straight ahead. Tense. Breathless. HALLENBECK On my way, honey, on my way...EXT. HOLLYWOOD HILLS - NIGHTConrad Marcon, meanwhile, is rocketing along the windingroad, heading up the canyon, when he sees somethingahead:HIS POV - JOE'S RENTAL SUBARUsitting abandoned in the roadside brush.BACK TO SCENEActing on a sudden hunch, he SLAMS ON the BRAKES.Stops the car. Gets out, crosses to the rental. Peeksin.A two-million-dollar suitcase sits, pretty as punch, onthe back seat. MARCON Shit, Joe Boy, you wasn't bluffing...He draws his gun. Blows out the glass.Reaches in. Opens the car door.Snatches up the briefcase. CUT TO: 152.EXT. DOWNTOWN HOLLYWOOD - NIGHTA block of seedy-looking brick buildings. Off Sunset.Not many people at this hour.MERCEDESslews around the corner races down the street, runningwithout headlights.Lurches to a halt near the mouth of an alley.Jimmy and Joe burst from the car, guns in hand.Hellenbeck is grim, purposeful. Jimmy is nervous. JIMMY I'm new at this, Joe. How do we do it? HALLENBECK We get in, we get out. Shoot anyone who's not my wife. Check that: Don't shoot me.He jacks a fresh clip into his rifle. CUT TO:LOCKPICKinserted in the latch of a back door.Hallenback finds the tumblers. Springs the lock inseconds.INT. HALLWAY - NIGHTJimmy and Joe. Side by side. Walking. Expressionless.They round a bend in the hall.SENTRYseated outside a wooden door. .38 special in a shoulderrig. Sees them, leaps to his feet, gun clearingleather --Joe blows him out of his socks.TWO-SHOT BURST. Silenced.Guy hits the wall. Paints it with blood. Flops, dead.Jimmy and Joe step over him.Joe braces himself. Draws back his foot. Kicks thedoor, as: 153.INT. STUDIO - SAME TIMEThe door flies open. Doesn't hit the wall.Something stops it.Joe doesn't blink. He puts the rifle against the panel.FIRES three SHOTS through the wood.Keeps going.A body falls out from behind the door.Joe doesn't even look.The body sits up. Not dead yet...Jimmy comes through the door. SHOOTS him.Follows Joe.One more door to go. Thick. Soundproofed metal.It isn't locked. Joe yanks it open. Steps inside.MOVIE SETLights. Camera. The wrong kind of action.SARAHon a bed, naked.bright lights on her. Around her, a director. Acameraman.MANwith a chainsaw.and he's standing right over her.Jimmy BLOWS down the two artistes.Joe takes the actor. HALLENBECK Cut.He throws the hunting knife. It pierces the guy's neck.The chainsaw clatters to the floor.He does the funny little dance peculiar to those withpierced necks. Falls. Dies.And then, mercifully, it's over. Joe crosses to the bed,puts out an arm, and Sarah collapses against him, shakingwith sobs. (CONTINUED) 154.CONTINUED:He strokes her hair. Speaking softly. Quietly.Speaking to the only woman he's ever loved: HALLENBECK I'm here... it's all right... I'm here...He cradles his wife in the middle of a slaughterhouse. CUT TO:EXT. SIDEWALK - NIGHTSarah is now dressed, as Joe supports her across thesidewalk toward the stolen Mercedes.He turns to Jimmy. Hands him a set of keys. HALLENBECK Drive one of their cars. They won't be needing them. JIMMY Where do you want me to go? HALLENBECK The two million bucks is still in the Subaru. Parked on Mulholland above Marcon's house. Go pick it up and bring it to the office. We're gonna go get Darian. JIMMY Yes, massah.He moves off into the parking lot.Hallenbeck says to Sarah. HALLENBECK I'll take you and Darian to the office. You can sleep there. SARAH Why can't we go home? HALLENBECK There's four corpses in the bedroom. SARAH Oh.It's a very tiny "oh."ESTABLISHING SHOT - JOE'S OFFICEin the shadow of the freeway. The night wears on. Fromthe billboard, Gorgeous continues to entice. 155.INT. HALLENBECK'S OFFICE - SAME TIMEDarian is asleep, cradled in her mother's arms.Her mother is awake, cradled in Joe's arms. HALLENBECK Jimmy should be here any minute. Then we gotta talk to the cops.Sarah nestles into the crook of his arm. SARAH Will the police catch Marcon? HALLENBECK Maybe. He's probably in some secret crash pad, packing to leave town.A pause, then Sarah says: SARAH I remember when we got married... My friends would talk about their husbands. They'd say, 'Oh, my husband is a big-time publisher,' or, 'My husband is a brilliant lawyer...' I used to say, 'My husband can stand over a shotgun victim and eat a ham sandwich without puking.' HALLENBECK Don't knock it. It's a skill.She turns. Looks into his eyes. SARAH I want to try, Joe. Do you still want to try?A pause. He leans in and kisses her tenderly.And, with typically swell timing, a set of headlightsrakes across the window, accompanied by the strobinglight of a police flasher. HALLENBECK Ahh, shit. Looks like the local constable has come to chat. SARAH Shall we invite him in? HALLENBECK No. Stay here. I'll deal with it. (CONTINUED) 156.CONTINUED:He gets up, throws on a jacket.EXT. JOE'S OFFICE - NIGHTJoe exits the office, starts across the lawn toward thevehicle with the flashing light.Realizes with a sudden shock: something's wrong. HALLENBECK That's not L.A.P.D....HALLENBECK'S POVthe insignia on the door panel reads LONG BEACH SHOREPATROL.In the same glance, he sees there's a dead cop slumped inthe passenger seat, and worse, much worse than that:Milo is in the driver's seat.WIDER ANGLEMilo, who steps out of the car and promptly OPENS FIRE onJoe. HALLENBECK Son of a bitch!He dives for cover, the turf erupting all around him, as:INT. OFFICE - SAMESarah sits bolt upright. Eyes panicked. Terrified.Darian comes awake, screaming: DARIAN Mommy, what's happening?Sarah leaps off the couch, cradling Darian andmeanwhile --EXT. OFFICE - SAMEHallenbeck spins behind one of the billboard supportlegs, as BULLETS CHOP it to splinters. 157.MILOadvances.changing clips. Methodical. Precise.Like a robot.He is obsessed. All vestige of sanity gone. MILO You fucked up my face, Joseph!Joe starts to climb. Scales the wooden structure.Swings himself onto the raised platform.Flattens behind the billboard. MILO Don't try to hide, Joseph. I've got all night, you fucked up my face.He sprays a BURST of GUNFIRE up at the billboard.HALLENBECKhuddles behind the billboard as the bullets stitchupward. Through the wooden frame.A hot SLUG RIPS through Joe's arm.An eruption of blood. He hisses in pain.Rolls away from the gunfire.Looks around. Desperate.Sees a painter's bucket lying nearby.He counts to three.DOWN BELOWMilo calmly changes clips.Hallenbeck bursts from cover.Hurls the bucket down at Milo, dashes across the front ofthe billboard, hard and fast --BULLETS CHOPPING the board right behind him, blowingholes in Gorgeous's derrierre --And then Joe does a risky thing:He sprints to the end of the billboard, running fulltilt, and he leaps out into space, what the hell is hedoing? (CONTINUED) 158.CONTINUED:He's trying to make the freeway.It's a good fifteen feet. Try it sometime.He flies through open air --Milo's GUN CHATTERING below, seeking him out --And just does make it.Hits the freeway surface and collapses forward, screamingas he rolls on his injured arm... Looks up --EIGHTEEN WHEEL TRUCKis headed straight for him, bearing down...!He rolls aside just in time. It THUNDERS past.Staggers to his feet, frantic --and Milo is climbing the billboard.Hallenbeck looks for a place to hide.There isn't any.He's going to have to run through traffic.He shifts from foot to foot, searching for an opening,and meanwhile --INT. SUBARU - DRIVINGJimmy Dix is actually on the freeway, driving, when helooks across the center divider and sees Hallenbeck. JIMMY I don't fucking believe it.He swerves over to the side and meanwhileHALLENBECKwatches in dismay as Milo climbs onto the platform...Walks across the front of the billboard.Toward the freeway. Toward Joe. Snarling.Joe grabs a broken bottle off the ground. Heaves it.Milo puts up an arm, catches a glancing blow. Bloodflows. All it does is piss him off. MILO You ruined my flesh! (CONTINUED) 159.CONTINUED:Hallenbeck dives flat to the road as Milo opens up again,a chattering BURST of GUNFIRE. The muzzle flash isblinding.The windshield of a passing car SHATTERS -- The driverpanics, the car spins out of control --Slews across the road in the middle of traffic.COLLISIONS. CRUMPLING METAL. EXPLOSIONS of GLASS.SCREECHING TIRES.CARslides straight toward Hallenbeck.He dives aside, rolls to his feet --And he's right in Milo's sights.My friends, the fat lady just sang.Except another lady says different:A single GUNSHOT SPLITS the air.Milo's chest explodes with bubbling blood.He shrieks. Turns, staring in disbelief atSARAH HALLENBECKbelow, on the lawn. She aims Joe's service revolver andsays: SARAH You just fucking die.She FIRES again, and Milo reels backward.Leaves a bloody smudge on the billboard.She DROPS the HAMMER again and again. Empties the gun.Milo jerks and twitches. Racked by gunfire.Paints a bloody stripe across the billboard, makingGorgeous's bloody buns even bloodier --Clutches himself. Looks over at Hallenbeck. HALLENBECK She's something, isn't she?Milo pitches forward. Falls to his death. 160.HALLENBECKstares, dumbfounded at Sarah. She look up at him.A moment passes between them.Around Hallenbeck, a sea of crumpled cars. HORNSBLARING. Amidst it all, he stands. Beaten. Bloody.Bullet-scarred.Jimmy winds his way through the cars. Walks up to Joe.They stand in silence for a moment, then Jimmy says: JIMMY The car's over on the other side. C'mere, I want to show you something.EXT. 405 FREEWAY - SOUTHBOUND LANE - NIGHTJimmy and Joe stand in the breakdown lane next to therented Subaru. Jimmy points to the shattered window. JIMMY Somebody broke in and swiped the suitcase from the back seat. Had to be Marcon, right?There is a pause. They both stare at the car.Two million. Down the drain.Except, after a beat... they begin to laugh.First chuckling, then chortling..Now it's go-for-broke. Jimmy hoots. Joe howls.Jimmy pulls out a key and opens the trunk --You can guess what's inside. JIMMY Son of a bitch got the wrong one! CUT TO:AUTOGRAPHED FOOTBALLon the dresser of a fancy penthouse suite.Signed by Joe Montana, no less.CONRAD MARCONbustles back and forth, shoves the last of his neededpossessions into a travel bag. Hefts it. Puts it nearthe door. (CONTINUED) 161.CONTINUED:Crosses to the bed, where the other suitcase lies.Looks at it. Smiles, contented.Can't help himself. He reaches out. Flicks the latch.Opens it.There is a note taped to the inside: FUCK YOUEXT. DOWNTOWN SKYSCRAPER - 32ND FLOOR - NIGHTMarcon's flaming corpse is BLOWN OUT through the glass,along with his earthly possessions. He plummets like ameteor. CUT TO:EAST L.A. SIDESTREET - NIGHTTwo ten-year-old black boys are walking down the street.Out strolling in the poverty that exists in the shadow ofthe skyscrapers.Quite suddenly, without warning --A football drops out of the sky.Hits and bounces, very high --Comes down. Settles. Rocks, back and forth.The kids look up, puzzled. Searching the sky.The ball sits there. Only slightly scorched.Tentatively, almost like he's afraid of being caught,one of the boys bends down... looks both ways...Picks up the ball. Smiles.Then, as if by some unspoken agreement --The other boy starts to run.Slowly at first, then faster... faster still...A slant pattern, heading for the mailbox...And at 12 midnight on December 22nd, the San Pedro Streetquarterback throws an absolutely perfect pass.Their laughter is joyful. Innocent. Fervid.They will grow up to be sports heroes. DISSOLVE TO: 162.INT. BESSALO'S OFFICE - L.A.P.D. - MORNINGHallenbeck sits impassively while Bessalo paces, fuming. BESSALO You got a lot of questions to answer. HALLENBECK I know. BESSALO You'll probably lose your license. HALLENBECK I know.Bessalo glares at him. BESSALO Do you care?Hallenbeck smiles. HALLENBECK My wife loves me.Bessalo looks at him like he's grown a tail.ESTABLISHING SHOT - JOE'S OFFICE - UNDER THE FREEWAYAnother blistering hot December day.Gorgeous looks on from her perch, cheerful as ever,despite the crusted brown stripe on her ass.INT. HALLENBECK'S OFFICE - DAYThe suitcase sits on a table. Jimmy and Joe contemplateit over a bottle of Seagrams V.O. JIMMY So. HALLENBECK Yeah. So. JIMMY (clears his throat) You gonna keep it?Hallenbeck nods. HALLENBECK Some of it. (CONTINUED) 163.CONTINUED: JIMMY How much?Hallenbeck frowns. Opens the case. Reaches in --And plucks out two crisp $100 bills. Stuffs them in apocket. Jimmy stares at him. HALLENBECK (shrugs) My fee.He shuts the case. Shoves it toward Jimmy.Jimmy leans forward, eyeing the suitcase. JIMMY Shit, Joe... I got all the money I need.He shoves it back into the center. Joe nods. HALLENBECK I'm thinkin' I could use a partner. (beat) Think you could handle that for awhile? JIMMY I maybe could handle that. For awhile.He pours a drink. Raises his glass on high: JIMMY Alex the detective.He drinks.INT. CANCER RESEARCH CENTER - DAYA uniformed man is emptying the PLEASE GIVE jar when henotices a suitcase lying against the wall. Under aposter that says THE GOAL: A CURE IN OUR LIFETIME.He bends down. Opens the suitcase.When the money is counted, there will be $1,999,800.A note is taped to the inside: SO HURRY UP ALREADY 164.EXT. PALM-LINED L.A. STREET - DAYJimmy and Joe walk side by side. Away from us. Slightlydrunk. Palms wave lazily. A sweaty Santa rings a bell. HALLENBECK See, Jim, the thing is, life sucks. But you still can't be hangin' around Satan Claus, you know why...? JIMMY Why? HALLENBECK 'Cause someday, compadre... Satan Claus and Santa Claus are gonna have a big fight, and you know what...? (beat) Santa's gonna kick some royal ass.He puts a fatherly arm around Jimmy's shoulder, grins: HALLENBECK Hey. Smile, you fuck. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Last Chance Harvey.txt b/unformated_scripts/Script_Last Chance Harvey.txt new file mode 100644 index 0000000000000000000000000000000000000000..2864c0aba435244b358b6f8bb63238b7109e1159 --- /dev/null +++ b/unformated_scripts/Script_Last Chance Harvey.txt @@ -0,0 +1 @@ + LAST CHANCE HARVEY Written by Joel Hopkins Sound of a piano being played. Sparse but beautiful. FADE IN: INT. RECORDING ROOM - DAY HARVEY SHINE, mid-60's, sits at a piano in a scruffy recording room, tinkering. We hold on his slightly sad, intense gaze. Just then a shaft of crude light illuminates him, accompanied by a knocking sound. From behind a studio window, JOHNNIE, a young rocker type in his 20's beckons. Harvey closes the piano lid. INT. STUDIO - DAY Johnnie, unpacking his lunch and turning on various buttons, sits at a mixing desk. In front of him are 2 large TV monitors. Harvey joins him. HARVEY Put my score up first. JOHNNIE They don't want to hear it, Harvey. HARVEY I know, but I want to hear it. Put it up. JOHNNIE I'm backed up already, Harvey. HARVEY (interrupting) Johnnie, you were the one that was late. Just put it up. Johnnie reluctantly presses various buttons. A `cheesy' commercial for a washing detergent plays. It is accompanied by a jolly classical score. Harvey looks on forlornly at his work. As it comes to an end with a flourish, Harvey lowers his head. Beat. Johnnie glances at him. JOHNNIE Listen, Harvey. Marvin wants me to present my ideas while your away. Harvey looks up, confused. HARVEY Huh? 2. JOHNNIE Look, I'm not doing myself any favours here, Harvey. But, I'd watch your back. We hold on Harvey's tired, pensive face. INT. STUDIO CAR PARK / QUEENS - DAY Harvey hurriedly exits the studio, catching up with a man walking to his car. HARVEY Marvin? Hey, Marvin? MARVIN Hey, Harvey. Shouldn't you be in London? HARVEY Yeah, I'm heading there now. What's going on? MARVIN Huh? HARVEY Johnnie said something about you wanting him to present on Monday. MARVIN Oh yeah, No, I was just thinking that, what with you being in London - you should stay a while. HARVEY What? MARVIN There's no need to rush back. Enjoy your daughter's wedding. HARVEY What? MARVIN Well, Johnnie can do it. I mean, he can pitch the Samuelson account. 3. HARVEY No, I'm coming back. Those are my connections. They have been for years. MARVIN I know but... they've got new people running things over there. I think they're after something... (beat) ...different. HARVEY I want to come back. I should be there in person. MARVIN `There in person'? Harvey, nobody cares. HARVEY I have to stand behind my music! MARVIN They're demos! - They're already pressed. No one needs to be there. They're not looking for you, they're not looking for me. They just need a fucking track. (beat/sighs) Harvey, you haven't booked a top line in 8 months. HARVEY You got me doing triangle chimes for Christ's sake - give me something to compose! MARVIN That's what I'm trying to tell you! It's not about composition! It's different now! Silence. Harvey looks at Marvin. MARVIN (CONT'D) What? Beat. HARVEY I'm back on Monday, Marvin. I'm coming back. 4. Beat. MARVIN (sighs) You got to land this one, Harvey. HARVEY What are you saying? (beat) Say it! MARVIN I'm saying there are no more chances, Harvey. (beat) Enjoy London. And with that Marvin gets in and drives off, leaving Harvey standing alone in the car park. We hold on his face - he's tired. He looks about him, then down at his raincoat draped over his arm. He lifts it and drapes it over the other arm. CUT TO BLACK. LAST CHANCE HARVEY Sound of interior airborne plane. The seat-belt `ping' chimes. CUT TO: INT. PLANE - NIGHT Harvey, seated in a crowded economy cabin, looks down from the now extinguished seat-belt light. He looks a little hot. Reaching up to turn on the air, he knocks his tray - knocking his drink into his lap. HARVEY Shit! An attractive middle-aged woman, seated next to him, looks over. HARVEY (CONT'D) (to a passing Stewardess) Miss? I'm sorry. I've spilt my drink. STEWARDESS I'll get you some napkins. 5. HARVEY (to his neighbour) Why's it always me? The woman, perhaps wary of the length of the flight, smiles noncommittally. The Stewardess returns. STEWARDESS Shall I take that? HARVEY Thanks... And could I get another? STEWARDESS A whiskey, wasn't it? HARVEY Yes. `Jamesons', no ice. The Stewardess heads off. Harvey mops himself up. He places the small mass of wet towels on his tray and sighs. Glancing out the window, he then turns to the woman. HARVEY (CONT'D) A holiday? The woman looks over. WOMAN No. Business. Harvey nods. WOMAN (CONT'D) (feeling obliged) Yourself? HARVEY My daughter's getting married. WOMAN Congratulations. HARVEY (smiles) Thank you. (beat) She's marrying an American. But for some reason we've all got to go over to London. (smiling) I told her we had a perfectly good wedding system here. (MORE) 6. HARVEY (CONT'D) (beat/expecting more of a response) They both work there, you see. The woman smiles again, then looks up as the Stewardess returns with Harvey's drink. HARVEY (CONT'D) Thank you. Harvey is about to continue speaking when the woman interrupts. WOMAN I'm really sorry but I have a meeting in the morning and I must try and get some sleep. HARVEY No... Of course. I'm sorry. WOMAN It's just, I'll be useless - unless I get some sleep. HARVEY Sure. The woman covers herself in a blanket and turns out her light, turning herself away from Harvey. We hold on Harvey from a distance, spotlit in a sea of darkness. FADE TO BLACK. Sound of a commercial London Radio Station. A `phone-in' competition takes place. FADE IN: EXT. SUBURBAN STREET - MORNING A radio hangs from a mail trolley. KATE, mid 40's, dressed in a green uniform, turns into the path of a suburban house. She passes a postman - who nods his head. POSTMAN Morning Kate. Looking lovely as ever. If I was younger... 7. KATE Careful Paddy. (pointing to her cheek) Blushing! Is she up? POSTMAN Oh yes. Kate smiles before unlocking the front door. INT. HALLWAY - MORNING Kate comes through the door, picking up a small pile of mail off the floor. KATE (calling out) Mum. It's me - your daughter. INT. KITCHEN - MORNING Kate puts the mail on a kitchen table. Just then MAGGIE, Kate's mum, enters in her dressing gown. MAGGIE Hello, my daughter. They kiss. MAGGIE (CONT'D) Have a cup of tea with me. KATE I can't, I'm running late. Maggie seems to ignore this piece of information and heads to the kettle. Filling it up, she peers out the back window. MAGGIE He's at it again. KATE (looking through her bag) Who? At what? MAGGIE The neighbour. Barbecuing or something. We see her POV of her neighbour busying himself in his back garden. Smoke rises from a small garden shed. 8. MAGGIE (CONT'D) I heard he's from Poland. KATE (pulling a small package from her bag) So maybe Polish people like to barbecue a lot. I'm leaving your prescription on the table. (beat) You know, you don't have to keep taking these - the Doctor said. MAGGIE I like to. It makes me feel better. (beat) Its 8 o'clock in the morning. Who barbecues at 8? KATE (looking at her watch) I've got to go. I'll call you later. Kate's mum sighs and turns away from the window. MAGGIE Of course. Don't worry about me. I'll be Ok. (beat) Have you got that date thing tonight? KATE I don't know, maybe. (kisses her mother) Bye Mum. MAGGIE `Time and tide', Kate, as your father liked to say. Beat. KATE Was that from his terrace in the South of France? Kate winces. Kate's mum looks hurt. KATE (CONT'D) I'm sorry. That was mean. (beat/takes a breath) (MORE) 9. KATE (CONT'D) Look, I'll call you later. (kisses her mum again) I love you. As Kate leaves, Maggie watches her go. She sighs, before returning her attention back to the window. POV: The Neighbour enters his smoking shed and closes the door. EXT. HIGH ST - DAY A busy High St. Kate moves amongst the throng boarding a bus. INT. BUS - DAY Close up on Kate's face gently swaying. She stands reading a paperback, oblivious to the crowded bus around her. INT. TRAIN - DAY Kate sits reading on a speeding train. INT. HEATHROW AIRPORT / TRAIN PLATFORM - DAY The Heathrow Express comes into the station. Kate disembarks. INT. TERMINAL 3 / BOOTH - DAY Kate arrives at a booth. A sign reads: `PSA - Public Statistics Agency'. A West Indian woman, dressed in the same green uniform, stands waiting. She holds a newspaper, folded open at the crossword. KATE Aggie. AGGIE Morning darling. Kate goes behind the counter and turns on a light. As the booth illuminates, Kate unlocks a door behind and goes in. Without looking up from her crossword, Aggie follows. INT. PSA / LOCKER ROOM - DAY Kate places her bag in a locker and takes out a pair of heels. Sitting down to put them on, Aggie enters. 10. AGGIE Four across. A filmy layer on the surface of a liquid? Kate thinks for a beat. KATE Scum. Aggie giggles to herself and writes it in. Kate stands just as another co-worker hurries in. OONAGH Sorry. Sorry. She kisses Kate on the cheek and opens her locker. OONAGH (CONT'D) Thank God you're my boss. Without looking up, Aggie `tuts' and shakes her head. Oonagh decides to ignore. OONAGH (CONT'D) Are we still on for tonight? Matt's definitely bringing Simon. KATE No. OONAGH Please. KATE Only if you guys swear you won't leave if it's not going well. OONAGH No way. KATE Promise? OONAGH Promise. AGGIE Seven down. Another word for `souvenir'? Kate thinks for a beat. 11. KATE Memento. Aggie laughs and scribbles it in. Oonagh rolls her eyes. OONAGH Aggie, why do you bother? You just get Kate to give you all the answers. Aggie `tuts' again and waves Oonagh away. Kate hands Oonagh a clip-board and the two of them head out. INT. BAGGAGE CAROUSEL - DAY As luggage spews out, a dishevelled Harvey looks on. He sees his case and awkwardly pulling it from the belt, heads off. INT. ARRIVALS HALL - DAY Oonagh and Kate stand next to each other, interviewing returning travellers. Kate interviews an elderly couple. It's clear she's good at her job. KATE So you spent the whole 2 weeks in the Toronto area? ELDERLY MAN Yes. Our daughter lives there, see. KATE Ah. (filling in a form) So not a business trip then? ELDERLY MAN Oh, no. Unless you count grand- children as work. KATE (smiles) Some might. INT. ARRIVAL DOORS Harvey comes through a set of sliding double doors, wheeling his case behind him. 12. INT. ARRIVALS HALL - DAY Kate finishes up the interview with the elderly couple, and turns to see an approaching Harvey in the distance. She registers his attempts to steer a wide berth of her, but matches his movements, bringing him to a stop. KATE Sorry, I couldn't just ask you a few very quick questions, could I? HARVEY I'm sorry, but I'm in a bit of a hurry. KATE It won't take a moment. HARVEY (starting to walk on) Look, I'm sorry, but I'm tired, you know? KATE Yes. I do. Beat. Kate's directness, brings Harvey to a stop. He turns to look at Kate. She smiles. Beat. HARVEY I'm sorry. Harvey continues on, glancing back once more as he walks away. Kate turns to Oonagh and shrugs, before returning her attention back to the sea of arrivals. EXT. TERMINAL 3 - DAY A Taxi pulls away from the Terminal. INT. TAXI - DAY Harvey sits in the back with his phone to his ear. HARVEY Hi Suzie, it's your Dad. I've made it in one piece. I'm in a Taxi on my way to the Hotel. I guess i'll see you all there. Can't wait. Love you. 13. Harvey hangs up. He dials another number. HARVEY (CONT'D) Hi, it's Harvey, Harvey Shine here. Just wanted to confirm Mike for Monday. I'm in London at the moment, but reachable on my cell. Which is... Well you've probably got it on file, but just in case, 917... Well you may have to dial an international code first, I'm not sure. Anyway, it's 917 749 7558. That's 917 74... A sharp `beep' cuts him off. Harvey hangs up and looks out the window. Cranes loom on the horizon. He yawns. EXT. HOTEL - DAY The Taxi pulls into the forecourt of a mid-market West End London Hotel. Harvey gets out and pays the driver. INT. HOTEL LOBBY - DAY Harvey approaches the front desk. HARVEY Hi. I'm with the wedding party. There should be a room for me. Harvey Shine. The Concierge taps into his computer. CONCIERGE Yes. I have a double room for you. HARVEY Good. Has everyone else checked in? CONCIERGE I'm not sure, sir. HARVEY My daughter. Susan Shine. Or maybe she's already going by Wright. Susan Wright. The Concierge taps some more. CONCIERGE No, sir. No one of that name. 14. HARVEY Do you have a Mrs Pearce? More tapping. CONCIERGE No, sir. The Concierge looks at Harvey. Beat. Harvey shrugs. HARVEY I'll go up. INT. HOTEL SUITE - DAY Harvey enters the room. He places his case on the bed, takes off his jacket and goes to the window. A roller blind is pulled down. Harvey tugs on the cord, to no avail at first. Then suddenly it whips up, causing Harvey to duck backwards as the flailing cord almost takes his eye out. Warily, Harvey steps forward and looks down at the busy street below. He goes to open the window but it is stuck. He tries again - but it won't budge. He looks around the room, then up at the now fully contracted blind. Tentatively he reaches up and pulls the cord to lower the blind a little. It slowly starts to unravel and unravel...and unravel, until it hits the bottom of the window sill with a gentle thud. Harvey stands in semi-darkness. Just then, to his relief, his phone rings. He hurries over to the bed and retrieves it. HARVEY Hello? (beat) Suzie! Hi darling. Yes, I'm here. Where are you - where is everyone? (listens/Harvey's face drops a little) Oh...I see. No, I didn't realise. I thought the plan was for everyone to stay together. Noticeably dejected, Harvey sits down on the bed. HARVEY (CONT'D) No its...fine. I just wasn't sure. (beat) (MORE) 15. HARVEY (CONT'D) So your mother has rented a house for you all. (beat) I see. No, no, don't be silly. I'm a big boy. It's fine. Harvey looks around the bland room. HARVEY (CONT'D) Home from home. (beat) Yes, I've got the address. So, I'll see you there. (beat) I love you too. Bye. Harvey hangs up. EXT. STREET - DUSK Kate, dressed for the evening, hurries along a street. Her phone rings. KATE Mum? INT. KITCHEN - DUSK Kate's mum stands not far from her back window. MAGGIE What are you wearing? EXT. STREET - DUSK KATE Dungarees. INT. KITCHEN - DUSK MAGGIE Oh, you're not! EXT. STREET - DUSK KATE They're completely in again, haven't you heard? 16. INT. KITCHEN - DUSK MAGGIE (lifting back the curtain) Oh, you're just being silly. POV: A now bare chested Neighbour at work in his garden. Smoke rising from his shed. MAGGIE (CONT'D) Now don't be nervous. Just be yourself. EXT. STREET - DUSK KATE (smiling) Ok, mum. Thanks for the advice. INT. KITCHEN - DUSK MAGGIE Oh, listen. I've been thinking about Greece for our holiday. EXT. STREET - DUSK KATE (frowns) Ok, Let's talk about it later. (beat) I love you too. Kate hangs up and crosses a busy road. INT. LIVING ROOM - DUSK Kate's mum continues to spy. POV: The Neighbour bends down out of sight. On rising again, he sees Maggie at the window and waves. Maggie flinches, before dropping the curtain. INT. PUB - DUSK Kate comes through the door. Oonagh sits on her own at a booth. Kate joins her. 17. KATE Sorry i'm late. OONAGH Don't tell me... (makes the gesture of a telephone) ...your mother? KATE She's worrying about her new neighbour. Says he barbecues a lot. OONAGH Very suspicious. KATE (smiles) I know. OONAGH I got you the same as me. (off Kate's gaze) They're at the bar. He seems very nice. Just then two guys approach from the bar. MATT Hey Kate. KATE Hi Matt. Matt embraces Kate, then turns to his friend. MATT Kate, this is Simon. SIMON Hi. Simon shakes Kate's hand. Kate blushes ever so slightly. KATE Hi. (beat) You work with Matt? SIMON Yes. If you can call it work. 18. KATE (laughs a little too eagerly) Right. Awkward pause. OONAGH Come on, i'm feeling small down here. Sit! They all sit down. INT. SHOWER - DUSK Close up of Harvey's face under shower. INT. BEDROOM - DUSK Harvey puts on a cream linen jacket, that matches a pair of slacks. He looks at himself in a full length mirror. He looks good. There is a knock at the door, just as his phone rings. VOICE (O.S.) Room service. Harvey opens the door, as he answers his phone. HARVEY Just over by the bed. Thank you. Hello? A young African man wheels in a trolley with a pot of tea and some biscuits. YOUNG AFRICAN MAN Shall I open this for you? He heads towards the window. Harvey turns. HARVEY Careful! Too late. The blind wips up - toggle hitting the young man in the eye. HARVEY (CONT'D) Are you Ok? The porter, covering his eye, nods, backing towards the door. 19. YOUNG AFRICAN MAN Oh, yes. Yes, fine. HARVEY Are you sure? Here. Harvey wedges a fiver into his free hand as he retreats rapidly. The door closes. Beat. Harvey returns the phone to his ear. HARVEY (CONT'D) Hello? No answer. He sits down on the bed and pours some tea. Just then his phone rings again. He reaches for it, knocking the trolley and the tea onto himself. HARVEY (CONT'D) Fuck! Grabbing a tea towel, he dabs his trousers. INT. PUB - NIGHT From a distance, across a crowded Friday night bar, we watch our gang chat. It seems to be going well. Laughter hangs in the air. EXT. RESTAURANT - NIGHT A cab pulls up in front of a posh looking restaurant. Harvey steps out, dressed in the same cream jacket, but now sporting a pair of dark trousers. He looks like a bad lounge act. The cab pulls away as Harvey turns towards the restaurant. INT. RESTAURANT - NIGHT Harvey enters. Three young men stand to one side, chatting animatedly. On seeing Harvey, one of them looks up. SCOTT Harvey. HARVEY Scott. SCOTT You made it. 20. HARVEY Yes. Scott turns to his friends. SCOTT This is Susan's father, Harvey. Harvey Shine. (beat) Harvey, this is my best man, Josh Stillman and Pete Turner. HARVEY Hi. FRIENDS Hi. SCOTT How are you Harvey? (glancing at Harvey's attire) Its great to see you. HARVEY Good thanks. Great. (sensing his gaze) How are you holding up? SCOTT Great. (turning to his friends) Can't wait to marry your daughter, really. Laughter. HARVEY No... (beat) Is she..? SCOTT She's through there. She'll be thrilled you're here. I'll go and find her. Just then Harvey's phone rings. HARVEY Sorry. Harvey turns away and answers. 21. HARVEY (CONT'D) Yes. (listens) No, no, that's not right. I booked Mike. It's important. I spoke to him about it two weeks ago. I booked him. (getting flustered) Have you told him its Harvey. It's really important... (suddenly conscious of Scott's friends standing nearby) Just...Just get him to call me, Ok? Harvey hangs up. And putting on his `positive' face turns back to Scott's friends. HARVEY (CONT'D) Sorry. (beat) Always something. JOSH Sure. (beat) What's your field, Harvey? HARVEY Oh, I'm a... (beat) I work in the music industry. JOSH Wow. Doing what? HARVEY I'm a composer. (beat) Sort of. PETE Cool. What kind of stuff? HARVEY Oh, you know, for...commercials, that sort of thing. TV. (beat) Mostly background stuff, that sort of thing. JOSH I see. 22. Slightly awkward pause. PETE Sounds profitable. HARVEY It can be. (wanting to change subject) You guys work with Scott? PETE/JOSH Yes. HARVEY Oil, right? JOSH Futures, yes. HARVEY Well, I'm sure that's pretty profitable too. The guys smile a little too readily. JOSH Sometimes, yes. Harvey tries to smile back. HARVEY Well, I'd better find my daughter. PETE Absolutely. Good to meet you, Harvey. See you in there. As Harvey moves off into the adjacent room, the guys watch him go. INT. PUB / HALLWAY OUTSIDE BATHROOM - NIGHT Kate and Oonagh wait in line for the bathroom. OONAGH So? KATE He seems nice. 23. OONAGH Nice? Nice like good. Or nice like dull. KATE Nice like how old is he? Oonagh smiles. OONAGH Old enough. Your age...ish. KATE He can't be, he's looks like a baby. OONAGH Alright, my age. But Matt says he's very mature. KATE Oh right. Did Matt offer that up - or was that in response to you two discussing my approaching barrenness. OONAGH Kate? Just then Kate's phone rings. OONAGH (CONT'D) Don't answer it. KATE I have to. She's on her own. (beat) She gets lonely. OONAGH Just tell her you're busy. Kate nods and indicates that the loo is free. Oonagh goes in, as Kate answers her phone. KATE Mum? INT. DINING ROOM / RESTAURANT - NIGHT Harvey enters the room. He sees his daughter, standing off to one side, with Scott, talking to some friends. 24. She looks beautiful. He takes a moment to just watch her. As she turns in slight slow motion, she smiles on seeing her father and joins him. SUSAN Hi Dad. HARVEY Suz... (beat) You look beautiful. SUSAN Thank you. Slightly awkward pause. HARVEY Give us a hug then, as they say in this country. They embrace. Beat. Off Susan's look... HARVEY (CONT'D) I know, I look ridiculous. SUSAN No. You look... HARVEY Like a bad lounge act. Susan smiles at her Father. Beat. HARVEY (CONT'D) I spilt something on my trousers. (beat) I've been doing that a lot recently. Harvey looks over at Scott in the distance, sharing a laugh with his buddies. SUSAN Dad. HARVEY Long way to come to see two American kids get married. Susan looks at her father, a little irked. SUSAN Sorry for the inconvenience, Dad. 25. Harvey looks at his daughter. HARVEY Sorry. Beat. SUSAN Have you seen mum yet? HARVEY No. They're here? SUSAN Yes. They're over by our table. Harvey looks over. SUSAN (CONT'D) Please Daddy. HARVEY What? (beat) I'll be good. Just then, they are approached by Scott guiding some friends over to say hello. SCOTT Look who i've got! Susan's girlfriends shriek with delight as they approach. Susan turns to greet them. HARVEY I'll speak to you later Suz. You enjoy your friends. As Susan greets her friends, Harvey retreats. INT. PUB - NIGHT Kate rejoins the others. Oonagh and Matt are standing. Matt has his jacket on. OONAGH (to Kate) We've gotta go. Problem at home. Baby-sitter just rang. Nothing serious. (MORE) 26. OONAGH (CONT'D) (beat) But you guys stay. Kate makes eyes at Oonagh, who shrugs innocently. Oonagh goes to kiss Kate, while Matt says goodbye to Simon. OONAGH (CONT'D) (under breath) Enjoy yourself - you miserable cow. And turn off that phone. (beat) Are you working tomorrow? KATE Yes. Half-day. OONAGH I'll see you Tuesday. Oonagh kisses Kate and heads off with Matt, leaving Kate standing slightly awkwardly next to a seated Simon. SIMON Looks like we've been set up. KATE Yes. (beat) Sorry. SIMON No. It's not your fault. I mean, I'm fine with it. I mean, I'm happy to meet new people. KATE Yes, me too. SIMON Why don't you sit down? KATE Yes. Kate sits down. SIMON So you're Oonagh's boss? KATE Yes. (beat) Sorry, I'm saying `yes' a lot. 27. SIMON Yes. (smiles) You are. They share a smile. SIMON (CONT'D) Do you want another drink? KATE Ye... (smiles) Sure. I can get them. SIMON No, it's fine. What do you fancy? KATE I'll have another white wine. Anything dry. Simon heads off to the bar. Kate watches him go. She allows herself a smile. INT. RESTAURANT/BAR AREA - NIGHT Harvey stands at the bar and downs a whiskey. Picking up another glass, he turns away, and with drink in hand, approaches a group of people standing around a table. As he nears, a distinguished older man with a healthy main of white hair sees him and momentarily touches the arm of the woman standing next to him. She turns around to see Harvey approaching. JEAN Harvey. HARVEY Jean. Harvey turns his gaze to the white haired man and nods. HARVEY (CONT'D) Brian. BRIAN Harvey. Good to see you. There is a palpable sense of tension in the air. 28. HARVEY (deliberately only directed to Jean) So our baby girl is really getting married. Who would've thought? JEAN Yes. BRIAN Harvey you remember the Watsons. Barry and Jill. Harvey turns to a couple, standing nearby. HARVEY (slight sarcastic tone) Of course I do. Hell, its been a while. I guess, not since Jean and I split up. JILL Hi Harvey. You look well. HARVEY Thank you, Jill. You're looking well too. Both of you. I guess you guys stayed in touch with Jean. Awkward Beat. BRIAN Barry and I work together now. HARVEY No kidding? Insurance? BARRY No. (beat) Property, now. A small portfolio down in Florida. HARVEY Real Estate. That's great. (beat) That's really great. Awkward silence. 29. BRIAN Well I think we should sit. I know Susan wanted us all seated before they joined us. HARVEY Sure. Good idea. Everyone begins to take their assigned seats. Harvey is on the inside close to the middle. It's a bit tight and involves people getting up to make way. Harvey gets to his seat and is just about to sit when his phone rings. Brian and Jean share a look. Taking it out of his pocket Harvey looks at the incoming number. HARVEY (CONT'D) Sorry, I have to take this. (picks up) Can you hold a minute? Harvey makes his way back along the table, causing people to stand again. HARVEY (CONT'D) Sorry. Sorry. Harvey walks away from the table. INT. PUB - NIGHT Kate sits waiting. Simon has finally been served and turns from the bar with drinks in hand. As he does a young woman, standing with a small party of two other girls and a guy, greets him. Kate looks on. It's obvious from Simon's reaction that they know each other well. Just then Kate's phone rings again. She looks at the number and thinks about ignoring it, but in the end, reluctantly picks up. KATE Mum. You've got to stop calling. (beat) What? I can't hear. Hold on. Kate gets up and moves towards the back-room. INT. RESTAURANT FOYER - NIGHT Harvey stands on the phone. 30. HARVEY (getting more and more flustered) It'll take two hours max. No longer. (listens) Have you told him its Harvey? Look, we go back! He'll tell you. Just have him call me. INT. RESTAURANT - NIGHT Harvey returns to the table. Everyone is seated. HARVEY Sorry... He notices his name place has been moved to the end. HARVEY (CONT'D) (smiling/to Jean) Did you move me darling? JEAN No, Harvey. I didn't touch it. SUSAN Dad. I moved you. I thought it might be easier in case you needed to get out. HARVEY Ok, sweetheart. Harvey takes the last remaining seat. Brian stands. BRIAN Shall we have a quick toast to get things going? (beat) I'm going to save my big speech for tomorrow. (laughter) Dear Susan and Dear Scott, I just want to take us all back to that wonderful holiday we all had in Rome together last year and wish you `Salute'! EVERYONE Salute! 31. BRIAN Jean and I love you both so much. And we're so happy that Scott is going to part of our clan now. And so I say many, many, happy, happy years ahead. Salute! EVERYONE Salute! HARVEY My turn? Everyone turns to Harvey as he stands to make a speech. Just then his phone rings on vibrate. HARVEY (CONT'D) Sorry. Harvey scrambles to turn it off, as Jean rolls her eyes. HARVEY (CONT'D) Sorry, I thought it was off. (flustered he finally manages to stop it buzzing) Um, uh. (beat) To Susan and Scott. A great couple. (beat) Cheers. Momentary awkward silence. EVERYONE Cheers. Harvey sits. SUSAN Let's eat. EVERYONE Yes... Everyone tucks in. Harvey sits slightly blushing at the end of the table, knowing he's blown it. 32. INT. PUB - NIGHT Kate hangs up and returns to the main room, to find that Simon has been joined at their table by the young group. Kate bolsters herself before returning to the table. KATE Hi. SIMON Hey. Kate. (beat) Sorry, i bumped into these guys and couldn't shake them. (turning to his friends) Everyone this is Kate. Kate holds up her hand, before blushing a little. KATE Hi. SIMON Kate this is Andrew, Melissa, Gwen, and Elinor. EVERYONE Hi. Kate sits down. MELISSA Sorry, I hope we're not barging in on your evening. Kate shakes her head. MELISSA (CONT'D) It was Simon's idea. How do you guys know each other, anyway? Kate glances at Simon. KATE We don't really. We just met. Melissa looks at Simon and grins. MELISSA A blind date? 33. SIMON No. (beat) We met through friends. MELISSA I see. I think we should leave you guys alone. KATE (a little too abruptly) No. (beat) Don't. Stay. It's fine. Slightly awkward pause, broken by Andrew. ANDREW Hey does anyone know the cricket score? SIMON England were all out by tea, when I last checked. ANDREW Bloody hell. GWEN Cricket. Don't get it. MELISSA What? Men in white. Oh, I do. Kate looks on as the girls laugh. INT. RESTAURANT - NIGHT Harvey sits at the end of the table, looking on, as everyone talks animatedly around him. He eats his food and drinks plenty of wine. Up near the middle Scott shares a joke with Brian. Just then Susan, who has been talking to the best man, turns and catches her father's eye. He smiles at her and raises a glass. Susan smiles back before returning her attention back to her neighbour. INT. PUB BOOTH - NIGHT Kate sits among the group. She too seems to be detached from the proceedings. 34. GWEN I heard that they did it in her bedroom, while she was away. SIMON It was her flat? GWEN Yep. He has his own, but was basically living at hers. ANDREW Ouch. MELISSA That is evil. As the conversation continues in this vein, Kate glances at Simon. He seems more at ease in this company. INT. RESTAURANT - NIGHT The meal is drawing to a close. People have gotten up and are circulating around the table and nearby. INT. BAR AREA - NIGHT Harvey stands at the bar. He downs a drink. Jean approaches. JEAN Harvey. HARVEY Hello Jean. JEAN (to barman) Can I get a glass of water please? The Barman obliges. JEAN (CONT'D) You Ok? HARVEY (Downing another drink) Fine. Beat. 35. JEAN Go easy Harvey. HARVEY (getting quite loaded) Why, Jean? Are you worried i'm going to embarrass you again? JEAN No Harvey, I'm worried you're going to embarrass yourself. (beat) And more importantly Susan. This weekend's just about her and Scott. Nothing else. HARVEY Oh, you're good Jean. You're really good. You've always known how to make me feel shit, haven't you? (beat) You've always been so good at that. JEAN I've had cause to practice. Beat. HARVEY Tell me, Jean. Were you ever proud of me? JEAN Yes. Sometimes. (beat) But you never listened. HARVEY The parties Jean. The fuckin' parties, where I would hear you - dressing up what I did for a living - film composer this, film composer that - trying to make it more palatable for your friends. I'm a... JEAN (cutting him off) Don't Harvey. Beat. 36. HARVEY What is it you see in Brian? Jean looks into Harvey's eyes. Long beat. JEAN He doesn't talk about himself. (beat) He talks about me. Harvey stares back, momentarily transfixed, before turning away dismissive. JEAN (CONT'D) Go home Harvey. Go to bed and see your daughter get married tomorrow. Jean walks away. Harvey stands at the bar. Susan comes into the room. She approaches. SUSAN Hi Dad. HARVEY Hey Suz. SUSAN Are you alright? HARVEY (upbeat) Yeah. I'm great. How are you doing? Enjoying yourself? SUSAN Yeah. Beat. HARVEY He seems a good guy, Scott. You'll be alright. SUSAN Yeah, he is. (beat) I'm sorry, I haven't had much time to talk to you. HARVEY No Sweetheart, it's your weekend. It's no problem. You just enjoy yourself. 37. Beat. SUSAN How's work? HARVEY Great. (beat) Well, not great, but...fine. You know the usual. Triangle chimes. Susan smiles. SUSAN Are you still doing your own stuff? You should. HARVEY A bit... Not so much. Beat. Harvey looks away, then back. HARVEY (CONT'D) Listen Suz, I'm really sorry about having to leave early. It's just bad timing. There's a sudden rush at work, you know, a couple of big jobs in at once. SUSAN Sure. HARVEY It just can't be helped. But I'll be there at the ceremony, at the really important bit. I'll be there to give you away. (beat) And then I'm sure Brian or your mother will talk at the reception. You know me, I've never been very good at speech... SUSAN (interrupting) Dad. HARVEY Yeah, Suz? SUSAN Listen, I've been thinking. (beat) (MORE) 38. SUSAN (CONT'D) Brian has been a really big part of my life now for some time. And... (long beat) And I'm going to ask him to give me away tomorrow. Silence. SUSAN (CONT'D) I'm sorry, Dad. The colour drains from Harvey's ruddy face. HARVEY But Suz... SUSAN Dad, I've hardly seen you in the past five years. HARVEY That's not true. SUSAN Dad, it is. Maybe a quick coffee here, or a telephone call there but no, you haven't been part of my life. And... (beat) And Brian has. Beat. SUSAN (CONT'D) You having to leave early this weekend. I don't know, it just seems typical. HARVEY (flash of irritation) It's work darling. It pays for things. (beat/sighs) Sorry. Look, I... SUSAN (interrupting) I'm sorry Dad, but it's what I've decided. Harvey momentarily turns away from his daughter, to compose himself, before turning back. 39. HARVEY Sure. (beat) I understand, Suz. Harvey leans in and kisses his daughter on the forehead. HARVEY (CONT'D) You go and be with your friends. Go and enjoy yourself. (pulls out his phone) I gotta make some stupid calls. You know. Go and enjoy yourself, Sweetheart. I'll see you tomorrow. Susan reluctantly walks away as Harvey lifts the phone to his ear. We hold on his face. With Susan gone he lowers the phone. He looks frightened. INT. MEN'S ROOM - NIGHT Harvey enters the rest-room and heads to a bank of basins. He turns on a tap and bends down - drinking profusely. He splashes his face then rises and begins to dry it with some paper towels. HARVEY You fuckin' asshole! Harvey suddenly bends over as though he'd been punched hard in the stomach. He rises, red in the face, holding his nose, desperately trying to hold it in. But he can't - Harvey sobs huge heaving muffled cries... Just then, someone enters. Head down, Harvey lunges for the door and exits. EXT. RESTAURANT - NIGHT Harvey stumbles out of the restaurant and into a waiting cab. The cab pulls away. INT. PUB - NIGHT Kate sits surrounded by laughter. Simon's attention is firmly fixed on his friends. Kate's humiliation is magnified as we slowly move into her face. KATE Sorry. 40. Kate gets up and walks away. Everyone momentarily stops chatting and looks to Simon, who shrugs. INT. LADIES - NIGHT Kate enters a cubicle. She sits down to have a pee. We hold on her sad face. She suddenly grimaces, before holding firm. But not before a tear has been expelled and rolls down her cheek. She swats it away. INT. TAXI - NIGHT We hold on Harvey's sad face as it gently bobs in the back of a moving cab. EXT. PUB - NIGHT Kate exits the pub, just as a cab pulls up. As Harvey exits one side, Kate gets into the other, as the cab pulls away again. FADE TO BLACK. FADE IN: INT. REGISTRY OFFICE - MORNING Bride and Groom stand at the head of the room, saying their vows. Harvey stands near the back, looking on. As the ceremony is concluded the audience spontaneously burst into applause. Harvey looks around the room, then back at his daughter, as she smiles giddily at her husband. Harvey slips out the door. EXT. STREET - DAY Carrying his case, Harvey hails a Taxi and gets in. INT. TERMINAL 3 - DAY Kate, back in green, stands next to a young couple asking them questions about their travel arrangements. 41. EXT. STREET - DAY The Taxi comes to a stop in `classic' mid-day London traffic. INT. TAXI - DAY Harvey glances at his watch, then out at the mass of cars in front of them. His phone rings. He picks up. HARVEY Hello? The line goes dead. Harvey puts his phone away. He glances out the window again as the Taxi crawls forward, before again coming to a stop. Harvey leans forward. HARVEY (CONT'D) Is there another way we could try? The driver, looking a little irked, glances at Harvey in his mirror. TAXI DRIVER It's going to be bad everywhere. Your president's in town. It's causing chaos. Harvey rubs his neck and glances again at his watch. INT. BOOTH - DAY Kate eats a snack, while reading a book. Her phone suddenly rings. She sighs quietly before slowly picking it up. KATE Mum? EXT. HEATHROW / TERMINAL 3 - DAY A Taxi pulls up. Harvey gets out, pays the driver and hurries into the Terminal. INT. TERMINAL 3 / CHECK-IN COUNTER - DAY The counter is mobbed. A long queue snakes away from it. Harvey hurries to the front, where a male Steward is attending to another passenger. 42. HARVEY I'm sorry but, I'm on the 4.30 to JFK. WAITING PASSENGER Hey pal, we're all in hurry. HARVEY Just hand luggage, can i go straight to the gate? STEWARD Sir, I'm dealing with a passenger, you'll have to wait. HARVEY Please. I've gotta make that flight. STEWARD Sir, everyone is in a hurry. You'll just have to wait. Harvey sees another Steward momentarily free, and turns to her. HARVEY Miss, i'm on the 4.30 to JFK. Can you check me in? STEWARD #2 I'm afraid that flight's now closed. HARVEY But it's not yet 4! I just have hand luggage. It doesn't take off for another 40 minutes. STEWARD #2 I'm sorry sir, but we have to close the gate 45 minutes prior to departure. HARVEY But I just have hand luggage. Please. I've got to get on that flight. STEWARD #2 I'm sorry sir, there's nothing I can do. 43. Harvey looks around. HARVEY When's the next flight? STEWARD #2 There's one at 8.30. But I know that's full. I can put you on stand- by, but I doubt you'll get on. (beat) The earliest I can get you on for sure, is tomorrow morning, 10.30. HARVEY (shouts) Jesus! People look over. STEWARD #2 Sir, I'm sorry, but you have to stay calm. Harvey looks about him. INT. TERMINAL 3 - DAY Harvey sits holding his phone. He dials a number, lifting the phone to his ear. He gets voice-mail. HARVEY Marvin. It's Harvey. Listen, there's been a mess up, the traffic was crazy. I'm going to have to reschedule the pitch slightly. Frank can set up. I'll email him the cue numbers - he knows what to do. And then I'll be there lunch- time at the latest. I'll come straight from the airport. I'll try you again shortly. Harvey hangs up and stares at the phone. Beat. He looks up and around the Terminal. A young child has a tantrum nearby. Suddenly his phone rings. HARVEY (CONT'D) Hello? MARVIN I got your message. 44. HARVEY The traffic was insane. But listen... MARVIN (interrupting) The traffic, Harvey? Jesus! Beat. Marvin sighs. MARVIN (CONT'D) Listen, Harvey. Stay in London. Enjoy your daughter's wedding. We'll talk when you get back. HARVEY It's fine, I'll be there lunch- time. It's no problem. Steve knows what I need. Mike's coming in. It's all set u... MARVIN (interrupting) Harvey! Silence. MARVIN (CONT'D) It's over. (beat/sighs) It's out of my hands Harvey. I have people to answer to. We just can't afford the space. (beat) We're letting you go. HARVEY Letting me go? Can't afford the space? Marvin, I'll be there lunch- time. Beat. MARVIN I'm sorry Harvey. (beat/sighs) Call me when you get back. The line goes dead. Harvey closes his phone. Beat. He stares ahead into space, then stands and walks away. 45. INT. BOOTH - DAY Kate closes up the booth. INT. TERMINAL 3 / CHEZ GERARD (BAR/RESTAURANT) - DAY Kate sits at a table near the bar, drinking a glass of wine and reading her book. She glances up as a man enters. Harvey takes a seat at the bar. HARVEY Jamesons, no ice. The Barman serves Harvey. Harvey immediately downs it. HARVEY (CONT'D) Another. (beat) Please. The Barman refills his glass. Again Harvey knocks it back. Kate glances up from her book. HARVEY (CONT'D) Another, please. The Barman glances at Harvey. HARVEY (CONT'D) What? BAR MAN Sorry. Harvey reaches for the now full glass. But knocks it, spilling it into his lap. HARVEY Shit! Kate looks up again, along with the few other patrons in the bar. Harvey registers their gaze. HARVEY (CONT'D) Sorry. Vulgar American. Kate smiles, before returning to her book. Harvey dabs his trousers with some napkins. 46. HARVEY (CONT'D) (to himself) I know, we don't raise our voices in this country. It's not done. Harvey puts the sodden napkins down onto the bar. He looks at himself in the mirror behind the bar and rubs his chest. He sighs and glances around the room. He sees Kate and recognizes her. HARVEY (CONT'D) (to Kate) I'm sorry. Kate looks up. Beat. KATE For what? HARVEY For yesterday. I was rude. You tried to ask me some questions. Kate nods. HARVEY (CONT'D) You were just trying to do your job and I was rude. KATE I don't really remember, but I'm sure you were. Most people are. Kate returns to her book. Beat. HARVEY Good book? Kate looks up. KATE It probably would be, if i could finish it. HARVEY (holds up his hands) I get it. Beat. Harvey downs another shot. Kate looks up again. KATE That'll help. 47. HARVEY (looks over) Sorry? KATE I said, that'll help. Beat. HARVEY Believe me, it will. KATE Right. Beat. HARVEY I reckon it'll help as much as that trashy novel and a glass of chardonnay. Beat. KATE O-kay. Harvey winces, lowering his head into his hand. Putting some money onto the bar, he turns and joins Kate, taking a seat at an adjacent table. HARVEY I'm really sorry. That was out of line. KATE (looks up) What? Go away and stop apologizing. HARVEY It's just that i've had a really shitty day. KATE (looking back at her book) Join the club. HARVEY No. I mean really shitty. Yours may have been shitty, but mine was shittier. Beat. Finally, Kate looks up again at this strange man. 48. KATE How shitty? HARVEY I missed my flight. I lost my job. And my daughter who got married in London today asked her step father rather than me to give her away. Kate looks at Harvey sympathetically for a moment. KATE Not bad. (beat) But what can I do for you? (beat) Make it worse, maybe? HARVEY Let me make it up to you. (beat) Would you let me buy you lunch. What time is it - tea time? I'll buy you tea. Kate blushes ever so slightly. KATE That's very sweet of you, but... I don't know you. And... you don't know me. HARVEY Exactly. That's why we should have lunch - tea. Kate can't help but smile. Beat. KATE Thank you, but...no. She indicates her book. HARVEY Because you've got your book. And it's a good replacement for humans. Kate smiles and nods. Just then her phone rings. HARVEY (CONT'D) If that's for me I'm in the shower. 49. Kate smiles as she takes out her phone and looks at the incoming number. She is about to answer, when she stops herself. HARVEY (CONT'D) Aren't you going to answer that? She thinks for a moment, before putting the phone back. KATE No. HARVEY Should I take that as a hopeful sign. Kate can't help but smile. KATE If it is, you could just give me a little wider smile. Kate can't help but smile wider. INT. LIVING ROOM - DAY Kate's mum pulls the phone away from her ear, perplexed by the lack of response. Her eyes wander to the window. Drawing back the curtain, she looks out. POV: The Neighbour, now sporting a white apron, busies himself as usual. He suddenly bends down and heaves what would best be described as a body bag onto his shoulder. As he stumbles under the weight, he carries it into the shed. Kate's mum turns away ashen. INT. CHEZ GERARD - DAY Harvey and Kate remain seated at adjacent tables. Muzak plays in the background. They are now virtually the sole patrons of Chez Gerard. Kate eats a salad and reads her book. Just then, Harvey's food arrives. Beat. HARVEY Look we are having lunch together. KATE (looks up and smiles) No. We're having lunch next to each other. 50. HARVEY Ah. (beat/suddenly holds out his hand) I'm Harvey. Harvey Shine. KATE (takes it) Kate. Kate Walker. Kate can't help but smile at Harvey's persistence. Beat. She puts down her book. KATE (CONT'D) So why aren't you at the wedding? Harvey, momentarily taken aback by the directness of Kate's question, is about to answer, when the sound of a vacuum cleaner erupts. Harvey and Kate look over to see a cleaner vacuuming the floor nearby. HARVEY Ah, that's better. I knew something was missing. (shouting over the din) I had to get back for a work thing. KATE (over the din) A work thing. For the job you just lost? Beat. HARVEY (over din) Yes. KATE (over din) I see. (beat) So, this job you lost. You liked it? HARVEY (over din) Yes. (beat) No. Not really. They've beaten it out of me. But its what i do - did. 51. KATE (over din) Which is - was? HARVEY (shouts) I'm a composer. (stops himself) I write jingles. The vacuuming stops. They both look over, then back. KATE Wow. HARVEY That's about the normal response. KATE Anything I would of heard? HARVEY Yes. Uh...Uh... (long beat) Well, maybe, I mean it maybe before your time. KATE (smiles) No, go on. Harvey smiles a little sheepishly. HARVEY (singsong voice) You can take the Salem out of the country - but you can't take the country out of Salem. Beat. KATE No. HARVEY It's a cigarette. KATE Oh really? HARVEY Forget it. 52. KATE Ok. The vacuuming starts up again. They look over then back. KATE (CONT'D) (over din) Did you always want to write jingles or was there something more? Harvey laughs. KATE (CONT'D) What? HARVEY No, I just love the way you...you just cut through it. KATE I'll take that as a compliment. HARVEY You should. (beat) I was going to be a Jazz pianist. KATE Were you good? Beat. HARVEY No. Not enough. Harvey looks away. KATE I'm sorry, I can be nosey. I tend to blurt stuff out. Breaking from his reverie. HARVEY No. I like it. I like it... (beat/over din) ...Alot. Vacuuming stops. Beat. Kate looks away. 53. HARVEY (CONT'D) It's a relief to find someone in this country who actually says what they feel. KATE Oh, haven't you heard? HARVEY What? KATE That's all changed. We're a nation changed. Ever since Diana, we've unlocked ourselves. Everything's flowing out. (beat) You guys showed us the way. HARVEY Just as we're trying to adopt your stiff upper lip. Kate smiles. HARVEY (CONT'D) What is a stiff upper lip, exactly? Harvey tries to physicalize it. KATE No, I think, it's more this. Kate stretches her top lip. HARVEY I see. (copies her) How's that? KATE (top lip stretched) Yeah you're getting there. Stretch it out further. HARVEY Let me see again. KATE No, now you're doing a bulldog. HARVEY Like this? 54. KATE No, now you look like you don't have any teeth. (beat) Are they your own? HARVEY What? KATE Your teeth? HARVEY The front ones. KATE My dad had a front one that you could just take out. HARVEY Really? As they sit there, lips stretched, nattering away, we start to pull back. Accompanied by a simple piano score we look on as they appear to us, momentarily, like an ordinary couple. EXT. CHEZ GERARD - DAY Harvey and Kate exit the restaurant. They stand opposite each other in the quietening Terminal. KATE Thank you. I...enjoyed myself. HARVEY Yes. So did I. Slightly awkward pause. Kate glances at her watch. KATE I should get going. I have a class. HARVEY A class? KATE (a bit sheepish) Yes. A...writing class. (beat) Twice a week. Just something I do. (changing the subject) (MORE) 55. KATE (CONT'D) I take the Heathrow Express. What about you? Harvey hadn't really thought. HARVEY I don't know. I guess I'll stay in a Hotel near here. My flight's in the morning. Beat. KATE Well...it's been a pleasure...Harvey Shine. HARVEY Yes. Yes it has. They shake hands, smiling. Just then Kate's phone rings again. HARVEY (CONT'D) There's your phone again. KATE Yes. (beat) Sorry. I'd better go. Kate turns and leaves. Harvey watches her go. INT. TERMINAL / HOTEL PHONE BANK - DAY Harvey picks up a hotel phone. HARVEY I'd like a room please. (beat) One night. INT. HEATHROW EXPRESS PLATFORM - DAY Kate waits on the platform as a train glides into the station. INT. TRAIN - DAY Kate stands in a crowded middle section. A mild commotion ensues down the other end of the carriage as somebody squeezes aboard at the last. 56. MAN'S VOICE (O.S.) Sorry. Excuse me. Kate looks up to see Harvey making his way down the crowded carriage. HARVEY Sorry. People reluctantly make way for Harvey and his case. He finally arrives next to Kate as the train jolts forward. Momentarily losing his balance, Harvey steadies himself on a businessman's shoulder. Kate leans forward to help, as the businessman turns slightly irritated. HARVEY (CONT'D) Sorry. (turning to Kate) Hi. (a little sheepish) I thought i might as well stay in town. More fun than a hotel next to a runway, right? Kate nods. Harvey smiles a little sheepishly as the train speeds off. EXT. TRACK - DAY The train speeds past on its way into London. INT. TRAIN - DAY Harvey and Kate stand next to each other, gently swaying, in the crowded carriage. The businessman standing next to Harvey, talks loudly on his phone about his day's conquest. Harvey and Kate share a look. In a Keatonesque performance, Harvey, keeping his body rigid, slowly leans further and further away from the man, making Kate smile. INT. PADDINGTON STATION - LATE AFTERNOON The train pulls into the station. We watch as Harvey and Kate alight with the crowd. 57. EXT. PADDINGTON STATION - LATE AFTERNOON They come to a stop outside. It's still light. A beautiful fall afternoon. KATE Taxi's are over there. They'll take you to wherever you need to go. Harvey looks towards the Taxi rank. KATE (CONT'D) So, I guess it's goodbye again. HARVEY Yes. (looks up at the evening sky/beat) So, I couldn't walk you to your class, could I? (beat) Carry your books? (beat) Stand near the curb so you don't get splashed. Kate smiles. KATE Sure. HARVEY Is that a yes? KATE Yes. (beat) Why not? EXT. LONDON STREETS - LATE AFTERNOON Montage: Accompanied by a wonderfully romantic little ditty, we watch from a distance as Harvey and Kate navigate the buzzing streets of central London. All is alive and well. Harvey drops his suitcase off at the same hotel he was staying in before. As they wander through the city, foreign students mingle, policemen chat, and office workers linger. London is at its best. 58. EXT. SOUTH BANK - LATE AFTERNOON The sky glows a pale orange as Harvey and Kate walk and talk along the South Bank. HARVEY Yours is a beautiful city, Kate. Kate looks at Harvey a moment, then smiles. HARVEY (CONT'D) What? KATE Its just a funny way of saying it. Quite old fashioned. HARVEY Really? KATE But i like it. (beat) Yours is glorious country, Honeychurch. Harvey looks at Kate quizzically. KATE (CONT'D) It's a line from a book. `Room with a View'. Harvey shakes his head. HARVEY I'm afraid I'm not much of a reader. (beat) Too fidgety, I guess. Kate looks at Harvey. HARVEY (CONT'D) You think less of me. KATE No, we're just quite different, that's all. HARVEY Is that bad? 59. KATE (thinks about it) No. Just then Kate's phone rings again. HARVEY Both our phones ring a lot. We have that in common. KATE (smiles) Ah. They come to a stop as Kate takes out her phone and looks at the handset display. KATE (CONT'D) Sorry. I should probably take this. Harvey nods. KATE (CONT'D) Mum? (beat) I've been busy. (beat) No, I'm out. Yes with someone. No someone else. (beat) Yes. (looks at Harvey) ...a man. Harvey smiles. We hear Maggie's warble continue as Kate listens. Beat. KATE (CONT'D) You did, did you? (beat) An actual body. Harvey looks at Kate. Kate shakes her head. Maggie continues. KATE (CONT'D) Mum. Listen. I'll come over tomorrow and we can check it out together. (beat) I have to go now. Just get an early night and i'll see you tomorrow. (beat) I love you too. 60. Kate hangs up. KATE (CONT'D) Sorry. (beat) My mother. HARVEY She worries about you? KATE And herself. (beat) She's convinced she's living next to Poland's answer to Ted Bundy. HARVEY I see. They start walking again. KATE She means well. She's just had a tough run. (long beat) My Father ran off to France with his secretary. Then mum got cancer, about four years ago now. She's fully recovered. But won't admit it. (beat) She's basically bored. And my continued `situation' as she calls it, being single, is her major distraction. Her pastime if you will. HARVEY I see. KATE Yes, my rotting eggs are her raison d'Ítre. (grimaces/turns to Harvey) Sorry. HARVEY No. KATE I talk too much. 61. HARVEY No. I like it. KATE Do you? HARVEY Yes. Kate comes to a stop and looks at Harvey. KATE Hmm. (beat) Well, here we are. My class. Harvey looks up at a grey municipal building. HARVEY How long is the class? KATE An hour. HARVEY Can I wait? (beat) Sorry - I promise I'm not `Bundyish'. KATE (smiles) It's getting cold. You don't want to wait. HARVEY Yes I do. KATE (smiling and backing towards the building) Careful, I might get the wrong impression. Harvey shrugs. HARVEY What can you do? 62. INT. LIVING ROOM - LATE AFTERNOON Maggie, very tentatively, lifts her curtain again. No sign of the `Killer'. Suddenly the doorbell rings. INT. HALLWAY - LATE AFTERNOON As Maggie, slowly approaches the front door, the doorbell rings again. She slowly leans in and peers through the peep- hole. POV: The Neighbour looms large. He holds in his arms a large `something' wrapped in paper. Maggie pulls her head away. Beat. She looks again. POV: The Neighbour bends down out of sight and then rises again, turning to leave. Maggie watches him go. EXT. SUBURBAN HOUSE - LATE AFTERNOON The door slowly opens. Maggie looks around then notices the `thing' wrapped in paper on the ground. She quickly picks it up and takes it inside. EXT. SOUTH BANK - LATE AFTERNOON As daylight fades, Harvey sits waiting. Through a large ground floor window, he watches Kate, as her class wraps up. As she comes out, he gets up and joins her. HARVEY How did it go? KATE Oh, the usual. (beat) Lovely mild-mannered Mike read us the latest installment from his Physcho-Sexual Thriller, and we all tried to look at him in the same way after. Harvey smiles. KATE (CONT'D) Shall we keep walking? HARVEY Yes. 63. EXT. SOUTH BANK - LATE AFTERNOON Harvey and Kate walk under Waterloo bridge past the second hand bookstalls. A man plays a saxophone melancholically. KATE Do you ever wish you could try a different life? (beat) Just for a day. Just to see what it would be like. HARVEY What would yours be? KATE (looks down at her uniform) Well, no green, that's for sure. Harvey smiles. KATE (CONT'D) (beat/thinks) It would take place in Spain. A little house inland. HARVEY And what would you do there? KATE Oh...I don't know... (beat) Write the great novel. (beat) I think I've got one inside me. We're not talking high art. Just a bloody good holiday read. Beat. HARVEY Ok. So this house in Spain would have a little cabana looking out over the plains for you to write in. KATE (smiling) Yes. 64. HARVEY And a little stream running by, to bathe in. KATE (smiling) Sure. HARVEY I'm there. (beat) Sorry, that's if you're receiving guests. Kate smiles, coming to a stop. KATE Sure, you can visit Harvey Shine. HARVEY Why, thank you Kate Walker. Just then a sort of Skiffle come Rockabilly busking act starts up. Two girls and a guy. They're great! Harvey and Kate stand amongst the crowd watching. The South Bank is at its vibrant best. EXT. SOUTH BANK - DUSK With the sound of the Skiffle act still playing in the distant background, Harvey and Kate take a seat on some steps over-looking the river. As darkness descends, street-lamps reflect off the water. They sit in silence. Then... KATE What happened Harvey? (beat) Between you and your daughter? Beat. Harvey shakes his head. HARVEY I don't know. (beat) Somewhere along the way I lost her. I lost my family. (beat) I just woke up one morning and realised i didn't belong. Beat. 65. HARVEY (CONT'D) I'd always had this mean little feeling in my stomach, that they were a bit embarrassed by me. (beat) If you saw them now, with Brian, Susan's step-father. You'd see, they make more sense. They look right together. Beat. Harvey looks out over the Thames. HARVEY (CONT'D) I've not been a great father. Kate looks at Harvey's sad profile. Beat. She thinks for a moment. KATE The reception. It's still going on? HARVEY (looks at his watch) I guess. KATE Where? Harvey looks up. HARVEY The Grovesnor. Why? Kate looks at Harvey. KATE You must go. HARVEY What? KATE What the hell are you doing here? You must go! Harvey shakes his head. HARVEY She doesn't need me. 66. KATE Stop feeling so sorry for yourself. She's your daughter, you're her father. Go! Harvey shakes his head again. Kate is not about to give up. KATE (CONT'D) Harvey, it would be unforgivable not to go. Beat. KATE (CONT'D) Harvey? HARVEY Wait. I'm thinking. (beat) Only if you come with me. KATE What? HARVEY Please, come with me. As my...bodyguard. (smiles) As my friend. Kate momentarily blushes, then shakes her head. KATE Harvey, firstly, i'm not about to go to anyone's wedding in a green polyester work suit. Secondly it's not right. HARVEY We'll find you a dress. If we find you a dress, will you come? KATE No. HARVEY Please. KATE No. HARVEY Please. 67. KATE No. EXT. BURLINGTON ARCADE - NIGHT Music/Montage: The song is the same as that played by the buskers. It's a fast, fun Rockabilly Skiffle thingy. We watch as Harvey and Kate buy a dress. (Handheld/Double speed). EXT. GROVESNOR - NIGHT A Taxi pulls up and out step Harvey and Kate. Kate looks fantastic on Harvey's arm as they walk up the front steps. INT. WEDDING RECEPTION - NIGHT A reception is in full swing. INT. LOBBY - NIGHT The doors close behind Harvey and Kate as they enter an elevator. INT. ELEVATOR - NIGHT Harvey and Kate stand side by side in silence. They both smile a little anxiously - almost like teenagers. INT. RECEPTION FLOOR / HALLWAY - NIGHT There is a loud `ping' as the elevator doors open onto a hallway. Harvey and Kate step forward. Down the hall, through some double doors we hear the familiar din of a buzzing reception. Harvey momentarily falters. KATE Come on. Kate encourages Harvey forward. INT. RECEPTION - NIGHT The doors open and Harvey and Kate enter. Heads turn. Jean looks up and sees Harvey with Kate. She shakes her head. Susan sees Harvey and gets up. She joins him. 68. HARVEY Hey. SUSAN Hi. HARVEY I didn't go. SUSAN I'm glad. Off Susan's look, Harvey turns to Kate. HARVEY This is Kate. A... friend. KATE (sheepish) Hi. Congratulations. You look fantastic. SUSAN Thank you. Slightly awkward pause. KATE I'm really sorry to gate-crash. Your father sort of insisted. SUSAN No, it's fine. I'm sure... (looks around) ...there's room. Susan looks back at the full top table. HARVEY You get back. Don't worry about us, we'll find a place. KATE Yes... SUSAN No. (stops a passing waiter) Could you find them a seat please. WAITER Sure. 69. Pete, acting as Master of Ceremonies, stands and clinks his glass for attention. SUSAN I'd better go. PETE (MC) And now for the best man's speech. Except we seem to be missing the bride. (laughter) Oh, no, here she is. Susan heads back and resumes her seat at top table. The best man takes the mic... JOSH Scott. What can I say... INT. RECEPTION / BACK TABLES The waiter leads Harvey and Kate to a table. WAITER I'm afraid this is the only place left. The waiter shows them to a few empty seats at the children's table. HARVEY That's fine. Harvey and Kate take their seats. The kids stare at them. KATE Hi. A brace clad, large girl in a white frilly dress speaks. GIRL Are you Uncle Harvey? HARVEY Yes. I guess. GIRL I've heard about you. 70. HARVEY Oh. (beat) You're not Miriam's kid are you? GIRL Yes. HARVEY Wow...You've...got big. I mean grown up. GIRL I'm fourteen. HARVEY Wow. Kate feels someone's eyes on her and turns to her left to find a smartly dressed young boy of about eight, staring up at her with his mouth open. Kate nods her head. KATE Hello. The boy remains silent, keeping his gormless gaze fixed on Kate. KATE (CONT'D) Now you're not to dominate the conversation tonight. (turning back to Harvey) Chatterbox to my left. Harvey smiles. INT. RECEPTION / TOP TABLE - NIGHT JOSH So without further ado, I'd like to propose a toast to Susan for making my friend Scott complete. The audience whoop and clap. Scott gives his best man a hug. Pete stands... PETE (MC) And now ladies and Gentlemen. It is the turn of the Father of the Bride to say a few words. (MORE) 71. PETE (MC) (CONT'D) And tonight that task will be carried out by the very charming and distinguished Brian. More clapping as Brian stands. Kate glances at Harvey, who blushes. BRIAN Well, that's quite some speech Josh. Quite something to follow. But I shall try... Harvey suddenly stands and clears his throat. HARVEY Um... Excuse me... Nobody really hears. He picks up his glass and a spoon and begins to tap it. People stir and turn to Harvey. Brian comes to a stop. Jean looks on furious. Silence. HARVEY (CONT'D) Sorry Brian... Sorry to interrupt. Everyone stares at Harvey. Silence. HARVEY (CONT'D) But you see I can't just sit hear and watch somebody else give my baby girl away. Susan's my daughter and I'm her father. Not the best, by far, but her father all the same. A waiter brings Harvey a microphone. HARVEY (CONT'D) Thanks. It's arrival slightly throws him. HARVEY (CONT'D) Um... I should have prepared something but... I guess it reminds me of a joke... Harvey continually knocks the mic against his chest, causing terrible feedback. HARVEY (CONT'D) Sorry. Um... Then Harvey drops the mic. Jean stands up. 72. JEAN For God's sake Harvey, don't make a scene. Silence. Harvey stares out at the party. They all stare back at him. He glances down at Kate who smiles back. Harvey lifts the microphone up off the table and raises it to his lips. HARVEY No Jean. I want to make a scene. You know. I'm tired of being embarrassed. (beat) If we can't make a scene on the day of our daughter's wedding, then when can we? I want to make a scene. I want to shout! I wanna tell the world how lucky it is to have our Suzie in it! SOMEONE IN THE CROWD Yeah! HARVEY I wanna tell Scott, how damn lucky he is! UNCLE FRED Hear, hear! People start to clap. HARVEY (smiling) And also if he ever hurts her, I know people in north of London. Laughter. HARVEY (CONT'D) Seriously though. Scott, I swear you have found in Susan a bright and passionate person. And a loyal friend. CONGREGATION Hear, hear! HARVEY And I can see from the way she looks at you. From the way she is with you, that she is... (beat) (MORE) 73. HARVEY (CONT'D) ...happy. (beat) And I thank you and welcome you to the family. Harvey and Scott share a look. The room applauds loudly. HARVEY (CONT'D) And finally, if I can linger a moment longer. I would like to turn it back over to Brian, with a note of... gratitude. (beat) Thank you for being there for my baby girl. Thank you for being there, when I wasn't. Beat. Brian nods to Harvey, before standing and raising his glass. BRIAN If you would all please join Harvey and I, in a toast. (beat) To Susan and Scott. CONGREGATION Susan and Scott! Everyone claps loudly. Susan shares a gentle smile with her Father. Harvey sits and looks at Kate anxiously. Kate smiles and nods. KATE Well done. HARVEY Really? She indicates to the rest of the table. Harvey turns to their now animated young neighbours, who all sit clapping. INT. RECEPTION / BANDSTAND - NIGHT PETE (MC) Ladies and Gentlemen, the first dance. The BAND strike up as Susan and Scott take to the dance floor. They dance a slow dance. Harvey and Kate sit watching. 74. After a while Susan, looks over for her Father. Harvey hesitates, before Kate encourages him up. She plucks a flower from the table display and places it in his lapel. Harvey joins Susan and Scott on the dance-floor. Shaking Scott's hand, he leads Susan into a dance. SUSAN Thanks for coming back Dad. Beat. HARVEY Thanks for having me back. Kate looks on, as Harvey dances happily with his daughter. Feeling something, she turns to find the eight year old's head slumped against her shoulder as he sleeps soundly. Kate smiles at her lot. Back on the dance-floor, Harvey encourages Brian to take over the dance with Susan. Harvey turns away and is joined by Uncle Fred and gang. They all chat animatedly. Uncle Fred pushes Harvey into a dance with his wife. A `Boogie' strikes up. Kate looks on as Harvey dances and reunites with his extended family. She sees the delight in his face. She looks around at all the happy faces. It's time perhaps to let the family celebrate alone. Extricating herself from the sleeping boy, she pushes two chairs together and makes a bed for him. Covering him in a jacket, she glances back at the dance-floor before turning to leave. Back on the dance-floor, a `Boogie' is in full swing. Harvey caught up in the fun, energetically swings Aunt Maddie around. He suddenly catches himself and turns to his table to look for Kate, but finds it empty save for a row of dozing children. Harvey makes his excuses and turns away, looking for Kate amongst the crowded room. INT. HALLWAY - NIGHT Kate retrieves her coat and makes her way down the hall towards the bank of elevators. 75. INT. RECEPTION - NIGHT Harvey hurries to the exit. INT. HALLWAY - NIGHT On turning into the hall, he sees Kate standing in the distance. Just then, she steps forward and out of sight. Harvey runs. INT. ELEVATOR / CONFERENCE ROOM - NIGHT Kate stands in the empty elevator, waiting for the doors to close. She stares at her feet. Just then we hear a burst of a piano being played. It stops. Kate looks up to see, across the hallway, in an empty conference room, Harvey seated at a grand piano. He smiles a showman's smile before giving it another `old school' burst. He stops again. Kate smiles. Just then the doors begin to close. Kate reaches forward and presses a button - opening them. Harvey starts up again - but this time he plays something sincere - beautiful. Kate listens before slowly stepping out of the elevator. She walks towards him, joining him at the piano. INT. CONFERENCE ROOM - NIGHT Harvey slides along the seat and indicates for Kate to join him. She does so and listens as Harvey plays beautifully. He's good. He finally brings the piece to an end. KATE Wow. Harvey blushes. KATE (CONT'D) One of yours? Harvey smiles at Kate. 76. HARVEY You are very kind. But...no. (beat) Shearing doing Rogers. KATE Ah. (beat) Well...you play it very well. HARVEY (bows his head a little/with a smile) Well, thank you Ms. Walker. KATE You're most welcome, Mr Shine. They share a little smile. Beat. HARVEY Me thinks you were leaving? KATE Indeed I was, Sire. HARVEY Why? Beat. KATE Because you looked happy. Harvey looks quizzically at Kate. Beat. KATE (CONT'D) You should be with your family, Harvey. HARVEY But, you know, maybe I want to be with you. (beat/sings) You make me happy - when skies are grey. Kate smiles. KATE Careful, Harvey. I'm blushing. Beat. 77. HARVEY Thank you. KATE For what? HARVEY For making me come here. Beat. KATE You're welcome. They share a look, before both looking away. Beat. HARVEY Can I? KATE What? HARVEY Can I...? Just then a vacuum cleaner sounds. They both look up - as a cleaning lady vacuums the floor nearby. Beat. HARVEY (CONT'D) Hey kid, they're playing our song. Kate smiles. KATE Yes. In the background we hear clapping and cheering coming from the reception. A funky number starts up. Harvey takes Kate's hand. HARVEY (excited) Come on. I want you to meet people. I want them to meet you. Harvey leads a slightly reluctant Kate back down the hall towards the reception. INT. RECEPTION - NIGHT The band let rip on a funky tune. The congregation fill the dance-floor. 78. Harvey leads Kate back into the room and heads straight for the dance-floor. As they pass relatives along the way, Harvey introduces them to Kate. Much hugging and kissing ensues. Harvey and Kate dance a boogie. Uncle Fred and Aunt Maddie join them. Uncle Fred steals Kate from Harvey and twirls her off. MONTAGE: Fun and Frolics on the dance-floor. Harvey is at the center of it all. He initiates a Horah. A Congo line. Russian dancing! Kate's face says it all - she's having a ball. The sleeping kid, sleeps. INT. RECEPTION / BANDSTAND - NIGHT Close up on the M.C. PETE (MC) Ladies and Gentlemen. The bride and groom are about to leave. Please join me outside to send them off in style. EXT. HOTEL STEPS - NIGHT Harvey and Kate join the rest of the congregation outside on the steps of the hotel. Harvey looks on as his daughter and son-in-law head to an awaiting car. Susan stops and throws the bouquet behind her. It is caught by Aunt Maddie, who in turn throws it and it is caught by Harvey's `all grown up' niece. She blushes profusely revealing an impressive set of braces on her teenage teeth. Susan kisses her mother and Brian goodbye. And is about to get into the car when she stops and hurries over to Harvey. SUSAN Bye Dad. HARVEY Bye Suz... Bye Susan. She hugs him tightly. Pulling away she turns to Kate. SUSAN Be gentle with him. Kate nods as Susan turns to leave. HARVEY (to Kate) Sorry. 79. Kate smiles. As the car pulls away, everyone cheers. Harvey looks on. His eyes momentarily lock onto his ex-wife's. They share a conciliatory look. As Harvey watches his daughter's car disappear down the street, Kate looks at him. He turns back. Beat. KATE You Ok? HARVEY Yes. Yes, I am. Beat. Harvey looks around. HARVEY (CONT'D) You wanna get out of here? KATE Sure. EXT. MEWS STREET - NIGHT/DAWN Harvey and Kate walk. The streets are quiet. There is already a hint of dawn in the sky. Rubbish trucks manoeuvre. EXT. SOMMERSET HOUSE - DAWN They turn into the courtyard of Sommerset House and take a seat on some chairs. The sky lightens. KATE I don't think I've stayed up all night since I was a student. They stare out over the courtyard. Silence. Harvey looks at Kate for a beat. HARVEY You got sad. Why? Kate looks back at Harvey and tries to read him. She looks down at her lap, then up, out over the courtyard. KATE Oh, I don't know. My uniform's green? The sun begins to creep above the buildings. Harvey and Kate look out across the courtyard. 80. KATE (CONT'D) I was pregnant once. (beat) I didn't have it. Didn't give it a moment's thought. (beat) That's what smart girls did. Beat. KATE (CONT'D) I do sometimes wonder what they'd be like today. (beat) Whether they'd be smart. Funny. Serious. (beat) I don't know, it's silly. Harvey looks at Kate in the morning light. Kate blushes and looks away. KATE (CONT'D) I don't know why i just told you that. HARVEY No. (beat) I'm glad. Harvey looks away, then back. HARVEY (CONT'D) Meet me here, tomorrow. KATE What? HARVEY Exactly here, at these chairs. At noon. Kate smiles, determinedly trying to keep it light. KATE What about your flight, Harvey? HARVEY I don't want to leave. (beat) Guess why. 81. KATE Why? HARVEY I wanna be with you. Kate's blush deepens, she looks away and laughs. KATE Shut up, Harvey. HARVEY It's true. Kate glances at Harvey, trying see the truth in his eyes. KATE You say that now, but wait until tomorrow. HARVEY Today is tomorrow. KATE Harvey we know nothing about each other. You're... HARVEY Old? KATE A bit older, yes. (beat) I can be mean. Really mean. HARVEY So can I. KATE No. Truly cantankerous. HARVEY So can I. Kate can't help but smile. Beat. She glances towards the street. KATE (standing) I should be going. 82. HARVEY I know enough to know, I'll be here. Waiting, at this chair. Kate looks at Harvey, then again towards the street. KATE Sure, Harvey. HARVEY Noon. I mean it. (beat) I'll be here. Kate smiles a little smile. She suddenly believes him. KATE Ok. She steps backwards. HARVEY Wait. Harvey gets up and joins her. They look at each other. Harvey suddenly leans in and kisses Kate. HARVEY (CONT'D) (pulling away/can't help smiling) Sorry. Kate smiles. KATE Harvey Shine. HARVEY Can I have something until tomorrow. Kate reaches for her purse and pulls out a photo. She gives it to Harvey. KATE (stepping backwards) I must go. She turns and leaves, hurrying to catch a bus. Harvey stands holding an old library card. He looks down. On it is a faded photo of toothy young girl, no older than eleven. Harvey looks up and smiles. 83. INT. BUS - EARLY MORNING Kate takes a seat on the top deck of a bus. Taking a moment to catch her breath, she looks out the window. Turning back, she allows herself a smile... FADE TO BLACK. FADE IN: EXT. LONDON STREET - EARLY MORNING Harvey, with a croissant lodged in his mouth and a cup of coffee in hand, buys a morning paper. He turns and crosses the road, skipping up the steps of his hotel. INT. HOTEL LOBBY - EARLY MORNING Harvey enters, and waving to a slightly bemused concierge, heads to the bank of elevators. HARVEY Morning. CONCIERGE I'm afraid they're both out of order, Sir. Harvey glances at the sign, then over to the stairwell. HARVEY I guess i'll walk, then. INT. STAIRWELL - MORNING Harvey, a man, seemingly impatient to start a `new life', runs up the steps. Surprised at first by his agility, he begins to slow. He stops to catch his breath. Suddenly his spare hand holds tight onto the bannister. Unsteady Harvey sits down. Close up on Harvey's face, confused. He tries to stand but again is forced back down. He begins to place his coffee on the stair next to him, but suddenly shudders, grabbing his shoulder. The coffee topples, spilling down the steps. HARVEY Shit. Frightened and confused, Harvey sits alone in the stairwell. 84. Just then, a door opens and the African porter from before, comes through, carrying a tray. He sees Harvey. PORTER Sir, are you Ok? Harvey looks up in a daze, then shakes his head. EXT. LONDON STREET - MORNING Kate, with a skip in her step, walks through the bustling mid- day streets of London. She stops off and buys a bag of cherries from a `Fruit & Veg' vendor. EXT. HOTEL - MORNING As the porter and concierge talk to a medic, Harvey sits in the back of an ambulance. The door is closed. EXT. SOMMERSET HOUSE - DAY Kate sits waiting, expectantly, on the same chairs they had sat on earlier. She applies some lipstick. INT. HOSPITAL - DAY Harvey sits attached to various monitors and such, surrounded by doctors and nurses. He looks agitated and confused. HARVEY I've got to go. I've got to be somewhere. DOCTOR Sir, I need you to stay calm. It looks to me like Arrhythmia - an irregular heart-beat. HARVEY Yes, S.V.T'S, that's what I've been trying to tell the nurse. I've had it since I was a kid. I take Primax. I guess i've been forgetting to take it recently. I've been under alot of stress, that's all. 85. DOCTOR Well Ok, then we probably know where we're at. But I need to check all possibilities. EXT. SOMMERSET HOUSE - DAY As time passes, we watch as Kate's expression slowly turns from expectant to resigned. INT. HOSPITAL - DAY HARVEY I know it's Arrhythmia! Please, I have to be there. DOCTOR Sir, I'm 99% sure it is. But my job is to make sure it's not that 1%. I wouldn't be doing my job if I didn't check out absolutely everything. (beat) Nurse, we'll do an EKG, followed by Bloods. And can you arranfe a monitored bed for him for tonight. As another pad is attached to his chest, Harvey looks beaten. EXT. SOMMERSET HOUSE - DAY Kate looks on as some kids play in the fountain nearby. She self-consciously smooths a fold in her skirt, then looks at her watch. Beat. She looks down at the brown paper bag of cherries. Suddenly a resigned smile flashes across her face - she's been here before ≠ nothing new. Kate gets up and leaves. We watch her walk away. FADE TO BLACK. Sound of a vacuum cleaner. FADE IN: INT. HALLWAY - DAY Open on a close up of Kate's face - it says it all. Kate vacuums her mother's floor. She turns it off and unplugs it. 86. Coiling up the cord, Kate puts the vacuum cleaner into a cupboard under the stairs. KATE (calling out) Ok mum, that's me, I'm done. Maggie comes out of the kitchen. MAGGIE Why don't you stay and have some lunch? KATE I can't, I've got to go. (beat) Not to pry or anything but why is there a large smoked ham under the stairs? MAGGIE Oh, that, yes...It's, um...The neighbour gave it to me. KATE The polish neighbour? (beat) So probably not a mass murderer. MAGGIE Probably not. Kate smiles. MAGGIE (CONT'D) Are you sure you're going to be alright? KATE Of course I will. I'll be fine. MAGGIE Men, who needs them. Remember we've got Greece to look forward to. Resigned, Kate hugs her mum. KATE Yeah. Kate leaves. 87. EXT. SUBURBAN HOUSE - DAY Kate exits her mother's house and passes Paddy the Postman. PADDY Morning Kate. KATE Morning Paddy. PADDY Looking lovely as ever. KATE (resigned) Thank you. Kate walks off down the street. INT. HOSPITAL / RECEPTION AREA - DAY Harvey stands at a counter in a busy reception area. He has his phone lodged in the crook of his neck. In front of him, lies an open phone directory. HARVEY It's some sort of Statistics Agency. (listens) Yes. That sounds right. Yes, based out at Heathrow. (listens) Thank you. Hold on. (turns to a receptionist) Miss, could I borrow, your pen. The receptionist obliges as Harvey scribbles down a number on an old envelope. HARVEY (CONT'D) Thanks, thanks alot. INT. HEATHROW / O.N.S. BOOTH - DAY A phone rings behind the counter. Oonagh picks up. OONAGH O.N.S., Heathrow branch. (beat) Hold on. (MORE) 88. OONAGH (CONT'D) (calling out) Kate it's for you. Some guy called Harvey. Kate, stands nearby, holding a clipboard, about to head out onto the floor. She looks at Oonagh. She thinks for a beat, then shakes her head, silently gesturing she not there. Oonagh, a little perplexed goes back on the phone. OONAGH (CONT'D) Um, I'm sorry. She's not here. INT. HOSPITAL / RECEPTION AREA - DAY Harvey, phone to ear, thinks for a beat. He knows she's there. HARVEY Please. It's important. Beat. OONAGH Hold on. INT. BOOTH - DAY Oonagh pulls the phone away and gestures again to Kate. Kate shakes her head. Beat. Oonagh reluctantly lifts the phone to her ear. OONAGH I'm sorry, she's busy. (beat) She won't come. Oonagh hangs up, looking at Kate. Kate shrugs defensively before turning to go. We hold on Kate's `confused' face as she walks away. INT. HOSPITAL / RECEPTION AREA - DAY Harvey, having hung up, lowers the phone from his ear. He looks around the room. Seated across the way an old man stares back at him. A receptionist arrives with some forms. RECEPTIONIST If I could just get you to sign these, you'll be all done. Harvey signs a form. 89. RECEPTIONIST (CONT'D) And there. (beat) And that's it. Harvey glances at the receptionist - she is roughly Kate's age. Just then his phone rings. He picks up hopefully. HARVEY Hello? MARVIN Hey Harvey, it's Marvin. Where are you? HARVEY (turns from the counter) Oh, I'm still in London, Marvin. MARVIN Well you get yourself back here my friend. I've got some great news. You were right. The Samuelson account. None of the kids could handle it. They couldn't nail it. They ended up picking one of your old tunes. They want you to come back and update it. (beat) We need you back, Harvey. Your old room's here waiting for you. (beat) Harvey? Harvey looks around the room at the lonely figures, waiting. A young boy fidgets. Next to him sits a young man, lost in thought. HARVEY Well, that's great Marvin. MARVIN Yeah. Yeah, `it's great'. I mean, look, I know when to eat humble pie. So look, hey, when can you get back here? (beat) Harvey? Harvey glances back at the old man. The old man continues to stare back. Beat. Something changes in Harvey. 90. HARVEY I...I'm not coming back. MARVIN What? HARVEY I'm quitting Marvin. MARVIN What you mean you quit? Harvey, fuck you man, you need us. HARVEY No, you know, I don't. As you said, it's my `last chance'. (beat) Look, I gotta go. Harvey hangs up. A smile breaks across his face. EXT. HOSPITAL - DAY Harvey exits the Hospital. HARVEY (calling out) Taxi! A taxi pulls up. HARVEY (CONT'D) Heathrow please. As quick as you can. Harvey gets in as the Taxi speeds away. INT. HEATHROW / O.N.S. BOOTH - DAY Aggie, manning the booth, attends to some passengers. EXT. HEATHROW - DAY A Taxi pulls up. Harvey hurries out. INT. HEATHROW / O.N.S. BOOTH - DAY Harvey approaches the booth. 91. HARVEY Excuse me, I'm looking for a Kate. Kate Walker. Aggie eyes Harvey, a little warily. AGGIE Who wants to know? HARVEY A friend. (beat) More than a friend. Aggie tuts and calls behind her. AGGIE There's a man here looking for Kate, says he's `more than a friend.' OONAGH (O.S.) More than a friend?! Oonagh comes out from the office, eyeing Harvey suspiciously. OONAGH (CONT'D) You're the American. (long beat) She likes you. I can tell. (beat) Now, don't you go messing her around. Don't you hurt her. HARVEY I wouldn't. I won't. Beat. Oonagh continues to eye Harvey. Finally... OONAGH She's not here. HARVEY Oh. OONAGH She's left for the day. (beat) But you might find her at her class. (looks at her watch) I think it starts around now. Down on the Southbank. At the National. 92. HARVEY Yes, I know. OONAGH Oh you do, do you? (beat) Well, go on. Go get her. HARVEY Thank you. Harvey turns and hurries away. Oonagh and Aggie share a smile. INT. WRITING CLASS - DAY MIKE The blood oozes from his wound like dark chocolate on a warm summer's day. Kate sits listening in a daze, as `mild-mannered Mike' unleashes his latest. EXT. WATERLOO BRIDGE - DAY Harvey alights from the Taxi, paying the driver. He runs. INT. CLASS - DAY Everyone gathers their things as the class wraps. EXT. WATERLOO BRIDGE - DAY Harvey hurries towards the Southbank. EXT. SOUTHBANK - DAY Kate comes down from the upper terrace of the National, saying her good-byes to her classmates. In her hand she holds a book. As she turns she sees Harvey coming to a stop in the distance. She momentarily falters before approaching. KATE Hey. HARVEY Hey. 93. KATE You're still here - still in London... HARVEY Yeah. (beat) Kate, I just wanted to apologise and explain... KATE No, you don't have to - explain - it's fine - HARVEY No, but I do - KATE I don't need to hear - it's fine, seriously. HARVEY But I want to... (comes out) I had to go to Hospital. KATE Oh, God! Why?! HARVEY No, it's nothing, I'm fine, I just forgot to take my pills. I have this condition, I've had it since I was a kid - it's an irregular heart- beat sort of thing. KATE Arrythmia. HARVEY Yes! How do you know what it is? KATE (smiling a little sheepish) My...My father has it. HARVEY (smiling) Well, young men get it too. Kate can't help but smile. Beat. 94. HARVEY (CONT'D (CONT'D) Kate, I'm so sorry I wasn't there. Beat. Kate takes a breath, and gives him the practical response she's gone over in her head. KATE Harvey, I like you, I really do. And I had a lovely time - it was great. But, you know, I don't really do fountains at noon. (beat) I live in Willesden. And you live - in - HARVEY White Plains. KATE Exactly. And we're not teenagers, so - you know, monday morning and life kicks in, all that jobs and family and brown envelopes with bills in - it was a lovely day and I won't forget it, but it's not exactly real life... HARVEY It is. It can be. KATE No, Harvey, it's not. Beat. HARVEY Kate, I want this. I want you. A button is pushed in Kate. KATE But it's not just about you, is it? (beat) You don't know anything about me. Look at me. It's pathetic. I expected you not to show for God's sake. I think I even wanted you not to be there, it's easier that way. (beat) You - you just dive in wherever, deep end, whoosh. But, I'm not your bloody swimming pool Harvey. (starting to break) (MORE) 95. KATE (CONT'D) And I am not going to do it, I'm not going to do it because it will hurt. Not right now, maybe, but soon - there will be a "it's not quite working is it" or a "I need some space" or whatever it is and it'll end and it'll hurt and I won't do it, I won't and...I...Oh fuck, I don't want to cry. I don't want this... Kate turns and walks away, standing by the balustrade, looking down at the river below. Harvey watches. She takes a seat on a bench. Harvey gives her, her space. Then slowly he approaches, leaning against a tree nearby. Long beat. KATE (CONT'D) I think it's actually easier for me to be disappointed. I think I'm actually angry at you for trying to take that away. Long beat. Just then Kate's phone rings. She reaches into her bag and takes it out. She stares at the phone, thinking for a beat, before answering. KATE (CONT'D) (firmly) Mum, I love you, but not now. She hangs up. Long beat. HARVEY Should I take that as a hopeful sign? Kate can't help but smile. HARVEY (CONT'D) If you just give me a little wider smile. KATE (smiling/laughing) Oh, shut up, Harvey. Beat. Kate collecting herself, looks up at Harvey. KATE (CONT'D) So how's this going to work, Mr Shine? Beat. 96. HARVEY I have absolutely no idea... (beat) But it will. (beat) I promise you that. Kate stares at Harvey for the longest while. Then... KATE Shall we walk? Beat. Harvey nods. HARVEY Yes. Kate gathers up her things, stands and joins Harvey. They begin to walk. After a short while Kate stops, puts her hand on Harvey's shoulder and takes off her shoes. KATE That's better. Harvey glances down at Kate's feet, then up at her. HARVEY I think you're my kinda girl. Harvey and Kate smile. And as they walk away from us we hear. HARVEY (CONT'D) Why don't you ask me those questions? KATE Which ones? HARVEY You know, from the airport. When I wouldn't stop. KATE Oh, the questionnaire. (beat) Ok. Name? HARVEY Harvey Shine. 97. KATE Place of residence? Beat. HARVEY I'm in transition. We watch as Harvey and Kate disappear into the sea of London... THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Last Flight, The.txt b/unformated_scripts/Script_Last Flight, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..6f6529fcd6f76a4fede381b71b809b9833e9c849 --- /dev/null +++ b/unformated_scripts/Script_Last Flight, The.txt @@ -0,0 +1 @@ + THE LAST FLIGHT Written by John Monk Saunders FADE IN EXT. BATTLEFIELD - NIGHT On a FREEZE FRAME of a huge mortar on the edge of a dismal no-man's land, surrounded by trees and overhanging branches. The distant roar of battle RUMBLES ominously. SUPERIMPOSED TITLES appear and hold for a moment. Abruptly, the image springs to life. The gun FIRES deafeningly. The nearby branches shake violently. Another set of TITLES appears. The image FREEZES again as a lone bugle plays a charge. Again and again and again, the image moves, the gun DISCHARGES noisily, the image FREEZES and more sets of TITLES appear with every FIRING. On the last discharge, the trumpet fades and all hell breaks loose: WAR MONTAGE Nothing but FAST, BRUTAL FLASH CUTS of: Cannon firing in all directions. Massive explosions on the battlefield that light up the night. Troops marching across a bridge as a shell hits the river below sending water towering into the sky. An entire cavalry division galloping hard over the battlefield, blazing mortar fire visible above them on the horizon. Brief shots of the horses, their grim riders hanging on for dear life, their muscles flexing, hooves pounding the dirt. Men yelling. FASTER AND FASTER, MORE AND MORE CHAOTIC: Mortar fire, explosions, smoke. A machine gunner fires. A soldier falls. Infantrymen, rifles in hand, press through the haze. More machine gunning. More soldiers go down. A massive gun fires. SMASH CUT of a tank tread bearing down on the CAMERA, blacking out the screen. Infantrymen trail behind the heavy machinery, firing pistols, rifles. A bridge explodes. A building explodes. The ground explodes. A bomb drops from an airplane. Aerial view of an exploding building. Anti-aircraft guns at work. Planes in the air. A machine gun fires skyward. Planes circle, filling the air. A single bi-plane. The plane's gunner, SHEP LAMBERT, looks down, surveys the situation, breaks into a grin. Shep nudges his pilot, CARY LOCKWOOD, and points. Cary looks down to see: Another plane below. In it, pilot BILL TALBOT waves and salutes. FRANCIS, the gunner, opens his mouth, smiles and nods up at them. An enemy plane arrives. The enemy pilot fires his twin machine guns. Bill and Francis' plane spins away. Bill cocks a snook at the enemy plane and waves dismissively at it, much to Francis' amusement. The planes circle in the air. The enemy plane trails Shep and Cary. Shep FIRES his machine gun to no avail as Cary watches. The enemy pilot returns fire. The two planes tango in mid-air. Shep FIRES. The enemy pilot grins and FIRES. Bullet holes riddle the side of Shep and Cary's plane. Cary warns Shep they've been hit. From the enemy plane's POV, Shep and Cary's plane streams black smoke. The two planes. Shep and Cary's plane goes into a steep dive, spinning out of control. Cary rips off his goggles as smoke pours up from below him. Flames fill the cockpit as Cary's gloved hands desperately try to keep hold of the red hot controls. The plane, streaming smoke, spins wildly downward. Shep, surrounded with smoke, looks skyward and salutes with mock gallantry. Above, Bill and Francis watch. Bill returns the salute with a smile and waves. Francis, though, doesn't look happy. Shep twists in his seat and looks around. Cary's hands grasp the controls in the flaming cockpit. SHEP (o.s.) Level off, Cary! Level off! Despite the flames, Cary pulls back on the control stick. From the plane's POV: The landscape rushes by. The plane, now level, crashes into the ground and comes to an abrupt stop. Smoke. Flames. Cary jumps out of the cockpit and rushes back to Shep who is struggling to clamber out. CARY Shep! Shep, are you all right? SHEP Can't make it, Cary. Can't make it. CARY Here, give me your arm! I'll get you out of here! Hang on there, Shep! Get a hold - Just hold tight, old fella. Cary pulls Shep out and hauls him away from the burning wreckage where the two of them collapse to the ground, half-conscious. Flames consume the plane. DISSOLVE TO: A TEMPERATURE CHART for Lieutenant Shep Lambert, a patient at U.S. Army A.E.F. Base Hospital 145. Shep's temperature readings for October 11th to October 26th are indicated by a line on a graph, near a level marked CRITICAL. The distant sound of battle continues to RUMBLE. ANOTHER CHART swings into view. This one is for Lieutenant Cary Lockwood whose readings for October 27th to November 2nd are also below the CRITICAL mark. The line continues and improves considerably by November 11th when the final reading is marked NORMAL. DISSOLVE TO: INT. HOSPITAL - DAY The battle sounds are now joined by a loudly TICKING clock. With no sign of energy or emotion, Shep and Cary sit together on a hospital cot in full uniform. Shep wears dark eyeglasses. Cary has a coat draped over his hands. He glances off. We follow his gaze, PANNING past other patients in the hospital to a wall clock and calendar. It is November 11th and the time is almost eleven A. M. The battle's RUMBLE drones on. SHEP AND CARY stare up at the clock. Behind his dark glasses, Shep's left eye twitches. THE CLOCK slowly DISSOLVES to one last BRIEF BATTLE MONTAGE: soldiers yelling and running, guns firing noisily, a plane crashing, explosions. The final image is of a plane parked on the ground, its engine dying, its propeller slowing to a stop as we DISSOLVE BACK TO the clock face. The center of the clock is lined up exactly with the center of the propeller -- the slowing propeller blades are replaced by the clock's hands -- as if to symbolically suggest that the war has ended but time goes on. The NOISE of battle fades and only the TICKING of the clock remains. DISSOLVE TO the calendar: November 11th, 1918 -- Armistice Day. SHEP AND CARY sit motionless side-by-side on the cot. Shep has a hand over his left eye. CARY Well, the old guerre is finie. SHEP That's right. CARY What are ya gonna do now, Shep? SHEP Get tight. CARY (turns to him) And then what? Shep lets go of his eye and looks at Cary as if the answer were obvious. SHEP Stay tight. Cary grins wryly. CUT TO: INT. DOCTOR'S OFFICE - NOT LONG AFTER A nurse opens a door for Shep and Cary who enter. Shep wears his dark glasses. Cary carries his coat to hide his hands. They pause as the doors they have passed through close behind them. Their distinguished-looking doctor, a medical officer with a white gown over his uniform, sits at his desk studying their papers. DOCTOR Lieutenants Lambert and Lockwood. (rises, joins them) You two leaving us, eh? In a way, I'm sorry to release you two. I have no choice in the matter. Shep removes his glasses and presses his hand to his eye. SHEP What am I going to do, Major, about my-- oh, this rotten business? The doctor examines Shep's eye more closely. DOCTOR Mm? Spasmodic twitching of the muscles under the eye, eh, Lieutenant? SHEP Mm hm. DOCTOR What the French call a tic. T-I-C, tic. Little bothersome, isn't it? Shep puts his glasses back on. SHEP Yes, sir. DOCTOR I'm afraid time'll have to take care of that. Time and normal living. Shep's lips tighten skeptically. DOCTOR You two are returning to the United States, I presume? Shep glances at Cary. CARY Ah, we haven't decided. DOCTOR I'd take the first boat home. Well, here you go. The doctor gives Shep his release form and shakes his hand, then turns to shake Cary's. Cary merely looks down darkly and raises a bandaged hand at him. DOCTOR Oh, I forgot your burnt hands. The doctor folds up the release and stuffs it in Cary's breast pocket. DOCTOR Neither of you is fully hospitalized. I'd undertake a systematic course of finger exercises -- to, uh, stretch them and loosen them up. In time, you'll regain their full use. CARY Thank you, sir. The doctor gives Cary a pat on the shoulder. DOCTOR Bye, Lieutenant. Cary manages a smile and salutes. Shep moves to the door, saluting the doctor. DOCTOR Bye, Lieutenant. Good luck. Shep opens the door and he and Cary head out. After the door closes, the doctor rubs his head thoughtfully. He talks, apparently, to an offscreen aide. DOCTOR Well, there they go. Out to face life. (shakes his head) And their whole training was in preparation for death. He moves off as we CUT TO: EXT. HOSPITAL - MOMENTS LATER Shep and Cary exit the building but pause outside the doorway. They've seen something coming toward them and glance at one another before clearing out of its path. They watch glumly as a small group of wounded soldiers enter through some metal gates, walk slowly past Shep and Cary without acknowledgment, and head into the hospital. CUT TO: EXT. DOCTOR'S OFFICE - PERHAPS SIMULTANEOUS The office window opens. The doctor -- no longer in white but wearing his uniform -- and his aide take a break, standing in the window frame for a little fresh air. The doctor smokes a cigarette as they discuss Shep and Cary. AIDE Why can't they go on with flying? You know, the air mails or something? DOCTOR I'm afraid they're unfit for further service in that direction. The aide looks at him, quizzically. DOCTOR They fell, you know -- six thousand meters. (shakes his head, sadly) Like dropping a fine Swiss watch on the pavement. Shattered both of them. Their nervous systems are deranged, disorganized, brittle. AIDE Spent bullets. DOCTOR Spent bullets. That's it. (nods) They're like projectiles, shaped for war and hurled at the enemy. (gestures with cigarette) They've described a beautiful, high-arching trajectory. And now they've fallen back to earth. Spent. Cooled off. Useless. We slowly PULL BACK from the two men. AIDE Oh, well, if they take care of themselves, they'll pull through all right. DOCTOR Even if they do take care of themselves, what good are they? What can you expect of them? (shakes his head) I hate to think what may become of them. We have pulled back far enough and now we CUT TO: EXT. HOSPITAL - NOT LONG AFTER Two uniformed men with familiar faces -- exuberant pilot Bill and reserved gunner Francis -- arrive at the bottom of the stairs in front of the hospital. Bill, with his arm in a sling, and Francis, using a cane, start up the stairs and wave. BILL (Texas accent) Hello, Cary! FRANCIS Hi, Cary! At the top of the stairs, Shep and Cary wave back, pleased to see them. CARY Hello, Bill! Hiya, Francis! SHEP Hello, Bill! Francis! Unexpectedly, Shep and Cary hurry down the stairs past them. CARY (friendly) Well, I see you got yours. BILL (pleasantly) Yup. We crashed. Bill and Francis watch, surprised, as Shep and Cary hurry off. BILL (calls down, puzzled) Hey! Where you going? Shep and Cary, already seated in the back of a waiting automobile, grin like kids. CARY Paris! BILL (o.s.) Paris?! From the stairs, Francis smokes a cigarette and looks down at Shep and Cary uncertainly. But Bill takes the news in stride -- he smiles and waves his hat at them. BILL See you in Paris! FRANCIS (waves his cigarette) Yeah. Smiling, Shep and Cary wave back as their car drives off. DISSOLVE TO: EXT. THE EIFFEL TOWER - NIGHT A superimposed text reads: PARIS -- 1919. Traffic noise, taxi horns squeaking. DISSOLVE TO: EXT. PARIS SIDEWALK - NIGHT Strolling down the sidewalk four abreast, as if they own the town, come our heroes -- Bill, Shep, Francis and Cary -- in smart hats and dinner clothes. Outwardly, they seem to have recovered from their wounds. But: Shep still wears his dark glasses and we occasionally glimpse his eye twitching. Cary's bandages are gone but he has not regained full use of his hands. His personality is dark and dry, more subdued than Shep's, and he comes across as the most levelheaded, rational member of the group -- its unacknowledged leader. Francis seems to have suffered the greatest toll psychologically. A narcoleptic, strangely detached and unemotional much of the time, always on the verge of dozing off, his speech slurs even when he isn't drunk. Only the athlete of the group, Bill -- a burly Texan whose full name is William Talbot -- is in outstanding physical shape. But he is reckless, restless, and temperamental, covering up unnamed insecurities with bravado and forced exuberance. CARY How 'bout a cocktail? SHEP Not a bad idea at that. As a group, they turn and head into a nearby building. BRIEF DISSOLVE TO: A GLOWING SIGN made of light bulbs, outside the building. It spells out CLARIDGE'S -- a popular Parisian drinking establishment for Anglo-Americans. DISSOLVE TO: INT. CLARIDGE'S - NIGHT Numerous shelves holding numerous bottles of liquor. Employees in white jackets hurriedly rush in and pull down a few bottles. DISSOLVE TO: INT. CLARIDGE'S BAR - LENGTHY PANNING SHOT The place is packed with well-dressed men and women. The bar is crowded with men (and men only, for no women are allowed to sit at Claridge's bar) smoking, drinking, conversing. At the end of the PAN, we discover our heroes entering, greeted by an employee who takes their hats. ANOTHER VIEW - NEAR THE BAR An attractive young woman with a wide, vacant stare stands against a wall opposite the bar holding a champagne glass in her hands. Her name is NIKKI and she seems to be in a world all to herself. Our four handsome heroes file past her, intent on finding a table. Only Cary pays any attention to Nikki. After they have all passed her, he pauses to turn and stare. She's extremely nearsighted and doesn't notice him. He looks at the glass in her hand, puzzled. He starts off but then pauses. After a second uncertain look, he moves off to join his friends who stand together and peer around the crowded room, unable to find a place to sit. Cary keeps looking at Nikki. He glances at the others and they follow his gaze: NIKKI still wearing a blank expression, clutches the glass in two hands. THE GLASS in her hands. Between her fingers, we glimpse its contents -- a complete set of men's false teeth. We PULL BACK to discover that Cary has approached her. He's standing right next to her and is staring at the glass. She finally notices him. CARY I beg your pardon. But, if I'm not too inquisitive, would you mind telling me what IS that you're drinking? NIKKI Teeth. CARY Teeth? After another look, Cary turns to his friends. CARY Hey, it's teeth! BILL (o.s.) Teeth?! Shep, Bill and Francis hurry over like children and crowd around to stare in amazement at the teeth. Nikki is unimpressed by all the attention. SHEP Teeth! NIKKI That's right. BILL (enthusiastic) Yup. It's a full set -- upper and lower. CARY (to Nikki) It's a nice expression. SHEP Hey, how come you're with those teeth? NIKKI I was just standing here. And a nice gentleman came along and begged my pardon and asked would I mind holding his teeth for a minute. CARY Well, what did he want you to hold his teeth for? NIKKI Said he wanted to biff somebody. BILL (excited) Biff somebody?! Which way did he go?! NIKKI Just around to the right. BILL Come on, men! We're liable to see a fight. As quickly as they arrived, Shep, Bill and Francis depart. Cary starts after them but stops to politely address Nikki who has gone back into her trance. CARY Would you like to come along? NIKKI (as if it were obvious) Oh, no. I have to stay here and mind the man's teeth. They glance down at the teeth. CARY Oh, of course. Cary hurries off as Nikki's empty eyes rise to the ceiling. FLASH CUT - A MAN'S FACE as it takes a combination one-two punch from a pair of fists. FLASH CUT - THE MAN'S BODY dropping unconscious to the floor. OUR FOUR HEROES enter a hallway just in time to see two Claridge's employees reach down and haul away the unconscious body. Our heroes have missed the fight but Shep and Bill are delighted anyway. Bill brushes his hands (one of his favorite gestures) with satisfaction, as if he had thrown the punches himself: BILL Well. THAT'S all fixed. Bill straightens his bow-tie. Already the group seeks a new distraction. CARY Let's go back. They head back to the bar. THE BAR Nikki, no longer standing against the wall, sits on a bar stool with her back to the countertop, smoking a cigarette and holding an empty champagne glass. Our heroes enter and, glancing at the wall, fail to see her. After a moment of searching, Cary spots her at the bar. CARY Oh, there she is. All four crowd around her, pleased to be in her company. BILL Well, we missed it. NIKKI Did something happen? BILL Well, they carried a guy out. (sees her empty glass) Say! What's become of the teeth? NIKKI Oh, the man came and got his teeth. CARY Well, what did he say? NIKKI He said thank you for holding his teeth. CARY What did he look like? NIKKI I think he fell in an airplane in the war -- and got his teeth knocked out. CARY Well, why do you think he was in the war? NIKKI Oh, he had a kind of little striped ribbon in his buttonhole. CARY What makes you think he was a flyer? NIKKI His eyes. CARY His eyes? (dry, to the others) You can tell a flyer better by his ears. The men chuckle. SHEP Well, what do you say we have a drink? BILL Fine! FRANCIS Sure, here's some space. Seats have opened up at the bar so they grab stools next to Nikki. Shep greets the bartender: SHEP Hello, Jean! JEAN Bon soir, Monsieur Lambert. Qu'est-ce que voulez-vous [?] FRANCIS Martini! BILL Martini! CARY Martini! SHEP Martiniiii! NIKKI Could I have a champagne cocktail? JEAN Certainment, Mademoiselle. (calls off) Quatre Martinis pour messieurs! Champagne cocktail pour Mademoiselle Nikki! The men are all excited to find out her name. Francis uses a pretzel as a monocle to eye Nikki. FRANCIS Nikki?! BILL Nikki?! CARY Nikki?! For the first time this evening, Shep takes off his dark glasses. SHEP Can you imagine that, fellas? Her name is Nikki! CARY (considers the situation) Her name is Nikki. She holds men's teeth. She sits at the bar and she drinks champagne. BILL (significantly) Boys, she's gonna be a lot of trouble. Drinks are served. A moment of silence as they imbibe. Nikki's hand shakes as she lifts her glass, spilling some champagne. She laughs, embarrassed. NIKKI Oh, my, my! Shep, who has been watching her closely, also laughs. SHEP Poor sweet! She can't even hold her glass! Nikki notices Cary unsteadily using both his hands to hold his Martini. NIKKI (casually) Oh, well, HE can't either. Besides, he has to use two hands. Nikki chuckles. A dark look crosses Cary's face as he looks at her and puts down his drink. Seeing this, Bill and Francis exchange worried glances. Cary abruptly rises and leaves the bar. Mystified, Nikki looks quizzically at Shep who is suddenly grim and annoyed. SHEP Course he can't hold his glass. His hands are burned. NIKKI Burned? SHEP You have no right to spill YOUR drinks. He can't help himself. NIKKI Burned? How burned? SHEP He brought a plane down on fire. NIKKI An airplane? In the war? Shep demonstrates with his hands as he explains: SHEP He held the stick. But his hands began to slip. Then he held it inside his arms. He was trying to bring his rear gunner down alive. NIKKI Did he bring him down safe? SHEP Well... Shep takes a swallow of his Martini, sets down the glass. SHEP Brought him down. NIKKI Oh, so that's why--? SHEP Yes! That's why he can't hold a glass. NIKKI Oh, I'm so ashamed. SHEP Now, Cary's had a pretty thin time. His nerves are tricky. You should never call attention to his hands. AT A TABLE Cary sits with a fresh drink and is trying awkwardly to pick it up when a handsome but humorless American journalist -- the unspeakable FRINK -- enters and greets him casually. FRINK Hi, Cary. CARY (unhappily) Oh, hello, Frink. Cary immediately turns his attention to a menu. Rebuffed, Frink wanders over to the bar and sees the other men. He has a friendly pat on the back for Francis and Bill. FRINK Hello, Francis. Bill. Frink pauses to stare at Nikki's back, astonished to find a woman sitting at the bar. Then he turns to Shep, amused. FRINK Shep. Drunk again? SHEP Say, don't you know any OTHER opening remarks? It's about all we've heard from you for a year. FRINK (signals the bartender) Hi! Jean! Frink snaps his fingers at Jean and grabs a seat next to Shep. Jean asks for Frink's order in French. FRINK Un sidecar. JEAN Sidecar ... [?] Jean moves off. Frink regards the others. FRINK Say, why don't you fellows go home and go to work? SHEP Work? What kind of work? FRINK Oh, anything useful. BILL What could we do? Sell washing machines? Drive a milk wagon? Mend old furniture or somethin'? Heh! FRINK Go back to flying. Fly the air mails. BILL Aw, we couldn't fly a kite. FRANCIS Maybe a small kite. Francis holds his fingers to indicate a very small kite. Bill chuckles. FRINK Well, there must be something you can do. SHEP We've got to tend to our drinking. We don't get much opportunity. FRINK Lots of things going on outside. Sun shining, trees growing, people walking around. BILL Say! Is that STILL going on? SHEP (laughs) Sounds pretty pre-war to me. During all this, Nikki has been in her own little world. Frink leans over and whispers to Shep. FRINK Hey. Don't I rate an introduction? Who's your swell friend? SHEP Oh, her? Just an old hussy we found scattered around. Around her neck, on a slender chain, Nikki carries a small lorgnette. It opens with a spring and has small rectangular lenses. She uses it frequently, peering at unfamiliar objects in her helpless, nearsighted way. On Shep's remark, she whips it out to stare at him, mildly offended. He raises his drink to his lips and turns to her, speaking out of the side of his mouth: SHEP (off Frink) Pay no attention. Sometimes he goes away. Nikki looks away glumly as Shep grins at her. She turns and sees something. She raises her lorgnette for a better look at: CARY who sits at his table, staring into space, holding his unread menu in his lap. NIKKI is pleased to see Cary. NIKKI Oh! He didn't go. She rises to join him. CARY startled, rises and stares at Nikki as she approaches. NIKKI Oh, I'm so sorry. Your hands... She tries to take his hands but he pulls them away in horror and stuffs them in his pockets. NIKKI Oh, your poor hands! Your poor, poor hands. Wildly uncomfortable, Cary glances around like a cornered animal and finally stalks away without a word, hands still stuffed in his pockets. Stunned, Nikki watches him exit the building. She realizes she's done something terribly wrong and moves to follow him. NIKKI Oh! But Shep intercepts her. Upset, she whimpers. SHEP (more in disbelief than anger) If you aren't the WORST! First, you insult his hands and make him mad. Then you cry over them and make him self-conscious. Come on back here. Come on. He clasps her hand and leads her to: THE BAR Francis and Bill watch, disturbed, as Shep guides a crying Nikki onto a stool beside them. Shep sits next to her as she continues to sob. She pulls out a compact to fix her tear-stained face. SHEP Well, that's torn it. He'll never come back now. NIKKI Then we'll have to find him. SHEP What for? NIKKI To explain how sorry I am. SHEP (amused at her distress) We-ell. You don't have to get so emotional about it. NIKKI Who's getting emotional? SHEP You are. You're coming all apart. (hands her a glass) Here. Take a drink of this. Make you laugh and play. Nikki takes a sip, then busies herself with putting away her compact. Meanwhile, Bill leans in. BILL (to Shep) Say, what's she crying about? SHEP She's crying on account of they didn't wash her strawberries this morning. BILL (to Nikki) Didn't they wash your strawberries this morning? Well, there ain't a whole hell of a lot that we can do about that now. NIKKI (agrees, sadly) No. ANOTHER VIEW Frink watches suspiciously as Shep pays the tab, rises and whispers to Nikki. SHEP Let's go. Nikki obediently hops off her stool and Shep leads her away from the bar, toward the exit. Bill and Frink are distressed to see her go. Bill calls after Shep: BILL Hey! Where're you goin'?! SHEP Oh, out. BILL (rises) Out where?! SHEP (o.s.) Out to get a drink. Bill gestures grandly toward the bar with its many shelves of liquor bottles. BILL Don't you suppose you could arrange that here?! SHEP Nope. We gotta go somewheres else. BILL (without missing a beat) Okay. Come on, Francis. We got to go somewheres else to get a drink. Francis and Bill head out the door. After a moment, Frink follows behind. DISSOLVE TO: EXT. AVENUE DES CHAMPS …LYS…ES - LATER THAT NIGHT A taxi cab -- filled with Bill, Francis, Shep, Nikki and Frink -- pulls up to a restaurant. As it stops, Bill rises and points to someone at a sidewalk table. BILL Hey! There he is! The others look. SHEP Where? BILL Come on! The group cheers, spills out of the taxi and heads for: THE SIDEWALK TABLE where Cary sits reading a newspaper. SHEP (o.s.) Cary! Cary looks up. He rises, a little startled, and politely removes his hat. The others crowd around him. BILL Say, what are you tryin' to do, disown us? CARY (genuinely polite) Hello. Won't you sit down? BILL Sure we'll sit down. What'd ya think we'd do? Stand around? They all take seats around the little table. During this, Frink brings a chair for Nikki who grabs a seat of her own. When he tries to use it to sit next to her, Bill commandeers it for himself. BILL (with a wave, to Frink) Thank you. A waiter joins them as they settle in. SHEP Hello, Cary. CARY Hello, Shep. Hello, Nikki. What will you have to drink? FRANCIS Martini! BILL Martini! SHEP Martini! FRINK Martini! WAITER Quatre Martinis? NIKKI Uh, could I have champagne, please? WAITER Champagne? Oui. The waiter departs. Off her order, Bill gives Nikki a look. BILL Boys, she's goin' to be a problem. NIKKI (explains, to Bill) That's what I started on. (to Cary) It upsets me if I change over to anything else. CARY (to Bill) There's a lot of things wrong with this one. (to Nikki) What were you doing at the bar at Claridge's anyway? SHEP Yes. Don't you know you're not supposed to be there? FRANCIS There's a sign on the wall says ladies must sit at the back. NIKKI Can't read signs. SHEP Well, we'll just have to take care of her, that's all. BILL Do you think she's good-lookin' enough? NIKKI Oh, I know I'm not very good- looking but-- CARY But what? NIKKI But when I was a little girl, my mother always said I had the nicest hair-ribbon. Shep laughs derisively. The others give him a look and he shuts up. The drinks arrive. All the men, save Cary, snatch up their glasses. Bill removes the toothpicked olive and swallows his Martini whole. He watches Nikki rubbing her champagne's drinking straw between her hands as if she were a Boy Scout trying to start a fire. BILL Then there's her drinking. NIKKI What's the matter with my drinking? BILL You're a sissy drinker. NIKKI Well, maybe I can improve. Meanwhile, Cary attempts -- with some success -- to drink his Martini with one unsteady hand. Bill inspects Nikki's mouth. BILL Then there's her teeth. Why, one of 'em is turned sideways. NIKKI (points) You mean this one? BILL That's it. CARY Why don't you have it turned around? NIKKI I don't have it turned around on account of it's a kind of help. CARY Well, in what respect does it kind of help? NIKKI Well, you see, when anyone kisses me too hard, it splits my lip. And you could tell when anyone kissed me too hard on account of my lip would bleed. So now I don't let anyone kiss me -- hard. The men are amused. Nikki sips her champagne. CARY Well, we'll let that pass. Bill chuckles. Shep abruptly rises and walks off, presumably to the rest room. NIKKI Where's he gone? CARY Shep went off to sharpen his skates. BILL Now, about your nose. NIKKI What about my nose? BILL It isn't straight. It kind of turns up at the end. NIKKI Well, when I was a little girl, I got bumped by a swing. CARY How'd you happen to get bumped? NIKKI I just walked through the gate. I was only seven. CARY Oh, poor dear. Didn't you see it? NIKKI I can't see very far. CARY Did it hurt? NIKKI It made me dizzy all day. CARY Well, I guess we can't hold that against her. BILL We all make mistakes. CARY That's right. Michelangelo painted Adam with a navel. Bill and Nikki laugh at this. Suddenly, Nikki grows thoughtful. NIKKI All the same, he'd look funny the other way -- even in a painting. They all consider this for a moment as a fresh round of drinks arrives. Frink abruptly rises and walks off, presumably to the rest room. NIKKI Where's he gone? BILL He went off to shave a horse. CARY Have you got a husband or anything? NIKKI No husband. CARY A mother? NIKKI Mother, yes. But we haven't met in quite a long time. CARY Why not in a long time? NIKKI Well, on account of my mother's name was Beulah. Now, you can't have a mother named Beulah. So I changed it to Jane. And that's how it all began. An odd CHIMING sound distracts them. They look off to see: FRANCIS the narcoleptic, arms folded, asleep in his chair. He awakes with a frown, pulls a pocket watch from inside his jacket, opens it, and looks at it. The chiming ends and he rises without a word and exits. AT THE TABLE Nikki watches Francis' exit curiously. Bill waves her off before she can ask: BILL He's goin' off to tame an alligator. NIKKI Who is he, anyway? CARY Francis used to fly with us in the 94th. The best shot in the squadron. Brought down twelve planes. Used to call him "Sudden Death." He lost interest after his teammate got killed. He's lonesome is all. NIKKI I like him. CARY He carries a chiming watch on account of he's always falling asleep in the daytime. NIKKI What kind of chimes? CARY Oh, Westminster, Canterbury, and Whittington. NIKKI I'll take vanilla. Cary puts a fist on his hip and gives Nikki an exasperated look. Taxi horns squeak. Francis, Shep and Frink return from their various adventures and sit down as Bill gives Nikki his opinion of Francis. BILL I think he's a washout. SHEP Well, just because you're a big bombardier and an All-American-- NIKKI (interrupts) All-American what? SHEP Halfback. FRINK Where? CARY Oh, Montana State or somewhere. Idaho or Nebraska or the Carlisle Indians or something. Didn't you never read about Bill? Bronko Bill -- the Alabama Flash? Bill grins as Nikki inspects him closely through her lorgnette. NIKKI (skeptical) I think it's a forgery. Bill's face falls. He looks at Nikki. BILL Say! What do you want me to do? Tackle a horse? She nods. Shep is amused. SHEP Sure. Go ahead. Tackle a horse. BILL (with a dismissive wave) All right, all right, I'll tackle a horse. Shep looks down the street. SHEP Here comes one now. They all look to see: A HORSE-DRAWN CAB rolling down the street in their direction. AT THE TABLE Everyone watches as Bill rises and suddenly bolts in the direction of the cab. BILL Look out, horse! THE HORSE-DRAWN CAB rolling along as Bill runs in and tackles the horse, locking his big arms around the animal's front legs to trip up the poor creature. ON THE SIDEWALK Cary, horrified, stands and yells: CARY Hey, Bill! Bill! Come back here! Cary runs off, toward Bill, leaving a thrilled Shep and a worried Francis with a distressed Nikki. They all stare in concerned amazement as a crowd of pedestrians stops to watch the excitement. NIKKI (distraught) Oh, Bill! AT THE HORSE-DRAWN CAB Cary rushes up to the startled cab driver who is pulling hard on the reins. CARY Hey! What's the idea -- runnin' down my friend like that? Here! Cary forces a wad of francs into the driver's hand. The cabman protests in French but takes the cash. WIDER VIEW of the fallen horse as the driver descends from the cab. Standing up now, Bill tries to haul the horse to its feet while Cary tries to placate the driver. CARY Never mind. Look where you're going in the future now. You just watch out where you're going! ANOTHER VIEW Bill grabs the horse by its bridle and tries to pull it up. The horse, sorely annoyed, gets up on its own and shakes its head violently to drive Bill away. Bill hangs on and tries to calm the horse. Cary tries to pull Bill away as Frink, Francis and the driver gather around. Bill is more interested in petting the horse which understandably shies away from him. CARY (admonishes Bill) Now listen, come on out here, you old fool. (to the shying horse) Whoa, whoa. BILL Nice horsie. CARY (to Bill) Now, listen, you ought to be ashamed of yourself. You old fool! You know what you'll do? You'll kill yourself one of these days. Now, come on, get out of here. Now, listen-- Satisfied with the outcome of all this, Bill heads back for the sidewalk. CARY (to the driver) You all right now, brother? The driver nods but is more concerned with reining in his skittish horse. CARY All right. Now, you just keep your horse, see? You got your money. The cabbie salutes Cary but pays more attention to his horse. BACK AT THE SIDEWALK TABLE The waiter sets out a fresh round of drinks as the group returns. Bill happily dusts off the sleeve of his dinner jacket. Cary, beside him, leads him to his seat. They all sit down under the following: CARY Hey, listen, Bill, you're All- American, see? You're TWO All- Americans! The lady's convinced you're the whole team. You don't have to tackle any more horses. How 'bout that? Drink your drink. BILL (pleased with himself) Ahhh. Wasn't that a great spill? Nikki abruptly rises. SHEP Hey! Where are you going? NIKKI Would you all excuse me for a moment? CARY Well, where are you going? NIKKI (a grave announcement) To take a Chinese singing lesson. Francis immediately understands that she's become one of them. He raises an olive in the air and cheers: FRANCIS Hooray! The men rise and all but Frink cheer her lustily as she departs: MEN Hooray! Hooray! Hooray! Hooray! NIKKI walks proudly into the restaurant as the men cheer. A smiling maitre d' directs her to the ladies' room. BACK AT THE TABLE Frink watches Nikki disappear from view and, after a glance at the others, rises and follows her. Shep, Bill and Cary remain at the table, laughing and drinking. Bill turns to Cary with a smile. BILL Hey. What kind of a girl do you think Nikki is? Cary glances in Nikki's direction and tells Bill confidentially: CARY I think she's the kind that sits down on phonograph records. Bill thinks about this and nods. INSIDE THE RESTAURANT As Nikki returns from her Chinese singing lesson, Frink puts his arm against a wall, blocking her way. FRINK Say, Nikki, let's ditch these drunks and go off somewhere by ourselves. These crazy fools are liable to do anything. NIKKI (hopeful) Do you think so? FRINK Since the war, they don't care what happens. NIKKI And do you? FRINK I'll say so. I've got more important things to think of. NIKKI What more important things? FRINK Well, my work. NIKKI What kind of work? FRINK I'm the foreign correspondent for a New York newspaper syndicate. NIKKI (genuinely) How nice for you! Nikki pushes his arm away and heads for the table. Frink watches her go, a dark look on his face. BACK AT THE SIDEWALK TABLE The men rise briefly as Nikki rejoins them and sits. FRANCIS Nikki? Are you the kind of girl that sits down on phonograph records? Nikki lowers her eyes. NIKKI (a bit defensively) People shouldn't leave their records lying about. CARY (to Francis) What did I tell you? NIKKI (abruptly brightens) Take me dancing? BILL What place you wanna go? NIKKI What places you got? CARY Well, we got Maxim's, only it's too early. We've got Florida, Perroquet, Pigalle, Le Rat Mort, Moulin Rouge, Bal Tabarin. NIKKI I'll take vanilla. Cary gives her a look. Bill clears his throat. BILL Somebody pay for the drinks! Bill rises and claps his hands with enthusiasm. BILL We're off in a "billizzard" of horse-radish! Whatever that means. The men rise and retrieve their hats. DISSOLVE TO: INT. BAL TABARIN BALL ROOM - LATER THAT NIGHT A festive Parisian night spot. Dance MUSIC plays while a floor show, lit by moving spotlights, unfurls in the huge, darkened ballroom which is ringed with crowded tables. A handsome male dancer, in tuxedo and top hat, whirls exuberantly around the floor, surrounded by beautiful chorus girls. Somewhere above all this, Nikki, lit by spotlight flashes, sits on the edge of a ringside balcony observing the show with eager interest through her lorgnette. The show continues: after a few twirls, the dancer links arms with the girls to form a line and do some precision high-kicking. The music continues but the dance apparently ends and the lights come up. Impressed, Nikki is breathless. NIKKI My, my! Isn't this nice?! Nearby, the men sit at a roped-off table for six on a low balcony. Cary and Francis sit glumly on one side of the table as Bill tries to tell a story to the others (Frink; a nameless young woman nicknamed "Kiss-Me-Quick" who appears in this scene only; Shep and Nikki). BILL Now, listen, men. I'll tell ya something funny. Cary and Francis look doubtful about this. Bill sits at the table. BILL I was only four years old once. FRANCIS (to Cary) What'd he say? CARY Said he was only four years old once. FRANCIS Amazing. BILL And my aunt had a very low-neck dress on. FRANCIS (to Cary) What'd he say? CARY Said his aunt had on a very low-neck dress. FRANCIS Can't believe it. BILL And she sat right across the table in front of me. And I said, "Auntie -- I can see your knees!" Nobody laughs or even changes expression. CARY (pointedly, after an awkward pause) I wonder what's doing in Portugal tonight. Bill is disappointed at the response. BILL Maybe I'd better do my match trick. NIKKI If you do match tricks, I'll recite. CARY Recite what? NIKKI Poetry. CARY Whose poetry? NIKKI My poetry. CARY You write poetry? NIKKI I'll send you a photograph of my poetry. Cary gives her a look, then rises and peers with one eye into the open bottle of champagne on the table between him and Nikki. He gestures at the bottle as he sits back down. CARY Say, I wonder if there's anything intoxicating in that. Everybody cracks up -- except Nikki, who looks a little hurt. An empty champagne bottle is placed on the floor. DISSOLVE TO: INT. BAL TABARIN BALL ROOM - STILL LATER THAT NIGHT By now, a dozen empty champagne bottles have been placed on the floor. CLOSE SHOT - FRINK'S HAND strays to Nikki's legs and up her dress. WIDER Nikki rises indignantly and turns on Frink. NIKKI Just what ARE your plans? WIDER STILL The other men seated at the table understand instantly what's going on and stare darkly at Frink. SHEP You'll have to watch that lad, Nikki. He's a member of the Wandering Hands Society and he has a groping good time. Frink nervously adjusts his necktie. Cary glares at him. CARY Your behavior, sir, is unseemly, unethical, indelicate and lousy. Have I made myself clear? Frink, pretending chagrin, looks at Nikki. FRINK All right. My mistake. I'm sorry. CARY You'll have to watch out for him, Nikki. He's just a licentious old man. NIKKI It's getting pretty late, isn't it? CARY Do you want to go home, Nikki? (rises) I'll take you home. Where do you live? NIKKI Hotel Carlton. The others, except for Frink, begin to rise, too. Shep pays the waiter. BILL I'll take her home, too. FRANCIS So will I! SHEP We'll match to see who takes her home! BILL Nothin' doing! We'll ALL take her home. CARY I saw her first. BILL It makes no difference. She belongs to us all now! Nikki laughs as they all depart. Frink rises wearily to follow them out. DISSOLVE TO: INT. HOTEL CARLTON - LOBBY - LATER THAT NIGHT The group enters the spacious, empty lobby, laughing loudly. Someone says, "Wheeee!" Others say, "Ssshhh!" They cross to the front desk. AT THE FRONT DESK The clerk is fast asleep, his head down on the desk. Nikki is about to wake him when Bill bounds forward. BILL (quietly, to Nikki) Sh! Let him sleep. What's your number? NIKKI (whispers) Eighty-eight. Bill waves the others on and they exit toward the elevators. Once they've gone, Bill, the athlete, vaults the front desk and lands -- with a little noise -- on the other side, without waking the clerk. He cautiously checks the clerk to make sure the sleeping man hasn't awakened, then fetches Nikki's key from its cubbyhole. Bill leaps up on top of the desk, landing on his rear end, swinging his legs around -- nearly kicking the clerk in the process -- then silently slides off the desk to the floor. Watching the sleeping clerk warily, Bill tiptoes away. At the last possible moment, Bill purposefully WHACKS the signal bell with his hand, making it RING noisily. The clerk awakens with a start and grabs a nearby telephone just as Bill disappears from view. IN THE HOTEL ELEVATOR Amused, the group piles into the "ascenseur". Last one in is Bill who shuts the door and the metal safety gate behind him. BILL Here we are. Goin' up! CARY Who's gonna pilot this craft? BILL I'll take her off. Where's the throttle? Bill looks for the controls as Cary turns playfully to the others. CARY Got your safety belts buckled? SHEP & OTHERS Mm hmm. Bill finds the appropriate lever and grabs hold. BILL Here it is. Contact? SHEP Contact! Bill pulls the lever and the car rockets up the shaft. BILL We're off! Most everybody cheers. They watch with great interest as the floors pass by rapidly. FRANCIS Shut her off! CARY Hold her nose! She's headed for the hangar! SHEP (nervous) Hey, stop it, will ya? NIKKI We've gone an' passed my floor. BILL Gone an' passed your floor? I'll fix that. Bill brakes the car and starts it back down the shaft. SHEP Put her tail down! CARY Bail out, boys! She's gonna crash! FRANCIS Wheeeee! FRINK (nervous) Stop it! Stop it! NIKKI We've gone an' passed my floor again. BILL Say! How do you stop this thing? Bill brakes the car too quickly -- it slams to a halt and everyone loses their footing, nearly falling down. Part of the light fixture above them breaks loose and crashes down on Frink's head, much to everyone's amusement -- they laugh as Frink clutches his head, annoyed. FRINK That's right, laugh. CARY We should've brought our parachutes! BILL Get a good hold, Millie. We're off again. Bill reaches for the controls but Shep grabs the tail of Bill's jacket and pulls him away. SHEP Nothing doing! Let Cary take the controls. You'll run us through the roof. Bill brushes his hands, his pride a little hurt. BILL All right, all right. CARY All set? SHEP Let her go! The car starts up the shaft again. NIKKI Hurray! SHEP & FRANCIS Hurray! CARY There we are. DISSOLVE TO: INT. HOTEL HALLWAY - FIFTH FLOOR - MINUTES LATER - LONG TRAVELING SHOT The elevator door opens. Cary leads the way as everyone else spills out happily into the hall. Shep puts a congratulatory arm around Cary. SHEP Say! That's a pilot for ya. BILL You deserve a medal. Bill pins Nikki's room key to Cary's vest pocket. Smiling, Cary holds it up proudly to Nikki. BILL All right, come on, men. They head down the hallway in a drunken, disorganized fashion. Shep walks an imaginary tightrope, wobbling spectacularly. Cary, bringing up the rear, shuts the elevator door and escorts Nikki. FRANCIS I need a rest, I need a rest. Francis drops into a handy chair and lights a cigarette but Bill immediately hauls him up: BILL Come on, come on. Bill, whistling and pretending to ice skate, leads the group down the hall. Francis tries to enter a room but Frink pulls him out of the doorway. Bill backtracks to help Frink escort Francis. This allows Cary and Nikki to take the lead. Nikki indicates the correct doorway to Cary. NIKKI Right here. CARY Oh! Eighty-eight! Here we are! The group cheers. Cary unlocks the door. The group enters Nikki's hotel room. INT. NIKKI'S HOTEL SUITE - SITTING ROOM - CONTINUOUS Laughing, the group files into the darkened room and spreads out. SHEP Wheeeee! Nikki switches on the lights. Bill marvels at the luxurious suite. BILL Well, for--! Well, I'll be a--! Look! Nikki's got a whole apartment! SHEP And a gramophone! Delighted, Shep starts to crank up the gramophone. CARY (unimpressed) Yeah! And chairs and tables and floors and ceilings and everything. FRANCIS So THIS is where Nikki lives! Amused and pleased by their reaction, Nikki heads for her bedroom. NIKKI Yes, this is where Nikki lives. Shep picks up a book and admires it grandly. SHEP And she's got a book! The gramophone comes to life and MUSIC plays from a record. Nikki passes into the bedroom and switches on a light. FRANCIS Got all the comforts of home. Frink tries to follow Nikki into the bedroom but Bill pointedly intercepts him. Disappointed, Frink looks past him into Nikki's bedroom and Bill follows his gaze to see: PERFUME BOTTLES on Nikki's glass-topped dressing table -- dozens of them. BILL Hey! Look at all the bottles! Bill enters and inspects the table closely. NIKKI'S BEDROOM as the other four men respond to Bill's enthusiastic summons and enter. BILL Hey! Come on in and look at Nikki's bottles! Cary joins Bill at the table as the Texan picks up one of the bottles and reads the label. BILL Ylang! Ylang! CARY Hey, don't be handlin' her things. Put 'em down. But Bill goes right on, delighted. The others crowd around the table. BILL Chichi! CARY Leave 'em alone. BILL Salammbo! Chypre! Reve de Vestale! Jinko! SHEP Hey, you big bombardier-- BILL Chiki chiki! During this, Francis has casually inspected a curtained walk-in closet near the table. He pulls the curtain to reveal a rack of carefully hung dresses and a floor covered with dozens of shoes organized in impeccably straight lines. FRANCIS Say, I never saw so many shoes. The others gather to peer into the closet. Frink loses interest immediately but whistles at the sight of Nikki's sheer nightgown draped across her bed. He moves to it eagerly. Nikki sits on the edge of the bed removing her shoes as Frink picks up her silk bedclothes and examines them with a grin. Bill pointedly takes the gown out of Frink's hand. Tight-lipped, Frink stares at him. Suddenly, Bill points to a small wind-up clock on Nikki's night table. BILL Look! Bill drops the garment on the bed and moves to the night table. BILL She never winds her clock! (picks up the clock) It says eleven and I've never been anywheres at eleven. Nikki removes her earrings as Frink walks off and Cary takes a seat at the foot of the bed. CARY (dry, to Bill) What time are you anywhere? Bill shakes the clock and puts it to his ear, listening. BILL (to Cary, ignoring Nikki) Two o'clock. It's always two o'clock in my life. Hey, listen. Besides never having any matches and always spilling her drinks, she never winds her clock! Think I'll go in the bathroom and see if she leaves the cap off her tooth paste. Bill heads for the bathroom but then stops and turns back to Nikki. BILL Is it all right? NIKKI Help yourself. Bill disappears into the bathroom, leaving Nikki and Cary sitting on the bed. Nikki peers at Cary through her lorgnette. NIKKI (friendly, sympathetic) Hello. CARY (grins) Hello, yourself. The phonograph MUSIC ends just as Bill's voice calls from the bathroom. BILL (o.s.) (excited) TURTLES! Cary turns toward the bathroom. CARY Turtles? SHEP (o.s.) Turtles? Shep runs past and hurries into the bathroom. Cary rises from the bed to follow. Nikki is perhaps mildly surprised by the excitement. HIGH ANGLE SHOT - TWO TURTLES swimming in shallow water at the bottom of a bathtub. A couple of decorative lily pads lie next to the drain. The turtles' shells are inlayed with brilliants. BATHROOM Bill kneels by the tub as Frink, Shep, Francis and Cary join him. Bill points out his discovery to the others. BILL Turtles! OTHERS Turtles?! SHEP (thrilled) It IS turtles! Francis picks up a turtle and shows it to Cary. FRANCIS Hey! Look, Cary! It's turtles! Cary examines the turtle for a moment, placing a finger on it. CARY (with a nod) Nice work, boys. It's turtles. Cary and Francis inspect the turtle. BATHROOM DOORWAY Nikki enters and addresses the men. NIKKI And now do you suppose you could all excuse me? Cary joins her. NIKKI On account of I'd like to go to bed. CARY Sure we'll excuse you. I'll clear everybody out of here. (to the others) Come on, you fellas. Nikki wants to go to bed. AT THE BATHTUB The other men, still lined up at the tub enjoying the turtles, are disappointed. BILL Go to bed? SHEP Awww! Bed? They rise reluctantly. Bill shakes water off his hand. BILL Yup, all right. They file out of the bathroom. SHEP (waves to the turtles) So long, turtles. BILL Good night, turtles. FRANCIS Night, turtles. Frink follows the others humorlessly, without a word to the turtles. TRACKING SHOT - THROUGH THE SUITE The entire group exits the bathroom, passes through the bedroom and heads into the sitting room. BILL Poor Nikki. Do you wanna go to sleep? NIKKI (nods) Mm hm. SHEP Sleep? You should NEVER go to sleep! BILL (with a wave, to Nikki) Well, good night. As Bill enters the sitting room, he looks around and hurries away toward something he sees off screen. Shep and Francis follow. SHEP (with a wave) Nighty-night, Nikki. Francis says nothing. FRINK Good night, Nikki. Frink is the last out the bedroom door, though Cary stays behind to linger a moment with Nikki. SITTING ROOM Bill takes a pillow from the sofa and tosses it across the room. He proceeds to leap feet first onto the sofa, fall on his back with his feet in the air, then stretch his legs out across the sofa, lying down to go to sleep. BILL (satisfied) Ah! Shep, watching this, scratches his head, confused, then moves to join him. Frink watches Francis drag some sort of heavy fringed rug to the floor near the sofa, apparently preparing to lie down on it. AT THE BEDROOM DOOR Nikki and Cary stand close, exchanging warm goodnights. NIKKI (dead serious) Good night, Cary. CARY (playful) Good night, Nikki. Cary, perhaps pleased with Nikki's attention to him, watches her withdraw into the bedroom and shut the door. He turns from the door to see: LOW ANGLE SHOT - SITTING ROOM Four men, happily situated, settling in for a night's sleep: Bill and Shep on the sofa, Frink on a chair, their three pairs of feet propped up on a table. Francis, his head on a pillow, lies on the floor, stretching his legs and yawning as only a narcoleptic can. BILL Say! I like this place. FRANCIS Say, I like this place, too. SHEP I think it's swell. CARY peers at them skeptically, hands on his hips. FRINK (o.s.) It suits me. CARY You fellas think you're gonna PARK here? BILL (o.s.) Sure! FRANCIS (o.s.) Sure. Cary hears the bedroom door open behind him and turns to see: NIKKI opening the door, wearing a robe, carrying a bottle of eau de Cologne and some towels. NIKKI (innocently) Will somebody please scrub my back? LOW ANGLE SHOT - SITTING ROOM Excited again, Bill jumps to his feet, upsetting the others in the process. BILL Will somebody scrub your back?! Look out, boys! The men struggle to their feet and follow him to: NIKKI holds the bottle in her hand. The men's hands reach for it but Bill is quicker than the others and commandeers it with authority. BILL I got it, I got it, I got it. From over Nikki's nearly bare back, we watch Bill whistling jauntily as he shakes eau de Cologne onto a towel. CARY now seated, watches this coolly as he takes out a cigarette and lights it. BILL AND NIKKI Bill examines Nikki's back with delight. BILL (impressed) Mmmmmm mm! His eyes pop. For Nikki, though, this is an asexual activity. NIKKI Scrub hard. Bill places her head on his left shoulder and prepares to scrub with his right. BILL Did anyone ever see such a back in their life? He scrubs a little. BILL Did anyone ever HEAR of such a thing? More scrubbing -- his tongue sticks out of his mouth as he studies his work. SHEP, FRINK AND FRANCIS watch all this with envy and interest. BILL (o.s.) Just look at that back. Just look at that thing, won't you? BILL AND NIKKI Bill keeps scrubbing, adopting the air of a professional back scrubber. NIKKI Harder. He lifts her hair to inspect her neck. BILL My, my! He scrubs her neck. BILL I could go on doin' this a long time. More scrubbing and then an amusing pantomime: To Nikki's bewilderment, Bill pulls back the hair over her ear, looks down into her ear, cleans it out with his little finger, flicks wax off his finger daintily, buffs the ear with the towel, and finally blows sharply into the ear, causing her to wince. She places her head on his shoulder again. More scrubbing. TRACKING SHOT - SITTING ROOM We start on Cary, who sits rocking in a tilted chair and smoking, watching Bill and Nikki with amusement. After a pause: CARY Nikki? Are you rich? NIKKI Well, practically. Beulah is rich. CARY Well, just how rich IS your mother? NIKKI Leave a lady a few secrets, can't you? By now, we've pulled back far enough to take in the whole group. Bill finishes his scrubbing and Nikki adjusts her robe. NIKKI Thank you, William. That was EVER so cool and nice. (takes bottle and towels from him) Good night. BILL Good night. NIKKI (to the others) Good night. THE MEN Good night, Nikki. They watch her move off. We hear the bedroom door close. Bill realizes something, snaps his fingers, claps his hands and starts off. BILL Come on, fellas! He rushes off. Shep, Francis and Frink rise and follow. Cary merely collects his hat and cane and heads for the front door. SITTING ROOM - ANOTHER VIEW Bill and Shep carry the sofa over and place it directly in front of Nikki's closed bedroom door. Francis brings his rug and pillow. CARY watches them, amused, from the front door. CARY You're gonna stay here, huh? SITTING ROOM - ANOTHER VIEW The men settle in for the night. BILL (to Cary) That's right! She might need some more help! Bill waves good night and collapses on the sofa. Frink, glancing at Cary, brings his chair and sits in it. Francis lies on the floor. Shep fluffs pillows on the sofa, etc. CARY turns, shuts off the lights, opens the front door and exits the darkened room, closing the door behind him. FADE OUT FADE IN INT. CARLTON BAR - NEXT MORNING The drinking hole in Nikki's hotel. A French woman noisily arranges dirty drinking glasses as Bill, Francis and Shep enter -- horribly hungover, moaning and yawning -- and line up at the bar. A bartender greets them to take their order. BARTENDER Messieurs. SHEP Morning. FRANCIS Morning. BILL Um, prairie oyster. SHEP Prairie oyster. Shep has to nudge Francis with an elbow. FRANCIS Prairie oyster. BARTENDER Prairie oyster for three. Bartender moves off. Shep puts on his dark eyeglasses. CARLTON BAR - ANOTHER VIEW We start on a CLOSE SHOT of three drinking glasses as the bartender breaks a raw egg into one. Beside them are the other ingredients of a potent hangover remedy. We PAN OVER to the three men: SHEP Say, we'd better get back to our hotel. FRANCIS There's no Nikki at our hotel. BILL That's right. SHEP And the bar doesn't open so early. BILL Say! Why don't we move in here? FRANCIS Sure. Let's stay here. BILL But - what about Cary? FRANCIS (to Shep) What about Cary? SHEP (to Francis) What ABOUT Cary? Francis shakes his head, he has no idea. BILL We can move him in, too. Francis nods in agreement. Shep thinks it over as the drinks arrive. SHEP Not a bad idea! Shep pays off the bartender who departs with a mumbled "thank you." The three men each down their nasty hangover cures in a single swallow and move off one at a time -- first Shep who exhales deeply, then Francis who takes it in stride. Finally, Bill exhales happily and claps his hands as he follows the others out, their hangovers apparently remedied. BILL (cheerfully) Well, come on, men. Let's go. FADE OUT FADE IN INT. NIKKI'S SUITE - LATER THAT DAY Phonograph music plays as an Asian maid, the hotel's specialist in Chinois Pedicure, paints Nikki's toenails. We PAN UP to discover Nikki wearing a robe, sitting in a chair next to the phonograph, smoking a cigarette and checking on the progress of her paint job. A snappy knock at the door. NIKKI (wearily) Entrez! THE FRONT DOOR opens and Bill, looking dapper, enters. BILL Hi, Nik! Then, Shep enters, wearing his dark eyeglasses and carrying a bouquet of flowers. SHEP Hello, Nikki! Next, Francis enters, sleepily. FRANCIS (in mid-yawn) Hello. Finally, Cary, who closes the door behind him. CARY Good morning, Nikki. The men are all: wearing suits and ties, pleased to see her, and stone sober. Francis finds his way to the sofa, which has been returned to its proper spot in the room. He lies down and shuts his eyes. NIKKI (o.s.) Hello, Bill. Hello, Shep. Hello, Cary. Hello, Francis. FRANCIS (from the sofa) Morning, Nikki. NIKKI I didn't expect to see you all so early. Shep puts the flowers in a vase. BILL We camped on your doorsteps last night. And this morning we all moved in. Cary leans over her affectionately. CARY Despite your practically innumerable faults, we adore you. We've decided to adopt you. Bill and Shep kneel next to Nikki. Bill notices the toenail painting. BILL Well, for heaven's sakes! Look at Nikki! What are you having done to yourself, gal? SHEP Whatcha having your toes painted for, Nikki? Cary stands behind Nikki as she looks down at her toes. NIKKI I don't know. (looks at Bill and Shep) Seemed like a good idea at the time. Cary smiles. Nikki, Bill and Shep share a laugh. The Asian woman goes right on painting as Bill and Shep study Nikki's legs. During this, Nikki hands her cigarette to Cary who moves to put it in an ashtray by the window. BILL Why, look at Nikki's legs, would you? That there is practically the loveliest pair of legs I ever saw in all my born days. NIKKI Like my legs? Cary stares out the window at a rainy day. SHEP Look at those legs, Cary. My, they nearly match. Cary turns from the window. SHEP Did you ever see such a swell set of legs? CARY Well, what do you want me to do about it? Burst into tears? SHEP Would it embarrass you, Nikki, if Cary were to burst into tears? NIKKI (looks at her legs) On account of my legs? Oh! (turns to Cary, heartfelt) I think that would be sweet. Cary manages a slight grin. As he does, there's a knock at the door. Everyone hollers, "Entrez!" Shep runs to the door and opens it. SHEP Oh, boy! Here come the drinks! The others cheer happily. Two hotel employees enter carrying trays loaded with already poured drinks. Shep hands a glass to Nikki. SHEP Here, Nikki, drink this. CARY Make you laugh and play. NIKKI That's what I want to do, laugh and play. Shep hands Bill a glass. Francis sits groggily on the sofa, a drink in each hand. He polishes off one and then the other. He leans over and sets one empty glass on the floor but holds on to the other as he puts his head to the nearby pillow and dozes off. Cary, Bill and Shep crowd around Nikki who is still seated -- all have drinks. The tray-carrying hotel employees have apparently exited. Bill proposes a toast. BILL Here's to Nikki's dainty legs. As smooth and hairless as an egg. SHEP Wheee! CARY Hurray! NIKKI 'Ray! They drink. Another knock at the door. They all yell, "Entrez!" The door opens to reveal Frink -- whose face falls when he sees the other men with Nikki. The others are not happy to see him, either. CARY Well! Here comes that licentious old man. Who invited him? Cary hands his glass to Bill and moves to meet Frink as he enters. FRINK (sneering) Still drinking? CARY (shakes his head mockingly) How can you tell? Cary watches Frink approach Nikki. FRINK Morning, Nikki. After a pause, Nikki looks up at him uncertainly as if she doesn't recognize him. Then she peers at him through her lorgnette. NIKKI Oh, it's you. (after a pause, reluctantly polite) Won't you sit down? FRINK Thank you. Frink moves off to find a chair. Shep sets down his drink and follows him. Frink starts to move a chair but Shep stops him. SHEP Say, I don't think Nikki likes you. FRINK Oh, no? SHEP No. What do you wanna hang around for? FRINK Well, what do YOU hang around for? SHEP Me? Why, I came to bring Nikki some posies. I'll bet you didn't bring Nikki any posies. FRINK I-- Well-- During the above dialogue, Bill nudges Cary mischievously and they glance down at the tray in front of them. They exchange knowing nods, pick up some drinks, bring them over, and offer one to Frink. BILL Have a drink? FRINK No, thanks. SHEP Cure the shakes. FRINK I haven't got the shakes. CARY Let's see. Hold out your hands. Bill and Shep watch with interest as Frink holds out his hands, palms up. CARY No, turn them over. Frink turns them over, palms down. Cary looks at Frink's steady hands, impressed. CARY Say, that's pretty good. Cary looks down at the drink in his own hand. CARY Let's see if you can hold this. Cary sets the glass on top of Frink's downturned hand. Frink balances the full glass with ease. CARY Say, that's great. Cary places a second full glass on Frink's other hand. Frink balances both glasses with ease. Cary expresses keen admiration. CARY Steady as a rock! Frink looks at the others, a little smugly. Cary slowly backs away and walks off, as do the others. Frink's face falls as he realizes he has been left standing in the middle of the room with two drinks balanced on top of his hands and no way to safely remove them. Cary, Shep and Bill return to Nikki and crowd around her. CARY Well, I guess that'll keep his hands out of mischief for a while. Frink, abandoned, reluctantly pleads with the others. FRINK Hey. Take these off. But the others simply ignore him. CARY Now, let's see. Where were we before we were so rudely interrupted? BILL We were talkin' about Nikki's legs. CARY That's right. We were talkin' about Nikki's legs. And havin' a fine time, too. The Asian maid who has been working on Nikki's feet abruptly rises. WOMAN Finis. The men cheer, "Yay!" and Nikki smiles at the woman as she exits with her tools. The men crowd closer to peer down at Nikki's legs. SHEP Let's inspect the job. But Nikki quickly covers her toes with a hand. NIKKI Oh, my poor toes. Don't look too close. Nikki wraps her robe around her legs and stuffs them under body. Since she's no longer using her footstool, Cary commandeers it and sits on it. CARY Well, what's the matter with your toes? Nikki grows extremely somber and begins to tell a story -- very slowly. Her eyes stare into space and her voice conveys terrible sadness. NIKKI Well... when I was a little girl... A worried look crosses Cary's face. NIKKI ... my mother bought me a new pair of shoes. ... And they were WAY too short. ... Shep and Bill listen soberly. NIKKI ... And I had to walk all the way to Sunday school and back. ... Down the road. ... And it was hot and dusty. BILL (hand to his face) Oh, take her away! She's breakin' my heart! (sobs) NIKKI And when I got home ... my toes were spoiled. CARY (on the verge of tears) Oh, dear, oh, dear. SHEP That's such a sad story. Let's all have a drink, quick! Their eyes pop. The men jump up eagerly and run off. Nikki, thoroughly nonplussed by this, takes a sip of her drink. Shep, Cary and Bill crowd around a tray and start imbibing. Meanwhile, Frink looks around unsuccessfully for a way to lose the two glasses that are still balanced on his hands. For the first time in this scene, Nikki is on her feet. She walks over to the drink tray and puts a friendly hand on the shoulders of Shep and Cary. NIKKI And now would you all excuse me? On account of I'm gonna put on a dress. CARY Well, why not? Nikki walks off, exiting into her bedroom. The men continue to stand around the tray, drinking. In the background, Francis sleeps on the sofa. Over by the fireplace, a frustrated Frink, still balancing the two drinks, casts a dirty look at the others. He angrily hurls the glasses into the fireplace, smashing them loudly. Francis, startled awake by the noise, jumps off the sofa. The others stare at him. SHEP My, my. What's HE getting so excited about? Frink, furious, rubs his hands with a handkerchief and stuffs it in his pocket. FRINK You guys think you're so darn smart. Shep, Bill and Cary laugh at this. Cary consults his pocket watch. CARY Well, cheerio, fellas. I'm off. Bill waves goodbye. Cary eats a last olive, tosses the toothpick and heads for the front door. CARY See ya later. Cary exits as Nikki's voice drifts in from: THE OPEN BEDROOM DOORWAY NIKKI (o.s.) What are the plans for the day? Shep, drink in hand, enters and leans on the wall outside the door. SHEP Well, on account of it's raining and everything, we thought we'd go over to the Cluny and play billiards and drink beer. NIKKI (o.s.) How about Cary? SHEP Went to get his hat and coat. He's going to PËre Lachaise. NIKKI (o.s.) PËre Lachaise? What's PËre Lachaise? SHEP A cemetery. How 'bout you coming with us? NIKKI (o.s.) No. I'm going with Cary. SHEP (concerned) You've been invited? Nikki appears in the doorway, dressed to go out. NIKKI Do you think Cary might object? SHEP Well, I have an idea he'd like to be alone. NIKKI Why alone? SHEP Well, Cary likes to be alone. He's as brittle as a breadstick. One silly crack from you and he might break up in sections. NIKKI (thinks about this) Well, then, I don't think he should be left alone. (beat) Tell me, what's Cary doing in Paris? SHEP What are we all doing in Paris? NIKKI I know. But why doesn't he go home? SHEP Well, he's not ready to go home. What could he do if he went home? Have people cry over his hands? NIKKI Well, it seems - a pity to go on like this. He's such a sweet soul. SHEP One of the best. NIKKI Isn't he just sort of wasting himself? SHEP On the contrary. He's trying awfully hard to get hold of himself. Lost in thought, Nikki moves off and a worried Shep follows her to: THE FRONT DOOR Shep stops Nikki from leaving. She's a little downcast as he admonishes her: SHEP Now, listen. If you tag along, for heaven's sake, be careful what you say. Don't start getting sorry for him and don't cry over him. (with a chuckle) And, above all, don't make any unfortunate remarks, hear? NIKKI (earnest) Oh, I won't. Why, who ever heard of such a thing? Nikki opens the front door and exits into: THE HALLWAY where Cary -- carrying coat, hat and cane -- emerges from a suite across the hall from Nikki's and heads for the elevator. He stops when he hears Nikki calling to him. She runs to join him. NIKKI Cary?! Cary? I'm coming with you. Without waiting for a reply, she starts for the elevator, then stops to look down at her shoes. NIKKI Oooh! (to Cary) Ooh, wait for Nikki! She leaves him and runs back to: THE FRONT DOOR of her suite where Shep still stands. He watches with surprise as Nikki runs in. NIKKI (calls back to Cary) Wait for Nikki! Puzzled, Shep follows Nikki who rushes to: HER BEDROOM CLOSET Nikki draws the curtain to reveal her enormous collection of dresses and shoes. Shep, drink in hand, wanders in slowly and leans against the doorjamb as he watches Nikki pull off one pair of shoes and put on a seemingly identical pair of red ones. SHEP What are you changing your shoes for? NIKKI On account of I can walk faster in red shoes. Shep watches her hop and scurry off. FADE OUT FADE IN EXT. AVENUE CASIMIR-PERIER - LATER THAT DAY Passerbys carry umbrellas on this rainy day. A taxi cab pulls up to a sidewalk cafÈ -- LA REGENCE, according to the awning that covers the little iron tables. Cary emerges from the cab and pays off the driver as Nikki hurries under the awning. Cary joins her and, after a word to the driver ("Restez ici."), looks at the rain. CARY (to Nikki) Perhaps we'd better stay here a while till it clears up. NIKKI Could we sit down here, do you suppose? CARY I think so. Would you like something to drink? They move toward the cafÈ. As Cary hangs up his hat, a waiter arrives. NIKKI What should I drink now, do you suppose? Cary orders the drinks as Nikki moves to sit at a table. CARY (to the waiter) Deux picon citrons. The waiter acknowledges this and heads inside, calling out the order to his bartender. Cary joins Nikki at the table and sits down. She removes her gloves and fixes her face while he takes out a cigarette and lights it under the following: NIKKI Picon citrons? CARY Very refreshing. Make you laugh and play. NIKKI (amused) That's what you always promise. (suddenly serious) Cary, why does Shep Lambert go on drinking so desperately? CARY Don't we all? NIKKI Not like Shep. CARY Well, Shep has that tic under his eye, you know. Takes a lot of drinks to keep that quiet. NIKKI But isn't there some kind of treatment or something? CARY Shep could never stand a long course of treatment. Drinking's the only corrective so far as he's concerned. He's found out the tic doesn't work when he's tight. So he stays tight. The waiter arrives with the drinks. As he spritzes seltzer water into their glasses, Cary leans over to light a cigarette for Nikki. The waiter leaves and they drink. NIKKI Seems such a pity. How did he get the tic? CARY In the war. NIKKI I know. But how? CARY Well, it's not very romantic. NIKKI Well, don't tell me if you don't want to. CARY Well, you see, a tic is a nervous habit. NIKKI Yes? CARY Lice under his bandages. NIKKI Oh. CARY He had the devil of a time. He nearly lost his mind. So you'll have to excuse him a little. NIKKI I'm so sorry for Shep. CARY Well, don't let him know it. NIKKI Well, isn't he going home? Not ever? CARY Not ever. Not in his dark glasses anyway. NIKKI Can't something be done for him? CARY He'll have to be - reborn. NIKKI How's he going to end? CARY Well, how are you going to end? How am I going to end? How is ANYONE going to end? How's your picon citron go? NIKKI It goes fine. But doesn't ANYTHING make any difference to you? CARY Not now. A long time ago, perhaps, when I was a little boy. NIKKI Tell me, where were you little? CARY In Minnesota. On a farm. NIKKI Were you happy then, Cary? CARY I think so. NIKKI Tell me, what WAS there to be happy about on a farm in Minnesota? CARY (lost in thought) Ohhh, thorn-apple trees in blossom. The smell of burning leaves in the fall. The sound of horses' hoofs on the road. (looks at Nikki) Did you ever dig up an Indian mound or uncover a nest of baby field mice? Or explore old trunks in an attic? Listen to the moaning of the telephone wires in the winter wind? See a gypsy caravan? NIKKI (enthralled) So THAT'S why you were happy. On account of apple blossoms and field mice and telephone wires and gypsy caravans and old trunks and things? CARY That's right. Nikki exhales, drinks, looks at Cary and shakes her head. NIKKI But aren't you going back? Not ever? CARY Would you like another picon citron before you go? The rain is lifting. Nikki finishes the last of her drink. NIKKI No. I'm ready now. Cary leaves some money, Nikki gathers her things. They rise and walk off. DISSOLVE TO: EXT. CEMETERY - LATE THAT AFTERNOON Cary and Nikki stroll into view, arm in arm, and look around. The rain has stopped. They are the only living people in the ancient cemetery. NIKKI Who all is buried here? CARY Oh, poets, painters, philosophers-- NIKKI Cocoanut? CARY No cocoanut. Poets, painters, philosophers, musicians. They've paused. Cary looks around, points with his cane. CARY There's Chopin. NIKKI Oh, I practiced him. He gives her a look and they move on. CARY And there's Balzac. And there's HÈloÔse and AbÈlard. NIKKI Oh, tell me about AbÈlise and …loard. CARY No, Nikki. Not AbÈlise and …loard. HÈloÔse and AbÈlard. NIKKI I'm sorry. I really didn't do it on purpose. It was on account of the picon citron. Tell me about HÈloÔse and AbÈlard. CARY Well, they're buried here in the same sepulchre side by side. NIKKI Why are they buried side by side? They stop. CARY They were the world's most famous lovers. (looks off, points with his cane) There's the tomb. They approach the large tomb which is fenced off by a low iron gate. Cary removes his hat, Nikki peers at the double sepulchre through her lorgnette. NIKKI Tell me about the world's most famous lovers. CARY Well, AbÈlard was a scholastic philosopher-- NIKKI Whatever that is. CARY Whatever that is. He gained a footing in a certain household as tutor to a maiden called HÈloÔse. And employed his unlimited opportunities for the purpose of-- Well, betrayal. Not, however, unmixed with real love. He carried her off to Brittany. NIKKI Tell me more. CARY Well, her uncle was furious. He blamed AbÈlard for the whole thing. He conceived a terrible revenge. NIKKI (uneasy) I'm afraid for AbÈlard. CARY He broke into AbÈlard's apartment one night and perpetrated upon him the most brutal punishment. NIKKI Oh, dear. CARY The lovers were forced to live their lives apart. But when they died, they were buried here side by side. (peers down at the ground) There's a story that little heart- shaped stones are supposed to grow around the tomb. NIKKI Heart-shaped stones? CARY And lovers come and find them and exchange them with each other. (looks at Nikki) And, so long as you keep the stone from the tomb of HÈloÔse and AbÈlard, no harm can come to your true love. NIKKI How perfectly beautiful. CARY Isn't that a quaint legend? They crouch at the iron bars of the gate surrounding the tomb and take off their gloves under the following: NIKKI Do you think I might find a heart- shaped stone? You help me, Cary. CARY All right, Nikki. Only we have to leave soon. (looks off) They close up the place. NIKKI Just as soon as we find our stones. They reach through the gate to poke at the rocks and gravel surrounding the tomb. After a moment, Nikki rises and walks off excitedly with a stone in her hand. NIKKI I found one! Where's yours? Cary, too, finds a stone and rises to join her. NIKKI AND CARY'S HANDS as the couple sits near the tomb. They show each other the stones in their upturned hands. Nikki takes the heart-shaped stone from her palm and places it in Cary's stiff, weathered hand. Then she transfers his stone to her hand. NIKKI And, now, you take mine. And I'll take yours. They close their hands over the stones as we PULL BACK to a WIDER VIEW of Nikki and Cary smiling at one another. NIKKI Isn't that the way the story goes? CARY That's right, Nikki. NIKKI And, now, no harm can come to our true love. CARY (amused) And, now, we'll have to go. He starts to rise but she puts a hand on his arm. NIKKI You were so nice to let me come with you. I spoiled your whole day. You were going to do something else, weren't you? CARY (looks away) Doesn't matter. NIKKI Well, what was it, Cary? Why did you come here today? CARY (not looking at her) To pay my respects to an old comrade. NIKKI Oh. And you wanted to be alone. I'm sorry. Oh, I'm so sorry. (begins to weep softly) Don't pay any attention to me, Cary. I can't help it. You MAKE me cry. He stares at her, astonished, as she rambles on. NIKKI Oh, don't look so troubled, Cary. I'm all right. I just want to cry for a minute. (puts a hand on his shoulder) On account of you're so nice. You're so clean, Cary. And your teeth are so white. You're so civilized. You don't care about anything any more, nor anybody. Nothing makes any difference to you. Nothing can touch you. (realizes) Why, you're lost. You're ALL lost. You and Shep and the rest of you. (takes his hand) Oh, I want to do something for you. I want to help you. (looks at his wrist) Let me wash your bracelet, Cary. (points) Why, see? The silver's all tarnished. The silver's all tarnished. (removes his bracelet) I'll take it with me and scrub it when I get home. I'll polish it with my nail-brush. Nikki turns to put the bracelet in her purse. Thoroughly unnerved by this emotional outburst, Cary looks around. CARY It's getting dark. Cary rises, deeply uncomfortable. Nikki tries to make amends. NIKKI Well ... (rises, cheerily) Anyway, we found a name for my turtles! Cary turns and looks at her, amazed. CARY HÈloÔse and AbÈlard? A name for your turtles? So that's what you were looking for. I might have known how it would end. He looks down at the heart-shaped stone held awkwardly in his stiff hand. His thumb brushes the stone and it falls to the ground. DISSOLVE TO: INT. NIKKI'S BEDROOM - THAT NIGHT Nikki sits, soberly polishing Cary's bracelet with her nail brush. Shep enters, drink in hand. SHEP Hi, Nik. She looks at Shep forlornly. NIKKI (sadly) Hello. Shep walks over and confronts her. SHEP Cary's in a state. Says he's going away. Can't stand it any longer and all that sort of thing. (sits on the bed) What happened between you two, anyway? NIKKI Cary seemed so sad and everything -- on account of I'd taken up his whole afternoon. (sighs) So little Nikki said, all merry and bright, "Well, anyway, we'd found a name for my turtles." SHEP A name for the turtles? Shep cracks up with laughter and falls backward on the bed, his head dangling over the edge. SHEP That's funny! Shep keeps laughing, twists around on the bed and sits up again. SHEP Name for the turtles! That's so funny, all right! Shep holds a hand to his head and catches his breath as Nikki joins him on the bed. SHEP Why do you always HAVE to be funny at the wrong time? Didn't I tell you Cary was brittle? How did he respond to THAT line? NIKKI (morosely) Pulled down the iron curtain. Shep cracks up again. Worried, Nikki tugs at his sleeve. NIKKI Did he say he was going away? SHEP (through his laughter) Yup. Gotta get away from it all. NIKKI Then, you've got to go to him right now! Nikki rises and urgently pulls Shep, helpless with laughter, to his feet. NIKKI And explain that I didn't mean it! Tell him how it was and everything! SHEP Listen-- NIKKI No, go on. You go right now before it's too late! She pushes him toward the door. SHEP But Nikki--! NIKKI You go right straight to Cary. They exit. DISSOLVE TO: INT. CARY'S ROOM - LATER Cary removes clothes from a rack as a now serious Shep, drink in hand, stands nearby trying to reason with him. SHEP Now, listen, Cary, you don't have to behave like an old Easter egg. You're breaking Nikki's heart. She doesn't know any better. CARY She doesn't know any better? Well, whether she does or not, I'm going a long ways away from Nikki. Nikki and her turtles. SHEP Whew! You sure are in an uproar. What YOU need is a drink! Cary packs a weathered suitcase. CARY I need more than a drink. I need a lot of geography between me and that girl. SHEP Where do you want to go? CARY Anywheres. So long as it's a long way from Nikki. (pauses, looks at Shep) You know -- that girl does things to me. (back to packing) I've got to get away. SHEP Well, I wonder what's happening in Portugal tonight. Cary stops packing and gives Shep a look. CARY Say ... (thinks it over) I wonder what IS happening in Portugal tonight. Shep stares at Cary, astonished, and moves off. Cary sets his packed suitcase upright. DISSOLVE TO: INT. NIKKI'S SUITE - LATE THAT NIGHT Bill and Shep set a large steamer trunk upright. BILL AND SHEP Heave ho! Bill opens the trunk. BILL Ah! There you go. Nikki appears, carrying a suitcase. NIKKI If Cary's going to Portugal, why can't we go to Portugal, too? Ain't we got any rights? BILL Sure we got rights! Getting organized for their own impromptu Portuguese expedition, Bill, Francis and Shep fill the trunk with Nikki's things as Frink leans on it, smoking a cigarette and eyeing Nikki coolly. SHEP Cary better not think he can screw up in Portugal and leave old Shep behind. FRINK Say, when's he leaving? SHEP Ten-thirty in the morning. Sud Express. NIKKI Don't we have to have passports and things? SHEP Sure we gotta have passports! Bill joins Nikki. BILL What kind passports you like? NIKKI What kind passports you got? BILL We have ebony, cocoanut, thornberry passports. NIKKI (grandly) I'll take vanilla. She brushes past him and crosses to a table where she is joined by Frink. FRINK Good night, Nikki. I'll see you on the train. NIKKI You're goin', too? FRINK Why not? (with a sly smile) I might, uh, pick up a couple of features for my paper - in Portugal. Frink walks out the door. Nikki sighs a little and then busies herself with carrying items the trunk. Shep arrives with a selection of dresses as the group crowds together. Chaotic overlapping dialogue: SHEP Nikki, do you want --? NIKKI Did you put all my shoes in? BILL You bet. There they are-- SHEP I don't know how you're going to get all these dresses in, Nikki. From the trunk, we DISSOLVE TO: INT. NIKKI'S SUITE - NEXT MORNING A mountain of trunks and other luggage piled on the floor. Nikki sits down near Shep who finishes packing a suitcase on the floor. NIKKI Don't we have to go like anything? The train leaves in twenty minutes. Francis leans casually on the towering pile of luggage. Bill stands next to him, smoking a cigarette and calling ironically to Nikki: BILL Are you SURE you have everything? NIKKI (misses the irony) I - I think so. Francis clicks his tongue as he regards the pile. FRANCIS (dryly) Hardly seems enough. Suddenly, Nikki gasps and rises. NIKKI Oh, my turtles! My turtles! THE TURTLES are plucked from the tub and placed in ... ... A BASKET by Nikki's little Asian maid. The fancy beribboned wicker basket has an oversized handle which makes it a rather improbable turtle carrier. Bill secures a wire mesh covering over the basket and carries it out of the bathroom, handing it grandly to Francis. BILL Here you are, Francis! You're the custodian of the turtles! Now don't fall down on the job. Bill walks off. Francis calls after him, worried: FRANCIS Hey! I never tended turtles before. Nikki arrives with a bottle of water and soaks her hand. NIKKI Now, all you have to do - She gives Francis the bottle and sprinkles the turtles with water from her wet hand. NIKKI - is to sprinkle 'em now and then, like this. FRANCIS Oh, yeah. I see. Some of the water ends up in Francis' eye which he wipes with the basket's ribbon. Nikki walks off and Francis practices soaking his hand and sprinkling the turtles. IN THE BEDROOM Five bellhops march in and, under the direction of Nikki and the men, proceed to carry off the luggage, chattering in French. NIKKI Well, we're off. (to a bellhop, about the trunk) Be careful of that one. Burdened with luggage, the bellhops file out through the suite. Bill, suitcase in hand, follows them out, beckoning to Francis behind him. BILL Uh, come on, Francis! Take those turtles! Francis hurries along carrying the basket, followed by Shep and Nikki. FADE OUT FADE IN EXT. TRAIN STATION - LATER THAT MORNING A whistle BLOWS. Their luggage already aboard, Francis, Nikki, Shep and Bill walk down the platform, parallel to the train. Bill claps his hands exuberantly. BILL There she is, boys! The Sud Express! SHEP Can you imagine Cary tryin' to run away and leave us behind? Bill laughs. Nikki peers at the train through her lorgnette. NIKKI Do you suppose he's really gonna be here? BILL Sure he'll be here. He's never missed a train in his life. FRANCIS Say, do you suppose the turtles'll be all right with that porter? Bill gives Francis a supportive pat on the back. BILL Aw, sure they'll be all right. All you got to do is - (gestures with his hand) - sprinkle 'em! Francis nods soberly. Bill laughs. Nikki points, excited. NIKKI There he is! FARTHER DOWN THE PLATFORM Cary buys a paper from a newsboy and steps onto his train. BILL (o.s.) Say, Cary! On the train steps, Cary stops and turns as his friends arrive and gather around him, grinning. NIKKI Hello, Cary. CARY (surprised) Well, hello. What are you all doing down here? BILL We just came down to see you off is all. CARY Well, that's darn decent of you. FRANCIS Ya got a nice seat? CARY Yeah, right by a window. NIKKI Oh, how nice for you! BILL (with childlike desire) Come on! Show us your seat by the window! SHEP (cheerful, insistent) Yeah, come on, Cary! We wanna SEE that seat by the window. Climbing the steps, Bill and Shep crowd a confused Cary and force him into the train. Following the others, Francis helps Nikki up the steps. FRANCIS Come on, Nikki. They all board the train and head for: INT. CARY'S COMPARTMENT - A MOMENT LATER The group crowds into the small compartment. BILL My, my, what a swell train. SHEP Sud Express, Train de Luxe. Say, I wonder if a chap can get a drink on this train. BILL Sure! I don't see why not. Push the button. Bill pushes a button for the porter. CARY (flustered) Well, I'm afraid you won't have time for a drink. We're gonna start in a minute. You'll have to get off. Everyone but Cary grabs a seat. Astonished, Cary stares at each as they speak: BILL Get off?! Gosh, no. We LIKE this train! FRANCIS This is a Train de Luxe. SHEP Yes, we like trains de luxe, don't we, Nikki? NIKKI Sure! Trains de luxe is what we like. The whistle BLOWS. Cary panics. CARY Hey! He's blowing the whistle. (grabs Shep's shoulder) Hey, we're gonna start. SHEP Well, let her start. The trains starts. Bill jauntily throws his hat up to the luggage rack above and the others settle in for their journey. BILL Let 'er go Gallagher. Who cares?! FRANCIS Who cares?! SHEP Who cares?! NIKKI Who cares?! Frink enters casually. FRINK Hello, everybody. Cary is stunned. Frink sits down with the others. CARY And you, too? FRINK That's right. The group takes in the train's departure with perfect composure. Cary stands and looks at them for a moment before breaking into a understanding grin. CARY That's right. Who cares? Cary sits. As the train hurtles out of the now empty station, Nikki suddenly turns to the window and waves goodbye to no one at all: NIKKI Goodbye! Goodbye! Don't forget to write! Shep, Bill and Francis quickly join in, waving and shouting goodbye, much to Cary's amusement. Even Frink manages a smile at this. DISSOLVE TO: THE TRAIN'S WHEELS racing down the track. DISSOLVE TO: INT. CARY'S COMPARTMENT - IN THE HEAT OF THE EVENING The compartment doorway. We hear the men laughing. Bill -- drink in hand, his necktie loosened and his coat off -- appears in the doorway, coming from the train's corridor. BILL Hi, men! Look what I found. With a grand gesture, Bill presents an elderly British gentleman who follows him into the little room, greeted with a cheer of "Hooray!" from the men who sit around, similarly coatless (save Frink), smoking and drinking. Various bottles stand on a central table. The old gentleman is greeted warmly but it's never clear whether he is an old friend or a total stranger. SHEP Come in. FRANCIS Sit down. CARY Have a drink. GENTLEMAN Ah, thank you, no, not I. Bill and the old gentleman sit down. Nikki dozes in her seat by the window. The basket of turtles hangs from above. GENTLEMAN I - I say, are you all going to Portugal? SHEP Yup. We're going down there to investigate conditions. GENTLEMAN Investigate conditions? BILL Drinking conditions, mostly. SHEP By the way, what ARE conditions? GENTLEMAN Don't you know what conditions are? SHEP No. Never saw one in my life. BILL The drinking conditions are pretty bad right here. GENTLEMAN (chuckles skeptically, glancing at the bottles) Ahh, indeed. BILL My beer's full of cinders. CARY Good for ya. Make ya lay hard-shelled eggs. The men laugh. A whistle BLOWS. The conductor appears briefly in the doorway to announce in French that the mademoiselle's compartment is ready. CARY Nikki? The man says your compartment's ready. Nikki wakes, rises, and clutching her pillow, heads for the doorway. NIKKI I'm glad -- on account of it's been so hot and I'm so tired and I want to go to bed. SHEP Going to bed? Who ever heard of such a thing? Bill rises to confer with her at the door. BILL Can we help you undress? NIKKI No, thank you, William. The old gentleman looks rather astonished at this casual exchange. FRANCIS Take off your shoes? SHEP Undo your hair? BILL Scrub your back or something? NIKKI No, I can manage quite well by myself. Good night, everybody. The men say, "Good night." Frink, who has been watching Nikki with a predatory eye, is the most polite: FRINK Good night, Nikki. Nikki turns and disappears down the corridor. The old gentleman mops his brow with a handkerchief and stuffs it in his collar. CARY Can you imagine that ungrateful old trollop? She wouldn't let them help her undress. GENTLEMAN Can't understand it at all. CARY You know, she's not very pretty. But when she was a little girl, her mother always said she had the nicest hair-ribbons. GENTLEMAN Indeed? CARY She got one tooth turned around, she can't see very far, and she's ALWAYS speaking out of turn. Otherwise, she's a mighty fine piece of architecture. GENTLEMAN Mm, seems to need a few repairs. During the next exchange, Frink, seated by the door, grins at Bill and Shep, then notices Francis dozing off. Frink cautiously rises and exits into the corridor without anyone noticing his departure. SHEP She's got eyes like an Assyrian Queen's got eyes. BILL You ain't never seen no Assyrian Queen! You're just a-makin' that up outta yore own head! SHEP I did SO see an Assyrian Queen. CARY In whose green hat? SHEP In the Metropolitan Museum's green hat, that's whose green hat. Francis' pocket watch CHIMES. He wakes, rises, puts on his hat and moves absently toward the door. Seeing this, Shep, Bill and Cary shout at him: "Whoa!" Francis pauses in the doorway and sleepily turns to the others. CARY Hold on there! Where you goin'? SHEP You're not going anywhere. You're on a train. FRANCIS Sorry. SHEP You go back to your turtles, hear? You've been neglecting your assignment. Francis moves to the hanging basket of turtles, takes off his hat and, bottle in hand, wets his fingers and sprinkles the turtles. Curious, the old gentleman rises to join him. Francis explains as he works: FRANCIS I have to sprinkle the turtles, see? GENTLEMAN Sprinkle the turtles? FRANCIS Sure. The old gentleman nods and clicks his tongue with understanding. FRANCIS Cool 'em off. GENTLEMAN Hm? FRANCIS Turtles get feverish on trains. GENTLEMAN Ahh! Uh huh. A woman's SCREAM drifts in from the corridor. NIKKI'S VOICE Cary! FRANCIS What's that? GENTLEMAN Hm? The men hear Nikki SCREAMING. CARY Nikki! Francis, Cary, Bill and Shep -- in that order -- scramble out the door, leaving the old gentleman behind. NIKKI'S VOICE Cary! Bill! Shep! The men rush down the corridor to: INT. NIKKI'S COMPARTMENT - A MOMENT LATER Frink grapples with a half-dressed Nikki, his lips pressed to her neck as she struggles to free herself from his grasp. NIKKI Cary! Energized by Nikki's peril, Francis bursts in and pulls Frink away from her. FRANCIS Say! Nikki grabs a wrap from the turned-down bed and covers herself as Frink pushes Francis hard into a nearby wall, knocking him to the floor. FRINK Get out of here! Frink turns back to a defiant Nikki as Cary enters and sees a dazed Francis slumped against the wall, clutching his head. Cary grabs Frink's shoulder and spins him around. CARY Say, what's the idea? FRINK What's the idea? Well, what business is that of yours? By now, Bill and Shep have entered and joined the tense confrontation. CARY Nikki, you all right? What is this tough trying to do to you anyway? NIKKI Well, I was just going to bed and he came in and flang himself all over me. CARY Frink, you'd better get out of here right away before something happens to you. FRINK What right have you to tell me to get out of here? This isn't your compartment, is it? CARY Oh, I see. You wanna argue about it. If you don't clear out of here right now, you're liable to get hurt. FRINK All right. Suppose you put me out. BILL (savagely) Put him out? I'll snap his spine and throw him off the train! Cary rolls his eyes at this remark and wisely holds Bill back. CARY Hold everything, Bill! Distraught, Nikki sinks down on a chair. NIKKI Oh, dear, does everybody have to act like this? Frink turns to her in protest. FRINK I'm not gonna let these silly drunks tell ME where to get off. SHEP Silly drunks?! CARY Silly drunks, did you say? FRINK Yes. And that goes for the whole bunch of you. BILL Let me have him. CARY (to Bill) Wait a minute. I'll take care of him. FRINK You will, eh? Frink starts to strong-arm Cary. Cary punches Frink in the jaw, knocking him onto the bed. SHEP Socko! As Frink slumps down to floor and leans against the bed, half-conscious, Francis rises and watches the proceedings with a hand on his head. NIKKI Oh, dear! Cary, fist still tightly clenched, stands over the dazed Frink as Bill brightens considerably and wipes his hands with delight. BILL Mm! Now, ain't that nice? Have you ever seen anything so cute? Francis exits uncertainly. CARY Will you be all right now, Nikki? NIKKI (unsure) Uh huh. CARY (to Bill and Shep) Grab hold of that fella and drag him out of here. Cary exits. Bill and Shep haul Frink to his feet. BILL Come to papa. Nikki watches Bill and Shep lead Frink out the door. CUT TO: INT. CARY'S COMPARTMENT - A MOMENT LATER Francis sits by the window, rubbing his head. Cary arrives and sits down next to him. Cary takes Francis' water bottle and hands it to him. CARY Here, Francis. Do your stuff. Bill and Shep carry Frink in and dump him on the seat opposite Francis. Bill walks off, wiping his hands happily. The others are grim, furious at Frink for his actions. Shep watches a disgusted Francis soak his hand and sprinkle Frink as if he were one of Nikki's turtles. Frink snaps out of his daze. CARY Frink, don't you know better than to try a stunt like that? FRINK Oh, I - I lost my head over the girl is all. I'm sorry. I apologize. CARY Well, you apologize to Nikki in the morning. And don't you ever get out of line again. The next time, it might be different. Francis pointedly sprinkles Frink one last time. They give each other a dark look. Francis fingers the neck of the water bottle as if he were going to use it to smash Frink in the face. As they glare ominously at one another, we FADE OUT FADE IN EXT. LISBON, PORTUGAL - DAY Crowded city street. A superimposed title reads: LISBON DISSOLVE TO: LISBON NIGHT MONTAGE Cocktail shaker in the hands of an expert who shakes it rhythmically as appropriate Latin MUSIC begins. This DISSOLVES TO a kaleidoscopic VIEW of our protagonists enjoying the night life: Nikki's image dominates at the center, surrounded by images of the men in dinner clothes. Everyone drinks, except Frink who smokes a cigarette and stares, desirous and snakelike, presumably at Nikki. DISSOLVE TO Nikki and her war birds (minus Frink) seated at a bar in an otherwise empty club late at night, wearing goofy party hats. They swallow a last drink and start to leave -- laughing, talking, merrily blowing little party horns, taking a bottle or two with them, and waving to an unseen bartender as they go. Someone says, "Good night." We TRACK IN for a closer look at the bar, covered with many empty glasses. And the music and the montage end. DISSOLVE TO: INT. CARY AND SHEP'S HOTEL ROOM - DAY Cary, wearing a robe, sees Shep still asleep in bed. Cary puts on a party hat, sits on the edge of his own bed opposite Shep's, picks up a party horn and blows into it, hard. The horn SQUEALS horribly. Shep wakes with a start and sits up in bed, completely unnerved. Cary laughs at him and, with his clenched hands, picks up a bottle. CARY Wake up, ya big sissy. (pours a drink) Here, drink this. It'll make you laugh and play like any old thing. Shep groans and sighs as Cary hands him a glass with his fists. SHEP Say, Cary, what day is this? CARY It's Wednesday. SHEP Wednesday? Wednesday what? CARY The twentieth. SHEP What month, I mean? CARY You mean to say you don't know what month this is? SHEP I knew once but I forgot. CARY Well, it's June. The merry month of June. SHEP June? Say, maybe I better get up. Cary looks at Shep, amused. SHEP What town are we in? CARY You're in Lisbon, Portugal. SHEP Lisbon. That's where I thought it was. I just wanted to check up is all. CARY (a little concerned) Say, what's the matter with you, Shep? Don't you really know where you are or what day it is? SHEP I kind of lose track of things. CARY Say, this is getting serious. Cary lets the goofy hat fall off his head into his hand and sets it aside. SHEP Serious? Is anything serious any more? CARY Well, it's serious when you don't know where you're at. What's gonna become of you? By now, Shep has polished off his drink. He sets down the empty glass. SHEP Oh, I'll be all right when I've had a couple of drinks. Say, what town did you say this was? CARY I just told you, Lisbon. Come on, now, pull yourself together, Shep. We gotta get organized for the bull-fight. Shep, excited, gets out from under the bedcovers. SHEP (like a little kid) Bull-fight? Are we going to a bull-fight? CARY Sure. A Portuguese bull-fight. SHEP Is that guy Frink coming along? CARY 'Fraid so. SHEP Gee, isn't there any way we can get rid of that guy? CARY Somebody'll have to shoot him. Shep rises and walks off. SHEP Not a bad idea at that. Cary watches him go and blows his party horn, wryly. DISSOLVE TO: EXT. ARENA - DAY A bugler blows his own horn, grandly, while standing before colorful bull- fight posters that read: CORRIDA DE TOUROS A crowd files in under an arched entranceway. Our little group enters, dressed for a day at the fights. BILL Praca de Touros! And, sure enough, the words over a decorated archway read: PRACA DE TOUROS BILL I wonder if there's a bar inside or anything. A friendly, English-speaking Portuguese man named Pedro overhears this and joins them. PEDRO Sure, there IS a bar. SHEP Let's find the bar. We gotta get organized for the bull-fight. PEDRO Right this way. Pedro leads and they happily follow. DISSOLVE TO INT. THE BAR - MINUTES LATER Led by their guide, Pedro, the group files in and lines up at the bar. A tiny, extremely drunken old man is the only other customer. BILL Oh, boy! Lookit that bar, would ya? Isn't that a beautiful thing? CARY What are you all gonna have? SHEP Beer is what I want. BILL Beer. FRINK Beer. FRANCIS Beer. PEDRO (orders) Cinco cervejas. BARTENDER Cinco cervejas. Nikki and Cary stand together at the bar. NIKKI I don't like beer. CARY Make you leap like a tuna. NIKKI Don't wanna leap like a tuna. CARY Make you bark like a fox. NIKKI Don't wanna bark like a fox. CARY Make you laugh and play. NIKKI That's what I wanna do! Laugh and play! CARY (to the bartender) Hey! Vermouth! Bill, glass raised, proposes a toast. On the wall behind him is the shadow of the drunken old man, standing in roughly the same pose. BILL Well, men, fire and fall back! As Bill drinks, the old man's shadow wobbles forward. Bill hears the sound of liquid SPATTERING. He stops drinking and looks puzzled. A stream of liquid pours down onto Bill's right foot, soaking his sock and shoe. Bill turns to find the drunken old man leaning at an unsteady angle, the alcohol spilling steadily out of a glass in the man's hand and onto Bill's foot. BILL Hey! What's the idea? The others, lined up at the bar, see this and laugh. The drunken old man brushes some lint off Bill's jacket as Bill shakes his pant leg, amused. BILL Well, I hope I don't catch a cold in my left ear. Band MUSIC plays. Cary looks up, concerned. CARY Hey, drink your drinks! We'll miss the parade! The group hurriedly finish and exit. Shep pays the tab. Bill, followed by the old man, shakes his pant leg and limps along after the others. CUT TO: EXT. ARENA - MINUTES LATER The crowd CHEERS and the band PLAYS as a parade of matadors, picadors and banderilleros enters the ring. Led by their guide, Pedro, the group takes seats in the front row, back of the trenches. They have to sit close down so Nikki can see things. The drunken old man from the bar tags along behind Bill like a puppy dog and tries to sit next to him but Pedro pointedly directs him to a seat in the second row. When Bill rises to cheer the parade, the drunken old man also rises and taps him affectionately on the shoulder. Bill turns and greets him pleasantly, shaking his hand. BILL Well! My old pal! The old man tips his hat to Bill and sits. Bill shakes his pant leg and gives the old man a wry look before also sitting. IN THE RING The parade ends. A matador throws his montera (his black woolen hat) into the crowd. IN THE FRONT ROW Cary catches the hat, much to the group's delight -- they shout "Hooray!" Immediately, a cape is hurled at Bill who drapes it over the railing before them. Cary offers the hat to Nikki. CARY Nikki, here's a present for you. NIKKI Oh, a hat! PEDRO Oh, seÒor, no, no, no -- you must not keep the hat. You must put a little present in it and return it to the matador after the fight. CARY What kind of present? PEDRO Well, eh - a little jewelry. Something you have like the chain or the watch or the - the - the cigarette case or the cuff links or - or the-- CARY Vanilla? PEDRO Yes! Vanilla! A trumpet FANFARE. The crowd CHEERS. Bill points, excited. BILL Look! Here he comes! IN THE RING A bull charges into view. Bull-fighter and bull face off. The bull makes ten passes, faster and closer each time. IN THE FRONT ROW Bill sits next to Pedro. PEDRO Nice work! Good work. BILL What's so good about it? PEDRO He works close to the bull. BILL Is that so dangerous? PEDRO Sure, it's dangerous. Bull-fighting is very dangerous. It takes a lot of courage to go into the bull ring. Bill scoffs and waves dismissively. Cary leans in with a query. CARY Is it true the bull is blind when he charges? PEDRO He sees only the cape -- perhaps. IN THE RING Bull-fighter and bull continue their duel. Finally, the bull gets the advantage and others must rush in to distract the bull. IN THE FRONT ROW Bill is unimpressed. BILL Bet I could run that bull bow-legged. You know, I should have BEEN a bull-fighter. PEDRO You should have started at twelve years of old. BILL I bet I could start right now. CARY (puts a hand on Bill's shoulder) Sit still and behave yourself. PEDRO Bull-fighting is not for Americans. BILL You think we haven't got the nerve or something? PEDRO Why, listen, bull-fighting is just for us, the Latins. BILL He thinks we're a-scared! NIKKI (helpfully) He tackled a horse once. PEDRO (stares at Bill) Tackle a horse? Full of himself, Bill nods. PEDRO (turns away; flatly) Is not the same! Everyone suddenly stares in shock as: IN THE RING the bull knocks down the matador. Others rush in to distract the bull which runs wild, out of control. IN THE FRONT ROW Frink nudges Francis awake and points out the carnage in the ring. Francis glances at the spectacle briefly and then sleepily applauds. Frink gives him a look and nudges him to stop clapping. Francis simply goes back to sleep. WILD BULL MONTAGE The toreros try to control the bull but it refuses to cooperate. The crowd watches intently. Bill takes off his own hat and picks up the matador's cap that Cary had caught. Toreros scramble and run for their lives. The bull chases them down, runs across the ring, forcing them to jump the barrera, the protective wooden barrier that circles the inside of the arena. Bill, now wearing the cap, can't resist leaning over and mocking a group of toreros who huddle in the callejon, the safe side of the barrier, just below him. BILL Nice work, Tony! Nice work, Joe! The toreros look up at Bill in surprise. One of them responds in Portuguese with a gesture toward the ring, as if to ask "If it's so easy, why don't you try it?" The other toreros laugh. Bill stares into the ring, a savage look in his eyes. He puts a leg up on the railing. He jumps down into the ring. CARY'S VOICE Hey! Cary rises, stunned. CARY Bill! Come back here! But it is too late. Bill's coat is already off and he waves it like a cape as he stalks after the bull. The bull turns and sees him. Bill moves toward it, waving his coat and grinning like a madman. Shep is frozen. Beside him, Nikki screams and turns away. The bull begins to charge. Cary climbs over the railing. The bull charges. TRACK FAST TOWARD Bill who holds the coat before him -- big eyes, big grin. The bull is on him. The bull roars. Bill's face snaps backward in a blur, his coat follows. The bull gores him through his coat. His face twists in pain. CUT WIDE as the bull knocks Bill's body around the ring like a rag doll. He hits the ground hard. Screams from the crowd. Four toreros rush in. They surround and distract the bull. Bill lies motionless. Cary runs across the ring. More toreros and others rush in, surrounding the bull, finally leading away. In the front row, Shep, Nikki, Francis, Frink and Pedro watch with concern as .... ... toreros converge on Bill and try to move his body. Cary joins them. CARY Bill! But Bill is unconscious. A torero says something to Cary in Portuguese. Cary and the others lift Bill. CARY Take it easy! Take it easy! They carry Bill off. DISSOLVE TO: INT. ARENA INFIRMARY - MINUTES LATER A group of toreros straighten their gleaming spangled jackets and walk off to reveal Cary standing over a bloodied Bill and holding his hand as medical personnel prepare to operate. Bill lies flat on a table and smiles, amused with himself. BILL Cary? I slipped. CARY Too bad. You were doing fine. BILL Wasn't I, though? Heh. It's a cinch. Bull-fighting? Just as easy-- Bill breaks off and raises his head to look at the doctor off screen. BILL Hey, Doc?! Be careful. What are you doing? To distract him, Cary pulls out a handkerchief and mops Bill's brow which glistens with sweat. BILL You know why I slipped, Cary? CARY No, Bill. Why? BILL On account of that beer in my shoe. Bill breaks off and raises himself up again. BILL Hey, Doc! Cary gently eases Bill's head back down. BILL Cary, that bull certainly was hostile. Pedro escorts Shep (in his dark eyeglasses again) and Nikki into the room. The doctor, in surgical gear, puts on gloves and looks annoyed by the intrusion. SHEP You hurt, Bill? NIKKI You all right, Bill? BILL Sure. I'm all right. I was a big success. The doctor has some sharp words for Pedro who acknowledges this and approaches the others: PEDRO He wants that we should go right away. Pedro exits. BILL I'm sure glad that I - I wore my new blue shorts. I'll be a big success in the hospital. Nikki places a hand on his head. NIKKI I'll send you my turtles, Bill. And THEN you'll be a big success. She turns away, trying not to cry. Shep follows her as they leave. SHEP So long, Bill. BILL So long. Shep follows Nikki out. CARY Goodbye, Bill. Bill reaches up and pats Cary on the shoulder. Cary looks at the doctor, then at Bill, before retreating to the door. He turns to look back at Bill who grins at him. BILL See ya later - Cary. Cary can't return the smile. He turns and goes, closing the door behind him. Bill's attention turns to the doctor whose approaching shadow is cast on the wall behind him. Bill's smile fades. CUT TO: EXT. ARENA - MOMENTS LATER Cary emerges and joins the group who are gathered glumly on some steps. FRANCIS How is he? CARY They've just put him to sleep. Nikki, emotionally fragile, hands Cary his hat. CARY Why, thank you, Nikki. There's nothing you can do. You'd better go back to the hotel. (to Francis) Put Nikki in a taxi. We'll wait here. As Frink and Francis exit with Nikki, Pedro approaches Cary with a couple of journalists. PEDRO SeÒor, the reporters want to know why your friend descend into the bull ring. Cary looks off and thinks for a moment. CARY Tell them -- that it seemed like a good idea - at the time. Pedro stares at Cary in astonishment. Cary joins Shep and the two of them stand with their backs to the others as we FADE OUT EXT. CARNIVAL - NIGHT The amusement park at Port Mayer. Crowds, carnival NOISES, a carousel with appropriate MUSIC. At a nearby refreshment stand, we find the group, minus Bill. Everyone is unusually silent and wearing dinner clothes. Francis holds a mug upside-down. Frink leers at Nikki who ignores him while she, Shep and Cary down their drinks. They hear: GUNSHOTS. They look over to see: A little shooting gallery where customers rent genuine guns to shoot various colorful targets and win prizes. CARY Sounds like old times. SHEP Let's go and shoot. CARY Not a bad idea. (to Nikki) What say, Annie Oakley? Like to fire off a gun at something? NIKKI No objection. SHEP (to their bartender) We'll be right back. Hold everything. The group starts over to: THE SHOOTING GALLERY where an assortment of rifles and pistols are neatly laid out. Cary and Shep escort Nikki to the arsenal while Frink and Francis tag along behind. An attendant joins them to collect their money and ready their weapons. SHEP First one to miss pays for the drinks. CARY What'll we shoot at? NIKKI Shoot one of those pussycats and see what happens. SHEP All right. Look out, pussycat. Shep FIRES and misses the moving cats that float across the base of the range on an endless chain and disappear. But he hits a tinier target: a clay pipe behind them. Shep's eyes pop with surprise. SHEP Well, that's what I was aiming at, a clay pipe. (stares in amazement) Whole thing's been misrepresented to me. Cary laughs at him. NIKKI Cary, let's see you shoot something. Cary takes careful aim. CARY Look out, ball! He FIRES and hits a ball balanced atop a stream of water. NIKKI What'd YOU aim at? CARY Well, let's see you shoot something. Nikki awkwardly raises her little target rifle to her shoulder. The end of the barrel describes uncertain circles in the air. A multiple exposure point-of- view shot of the targets reveals that Nikki is a little too tipsy to be handling a gun. Cary moves to help her. CARY Oh, no, no, no, Nikki. NIKKI How do you hold it still? CARY Listen, Nikki, on your right shoulder. Now, put your hand out there and hold up-- No, don't cover up the site. No, no, no, that's right. Now just hold it evenly-- Rapid GUNSHOTS. Cary looks up in surprise. He and Shep turn to watch in amazement as Francis cuts loose with an automatic rifle, shattering a whole row of pipes with split-second firing. The others cheer as Francis lowers the weapon and stares moodily at an astonished and, apparently, very drunk Frink. Cary takes this moment to encourage Nikki. CARY You can do better than that. Show him up. She again tries unsuccessfully to hold the rifle steady. Amused, Frink picks up a pistol and imitates her. FRINK What are you waving at, Nikki? Cary sees Frink pointing his gun at Nikki and moves to intervene, grabbing Frink's wrist with both hands. CARY (angry) Look out! Why, you fool. Don't you know better than that? Shep and Francis move to shield Nikki. FRINK What's the idea? CARY Pointing a loaded gun at Nikki? FRINK Take your hands off me. CARY Put down that gun! FRINK Let go of my wrist! Frink violently pulls free of Cary's grasp and, as he does, the gun goes off with a BANG. Francis hurries Nikki to safety in the opposite direction. Shep backs away, clutching his side -- for a moment, it looks very much as if he's been hit. Cary pursues and confronts Frink. CARY Put down that gun! Frink backs up to a nearby lamp post and, wielding the pistol, points it at Cary. His face is tense, savage. FRINK Listen, you keep your hands off me! I've had enough from you! You try any more of your rough stuff on me--! A nervous crowd of passersby pauses to watch the showdown. CARY Oh, so that's how it is. I thought we taught you how to behave. Frink, drunk and frustrated, starts to lose it completely. FRINK You taught ME how to behave?! Listen, you'd better behave now or you'll get hurt! CARY (calmly) I don't think so. I'll give you three to put down that gun. It'll be just too bad if you don't. FRINK Too bad for who?! Frink cocks the hammer. CARY One ... Cary moves slowly toward Frink. FRINK Keep away from me! I'll shoot, I tell ya! I'll shoot! CARY Two ... Frink and Cary are less than a yard apart. FRINK I'll shoot! I'll shoot! GUNSHOTS. Cary flinches. Frink drops the pistol, his face twisted in pain. He starts to fall. Nearby, Francis coolly FIRES his rifle, pumping seven bullets into Frink. Members of the crowd SCREAM in terror. Instinctively, Shep (still clutching his side) and Nikki each put a restraining hand on Francis' arm. Francis lowers the rifle, staring in horror and amazement at what he's just done. CARY'S VOICE Francis? Cary rushes over and pulls the rifle out of Francis' hands. CARY Francis? Francis snaps out of his trance as Cary hurriedly returns the rifle to the gallery. Shep and Nikki watch, stunned, as Francis immediately moves to Cary and shakes his hand. FRANCIS Goodbye, Cary. Francis turns to Shep and Nikki for equally heartfelt handshakes, an odd look on his face. FRANCIS Shep. Nikki. They realize he is saying a final goodbye. The crowd presses in as Francis glances back at Frink before turning and hurrying off. As a huge crowd rushes in the direction of the shooting gallery, Francis threads his way through it in the opposite direction and, with only the briefest glance backward, rounds a corner to disappear behind a building. Cary stares at Frink's body as the gathering crowd streams into view, then quickly starts to lead a shaken Shep and Nikki away from the shooting gallery. CARY We've got to get out of here. Come on, Shep. Come on. They slip through the thick fringe of excited people fast gathering in front of the shooting gallery and hurry off in the same direction as Francis who is now: BEHIND THE CARNIVAL BUILDINGS on a dark, deserted street. Distant crowd NOISE and carnival MUSIC drifts in. Under the light of a street lamp on the edge of the carnival, Francis strolls casually into view and swings a leg over a slackly hung boundary rope, pausing to glance backward. He sees ... ... Cary, Shep and Nikki as they round the corner and pause, a little breathless, to lean against a wall. Shep, his fist still at his side, slumps weakly as Cary and Nikki stare at ... ... Francis who briefly makes eye contact and then, without a word, turns, steps over the rope and, pulling his jacket collar up around his neck, walks off, instantly swallowed up by the darkness. Cary and Nikki stare after him, astonished. CARY That's the last of Francis, I'm afraid. We'll never see him again. NIKKI Did you notice his eyes? That's the first time I ever saw Francis really happy. What'll happen to him, do you suppose? CARY Don't worry about, Francis. He'll take care of himself. Let's get out of here. Let's walk. Shep leans weakly against the wall, his eyes glassy. SHEP No. Don't want to walk. Let's take a cab. Cary quickly moves to a signal a cab parked nearby. Nikki rests a sympathetic hand on Shep. DISSOLVE TO THE BACK SEAT OF THE TAXI CAB - MOMENTS LATER As the cab jolts down an uneven street and drives slowly through the crowded carnival, the MUSIC continues. Cary and Shep sit on either side of Nikki. Cary is as edgy as Shep is subdued. CARY Did you see the way Francis poured lead into that fellow? SHEP Fast work. CARY Fast? Chain lightning! SHEP Nice shooting. CARY Those slugs went right past my ear. If I'd've moved an inch, I would've caught one of them myself. SHEP "Sudden Death," all right. Nikki takes out a cigarette. CARY What's the matter with you, Shep? I've never known you so quiet before. SHEP That's right. I am kind of quiet. NIKKI (holds her unlit cigarette) Not smoking? SHEP No. NIKKI Your lighter working? SHEP Good ol', Nikki -- never has any matches. NIKKI No. As Shep puts his hand in his inside jacket pocket to pull out his cigarette lighter, a strange look crosses his face. SHEP Sure you want a light? NIKKI That's what I want, a light. Shep pulls out the lighter and flicks it on -- revealing bloodstains on his white shirt. Nikki stares down at the blood in horror. NIKKI Shep. Shep! Nikki jumps up and moves away from Shep, into a seat opposite. CARY What is it? NIKKI Shep's hurt! Cary turns to Shep, who slumps back weakly against his seat with a strange look of release and satisfaction on his face. SHEP It's a forgery. Cary examines Shep, reaching in to feel his bloody wound. NIKKI Do something for him, Cary! Oh, Shepard! CARY He's been shot! NIKKI What can we do, Cary?! What can we do?! CARY Shep, why didn't you say you were hurt? SHEP Good old Cary. Sweet Nikki. You may not believe it but this is the best thing that ever happened to me. CARY Oh, Shep, Shep, don't say that. You'll be all right. We'll get you to a hospital. Shep puts a hand on Cary's arm as the taxi continues to jolt along down the street. SHEP No, no, Cary. Don't rush me anywheres. Let's sit here for a while. The-- Hurts, the jolting. Urgently, Cary reaches over and bangs on the glass between themselves and the cab driver. CARY Stop! Stop! In front of the carnival's slowly revolving carousel, the cab rolls to a stop. The carousel MUSIC drifts in. Shep hardly moves -- head back, blank eyes staring, voice dreamy and weak. Cary puts his face close to Shep's, listening intently. SHEP That's better. You know, Cary, I feel - just like we're falling -- long time ago. Do you remember? Spinning ... spinning ... spinning. Only you brought me down safe. Oh, Cary. Good old Cary. (sighs) Best flyer in the service. Nikki, seated opposite, is distraught. NIKKI Oh, Shepard, Shepard, darling. CARY (reassuring) We're gonna make a safe landing again, Shep. SHEP Not this time, Cary. Ol' Shep's gonna crash. (beat) Say, but we're spinning fast. Level off. Cary, level off. Shep's head slumps down. His face presses against Cary's shoulder. NIKKI'S VOICE Oh, Shepard, Shepard, darling. Cary can't look at him. Eyes wide, Cary slowly presses his cheek to Shep's. CARY Shep? - Shep?! - Shep! Cary looks as if he is on the verge of tears. And yet he cannot bring himself to cry. FADE OUT FADE IN EXT. TRAIN WHEELS ROAR down a railroad track. DISSOLVE TO INT. TRAIN COMPARTMENT - NIGHT Nikki cranks her portable phonograph, turns it on and puts the needle to the record -- Toselli's "Serenade," that strange, sad composition that haunted Europe at the close of the Great War. As the bittersweet romantic music plays, she listens for a moment. Then she turns and sidles over to sit next to Cary who is seated by the window, scribbling something on a piece of paper beside a small lamp. NIKKI What are you writing, Cary? CARY A letter. A letter to Shep's mother. NIKKI Mind if I read it? CARY Certainly not. Nikki reads the letter silently. A long pause. NIKKI Why, Cary. Cary, that's the most beautiful letter I've ever read. Nikki turns away and begins to cry, quietly. NIKKI Please forgive me for crying, Cary. I can't help it. You don't mind if I cry just a minute, do you? CARY No, Nikki. Cary puts aside the letter. NIKKI Can't you cry, Cary? CARY No. NIKKI But you have cried sometime in your life, haven't you? CARY Long, long time ago. Before the war. NIKKI And you can't cry now? Not even for Shep? CARY Shep Lambert spent his life in the war. He had nothing more to give. He had died once. And he was ready to die again. NIKKI This time he was played out with music. That was the way he wanted it. CARY And Bill Talbot was a big success in the hospital in his new blue shorts. Maybe he'll tackle the angel Gabriel and - be a big success again. NIKKI And Francis? CARY Maybe Francis will forget to wind his chiming watch one day and go on sleeping. Till the end. It doesn't matter now. Without them, nothing matters. We only had each other. Comradeship was all we had left. And now that's gone, too. NIKKI And you, Cary? You? You're alone now. CARY That's right. I'm alone now. NIKKI I don't want you to be alone, Cary. Let me stay with you. Let me be with you. He takes her hand, looks at her affectionately. CARY Why, Nikki. You're sweet. He kisses her hand. A strange, apprehensive look crosses her face as she turns her hand over in his hands and opens it -- to reveal a heart-shaped stone. Cary looks at her in surprise. CARY Why, Nikki, you kept it. You didn't forget. She lowers her eyes for a moment, then looks at him. NIKKI No harm can come to our true love. CARY (amused, skeptical) No harm can come to our true love? (genuinely) Oh, Nikki, you've become very dear to me. I want to help you. Can't I do something for you, too? What do you want? What can I get you? NIKKI Well, I've always wanted a pair of Spanish earrings. He gives her an uncomprehending look but then breaks into a smile as she buries her head lovingly in his shoulder. He kisses her hand again. CUT TO THE TRAIN in a dark, bleak landscape as it chugs away down the track. DISSOLVE TO THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Last Samurai, The.txt b/unformated_scripts/Script_Last Samurai, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..131ce561a82181b651da1d4f9415e4489348af26 --- /dev/null +++ b/unformated_scripts/Script_Last Samurai, The.txt @@ -0,0 +1 @@ +for educational use only for educational use only www.script-fix.com THE LAST SAMURAI by John Logan Revisions by Edward Zwick & Marshall Herskovitz 1.Fade In:A BRIGHT BLUE TIGERSurrounded by a pack of dogs, ten of them snarling and gnashing their teeth.The TIGER'S, eyes burn with fury as he wheels in a circle, lunging at onedog clawing at another, keeping them all at bay.Suddenly, the TIGER leaps over the dogs and transforms into a WHITEBIRD, soaring majestically into the sky.THE FACE OF A JAPANESE MANSits up into frame, sweating, waking from a dream. He is KATSUMOTO.We will come to know him later.Fade to black. CREDITS OVER.The faint SOUND of a BRASS BAND. WINCHESTER REP (V.O.) the leader in all forms of armament used by the United States Army. When you need a friend, Winchester is by your side. .THE FACE OF AN AMERICAN MANAs he smokes a cigar, barely listening. CAPTAIN _NATHAN ALGREN,U.S. Army, ret, 36 years old and looking every da y of it. His eyes are linedand saddened. He takes a swig from a flask. He is BACKSTAGE at:INT. CONVENTION HALL SAN FRANCISCO DAYWhere a trade show is in progress. Scantily clad lovelies in red-white-and-blue undies demonstrate the nation's most important new export: arms.Every weapon imaginable is on display: rifles, pistols, even howitzers. Bannersdeclaim the virtues of Winchester and Springfield. Of Colt and Remingtonand Smith & Wesson. Crowds mill around a stage. where: WINCHESTER REP Ladies and Gentlemen ... the Winchester Corporation is proud to bring to you... a true American hero. A patriot who has proven his gallantry time and again on the field of battle.LITTLE TIN SOLDIERS are all lined up. A mass of grey. Rebel troopssurrounding a band of blue Union cavalry. A large, metal diorama. WINCHESTER REP I hope you will join us in welcoming ...Late of the U.S. Cavalry. The Savior of Sutter Hill ... Captain Nathan Algren!A last swig. Algren steels himself, then strides onstage as we reveal a banner: 2.WINCHESTER PRESENTS: THE MIRACLE AT SUTTER'S HILL!Garish limelight from a row of foot lights illuminates Algren. ALGREN My thanks, Mr. McCabe... Ladies and Gents.He looks down at the little metal soldiers and begins to tell the story of thebattle that made him famous. His narration is halting, unsteady: ALGREN ... On that fateful day, Johnny Reb had us in a spot, perched on the lonely top of Sutter's Hill, nothing but grey as far as the eye could see: Unhorsed and out of ammunition, I gazed down into the, um, mael... mael... (squints to see better) -maelstrom below us, and saw them moving up.We realize he is reading from cue cards. The little Rebel soldiers begin slidingup the metal hill. ALGREN I knew it was fight or die. Into the teeth of the enemy or we would all be buried... buried ... (loses his place, under his breath) Shit... (finds it again) ...on the same hill with our comrades a1ready gone to Merciful Heaven...A sudden flash:Algren's mind. The real battle of Sutter's Hill. The grim reality is ver ydifferent from the dashing tale. Union soldiers scream in agony. Thosehorses still alive buck and froth at their tether. .Algren, a lieutenant then, moves among the panicked, bloody men. He stops beside aPRIVATE, his brother, DAVID ALGREN, 19, blonde, not much more than a boy. DAVEY They're coming, Nate.He looks over the wall. Rebel troops are moving up the hill. ALGREN Keep your head down. DAVEY (smiling) Papa alwa ys said we should've joined the navy. ALGREN What'd he know? (looks fondly at his brother) You watch me now. Do whatever I say. . 3. DAVEY Aye-a ye, lieutenant.Algren punches his shoulder and moves on down the line. Nearby, Algren'sfriend, SERGEANT ZEBULAH GANT, though severel y wounded, reloadshis revolver with the last of his ammunition. GANT How're the horses? ALGREN Better than you. Smell better, too. (looks at him) Can you hold on, Zeb? GANT (fighting the pain) I got I choice?Algren smiles sadly. His mend will die loon without medical attention.Algren moves down the line, bullets whizzing overhead. He kneels besideCOLONEL BAGLEY, his commanding officer. BAGLEY (panicking) We need a flag. Find me a goddamn white flag! ALGREN What are you talking about?! BAGLEY Surrender, damn it! That's an order!Back to the convention hall: ALGREN No thought of surrender among those boy. Better to die as God made us, we thought, as soldiers... So I gave the order. Mister Bugler, sound mount up. Mister Bugler, sound prepare arms. There were only thirty of us, but we had fire in us yet. I looked down the hill at the destiny ordained for us. And gave the order. Mister . Bugler, charge!The little Union cavalry soldiers begin moving down slots in the hill.On Sutter's Hill:Algren leads a chaotic cavalry charge down the hill toward the advancing rebelinfantry -- artillery explosi ons - bullets snapping, trees shattering.Algren's brother, Davey, rides beside him. 4.The wounded Sergeant Gant pulls himself up, waves his cap and yells.Bagley remains cowering behind the stone wall.Back to the convention hall: ALGREN And straight into them we went...On Sutter's Hill :Carnage. Union and Confederate soldiers slam together, falling, drowning in mudand blood, stepped on by panicked hones.Algren wields his saber in one hand and his revolver in the other, servingdeath on all sides.A soldier riding next to Davey is shot. A horse falls into a shellhole.Back to the convention hall: ALGREN "Hip-hip hurray" we shouted, for we had spirit in us yet--More flashes:Algren slices right and left with his saber. He is a truly gifted swordsman.A tree branch knocks Davey from his horse. He sits, dazed, on the ground.Algren kills a rebel soldier just as be is about to fire on him.Single-handedly, be rallies his men, screaming orders, then lifts his woundedbrother onto the saddle beside him.He leads them downhill toward safel y, Davey clinging to him for dear life.Back to the convention hall: ALGREN Before they knew what hit them, we had broken through into the rear of the rebel army.On Sutter's Hill:Algren and his men gather in a copse of trees. They are giddy with the exhilarationof having survived. DAVEY We did it, bro', WE DID IT! Whoeeeee!!Algren's smile is shortlived, though. 5.SUDDENLY, the woods ERUPT with gunfire. Trees are shredded.Algren's men are literally cut to pieces-Davey is riddled with bullets, his dead body shielding Algren from harm untilhe slides, lifeless, to the mud. ALGREN Davey---!!!!Men and horses are torn apart -- they contort and writhe in agony ≠ jerkinggrotesquely as the bullets rip into them. Algren frantica1ly tries to locate thesource of this firepower. Then he sees:A Gatling Gun.Six barrels glisten like steel teeth. This early machine gun is the pinnacle ofcurrent military might -- 60 rounds a second -- a triumph in engineering. ALGREN AHHHHHHH--!!!!!With insane courage, he wheels and charges the gun.Bullets rip into horse and rider alike. Algren falls, lifeless, into the mud.Back to the convention hall: ALGREN And the 23rd rode on to glory.Applause.At the back of the hall three elegantly dressed JAPANESE MEN watchAlgren's performance. They wear Western frock coats and top hats ALGREN Now let me: tell you, gentlemen, if there's one thing on earth I could have had with me on that glorious day, it would have been this beauty...Algren holds up a Winchester repeating rifle.At the back of the audience we note someone else watching Algren.SERGEANT ZEBULON GANT, whom we last saw on Sutter's Hill. ALGREN The Winchester Model '73 lever-action rifle. 15 shot capacity, one round-per-second, accurate at 400 yards. You'll note the patented loading port just beneath the cartridge chamber and the smooth cocking action. ...Lets' just see here-- 6.He peers into the ejection port as he cocks the weapon and sights out over thecrowd.KA-BOOM!!! The report echoes among the screams of the ladies. Dust andglass fall from a rear chandelier. ALGREN Smooth trigger action, too.Audience-members murmur nervousl y. ALGREN This is, gentlemen, The Gun That Is Winning The West... Step on up and take a look. Mr. McCabe is here to answer any question and take orders. I thank you.Later...A Winchester representative is handing Algren an envelope. WINCHESTER REP What the hell was that? ALGREN Got their attention, didn't I? WINCHESTER REP Boston in three weeks. And sober this time.He goes. Algren immediately starts counting the cash.INT. SEEDY HOTEL ROOM NIGHTAlgren sits alone on the bed. He takes out a leather-bound journal and begins to write. ALGREN (V.O.) June 17th, 1876. The dead are with me tonight. They return each time I am obliged to tell their story.INT. SQUALID BAR NIGHTAlgren sips absinthe. He stares at the milky, green liquid before him. ALGREN (V.O.) I can almost see them in the shadows, their bodies whole and beautiful once more. Sometimes it's as if they call to me in a sweet invitation -- 7.EXT. GAS-LIT STREET NIGHTAlgren walks in the fog. Sputtering gas lamps give an unearthly glow. ALGREN (V.O.) "We are dead," they whisper, "and we are happy."INT. SEEDY HOTEL ROOM NIGHTAlgren is back in the hotel room. From his small suitcase, he takes theMedal of Honor, looks at it for a long moment. ALGREN (V.O.) "Do not be afraid," they whisper. "You have been dead, too."A sudden flash:We are back on Sutter's Hill. Algren's slaughtered cavalry litter the bloodyground, dead to the last man. A rebel army surgeon gives a cursory look ateach body before it is loaded onto a wagon.Algren's turn is no different than the others. He is declared dead and hoistedunceremoniously onto the pile of corpses.Back in the. hotel room.:Algren sits, staring into the middle distance. ALGREN (V.O.) Is this why they gave their lives? So that I might disgrace their memory?He reaches into the suitcase and takes out a Colt revol ver. Stares at it, cracksthe cylinder to make sure it's loaded. His finger wraps around the trigger,the barrel makes its wa y toward his head.And then, unaccountabl y, he is laughing. ALGREN (V.O.) And why, after taking so many lives, do I find myself incapable of taking just one more?A KNOCK on the door. Algren shuts his eyes, then calls out. ALGREN Go awa y. GANT (V .O.) Not exactly the greeting I imagined. 8.Algren looks up. He knows that voice. He carefully puts the revolver back into the suitcase and shuts it beforeopening the door. GANT Thought you'd seen the last of me, I expect.Algren is filled with emotion, which he tries to hide. ALGREN Zeb...They embrace. ALGREN Sit. Please.Gant moves to the proffered chair with a pronounced limp. GANT ... Saw your little melodrama toda y. Very inspiring... . ALGREN Given up soldiering to become a critic?Gant smiles and shakes his head. GANT Got a job for you, unless you're running for office... ALGREN I have I job. GANT I mean a real job. Back in uniform. ALGREN I' m retired. GANT I don't mean a U.S. uniform.Algren looks at him. Curious despite himself.INT. RESTAURANT NIGHTGant leads Algren into a lush San Francisco restaurant. Flickering gaslightand trays of lobster. COLONEL BENJAMIN BAGLEY (whom we saw inflashback) sits with the three Japanese men. Bagley's hair has greyed. He 9.has his eye on a political future. BAGLEY Nathan, good to see you. ALGREN (stunned) Colonel Bagley... BAGLEY Sit down. This is Mr. Omura, from Japan, and his two associates who, so far as I can tell, don't have names...OMURA 40, is a handsome and intelligent man. He watches Algren closel yas Algren pours a glass or whiskey from a decanter. BAGLEY They're looking to hire real American soldiers to create the first Japanese Imperial Army.Algren looks at him. BAGLEY Japan's got it in mind to become a civilized country and they're willing to spend what it takes to hire white experts to do the job right.Algren takes a slow lip of whiskey. BAGLEY Sergeant Gant has already agreed to serve. You would be m y second-in-command. ALGREN. With approval from Washington, of course. BAGLEY Both governments prefer to consider our mission unofficial. We'd be there as non-combatants BAGLEY (MORE) only, advisors to the Japanese officers. Help them with training, ordinance and the like. GANT You ought to think about it., Captain. Unless you intend to take up a career in the theater. ALGREN I have an agreement with the Winchester Corporation -- I'm sure these people have some concept of what an agreement is. 10.Omura suddenly speaks. His English is flawless. OMURA You are paid seven dollars for each performance. You do, on average, fourteen performances a year. We will pay you 400 dollars. ALGREN A year? OMURA A month.Algren looks at him. The figure, in 1876, is staggering.EXT SHIP--OCEAN DAYA steamship chums its wa y across the great Pacific. Algren leans on theship's rail and looks out into an endless processi on of wa ves. ALGREN (V.O.) June 23, 1876. It is impossible, standing here, not to appreciate one's, own insignificance.A dolphin crests the surface, arcing into the air. ALGREN (V.O.) Here there is neither past, nor future. Only an oblivion of water.In his tiny cabin, Algren finishes writing in his journal and takes out adaguerreot ype of a HAUNTINGLY BEAUTIFUL BLOND WOMAN. ALGREN (V.O.) And yet I ask myself, will the dead follow me across the ocean to this strange new land?He stares at the woman in the picture.INT. SHIP ≠ CABIN DAYIn the main cabin, Algren sits with Gant and Omura. Algren is drinking. OMURA ...After the Shogun gave up power, the daimyos ≠ you would call them warlords --knew that Japan needed a centralized government. So they asked 11. OMURA (CONT'D) the hereditary Emperor, His Highness the Enlightened Meiji, to lead the country. ALGREN And these warlords just ... gave up hundreds of years of power? OMURA Economic incentives were offered. Most provincial leaders saw the financial benefits of modernization. ALGREN What about those that didn't? OMURA To deal with those who have resisted, the Emperor has decided to create an Army with allegiance only to him... We considered hiring advisors from Germany, but your Ambassador reminded us of your experience in suppressing rebellious elements in your Civil War.This evocation of the Civil War is not lost on Algren. ALGREN Who are we supposed to be fighting against? OMURA His name is Mori Katsumoto. He is samurai. ALGREN Samurai? OMURA The word you might use it "warrior". But that does not quite capture it ... Katsumoto once served the Emperor but he is now a traitor who leads a band of traitors. He must be punished.Algren looks pointedly at Bagley. ALGREN You told them about our experiences together on Sutter's Hill, did you, Colonel? BAGLEY They know I was your commanding officer. Yes.Algren glares at Bagley, then stands. 12. ALGREN Excuse me, gentlemen. I need some air. (to Omura) I'm sure Colonel Bagley can amuse you with more stories of patriotic gore.He walks away. OMURA He is insolent. BAGLEY Get him in front of the troops, you'll see. Top of his class at West Point. Brilliant tactician. Even wrote a book. OMURA Why did he leave your army? BAGLEY What's a hero to do when there's no more great battles? OMURA Is that an evasive answer? BAGLEY Sir, this man was left for dead at Sutter's Hill. Doct ors swore his heart had stopped beating, but before they could bury him, he came back to life. After the war he fought the Sioux, the Cree, and the Blackfoot. (leans closer) . Point him at the enemy. He was born for it.INT. SHIP -- ALGREN'S BERTH NIGHTAlgren lies in his cramped berth. Can't sleep.A sudden flash:On the wagon of dead bodies, Algren's eyes open to stare into the unblinkingeyes of his brother, Davey, half his face shot off. He tries to move but be isburied beneath the weight of those piled on top of him. Blood drips downinto his eyes and mouth, blinding and choking him.Back to the ship:Algren awakens, bathed in sweat. Terror. A silhouette in the doorwa y. 13.Colonel Bagley stands looking down at him. BAGLEY I hope you realize the kind of second chance this is for you. I won't tolerate insubordination.Algren reaches for a nearby glass, drains it. ALGREN Court-martial me. BAGLEY Would you rather I hadn't recommended you for the medal. Nathan? Is that it? ALGREN We both know why you helped me, Colonel. Don't expect me to go all weepy with gratitude. BAGLEY I expect you to do your job. Save the self-pity for your own time.He turns and walks out, leaving Algren to stare at the empty glass.EXT. SHIP DAYAlgren and Gant stand at the rail. GANT Hate boats. If the Lord bad wanted man to sail he wouldn't have created infantry. ALGREN How many rimes you puke today? GANT I'm down to two.Omura comes up next to them. OMURA I understand you are a scholar, Captain Algren. (to Gant) Have you read his book., Mr. Gant? GANT Can't say I have. OMURA An analysis of the triumph of weapons technology over antiquated military tactics. 14. ALGREN (wr y) A real page-turner. Sold twelve copies. OMURA Nonetheless, I was impressed. I enjoy reading military history. I spent two years studying English at Princeton University. ALGREN And where did you learn to speak Japanese?Omura is perplexed by Algren's remark, then realizes he is being kidded. Helaughs heartily. Algren laughs with him. A connection is made. OMURA Yes, and in Japanese there are twenty-seven words for "war." I will be impressed if you learn only half of them. .He walks away. Algren watches him go. His face darkens. ALGREN I got twenty-seven words too - Reb, Sioux, Pawnee, Blackfoot, Jappo. Only one language when it comes to war.EXT. YOKOHAMA HARBOR DAYLike all Japan, Yokohama is at the cusp of a new era.Ancient sampans and wooden schooners beside freighters and steamships.EXT. YOKOHAMA ≠ DOCK DAYAfter 23 days at sea, they are all glad to climb down the gangplank. TheYokohama docks are a frenzy of languages and looks and smells and sounds.Japanese competes with German and English and French and Russian.Warehouses fl y the flags of a dozen countries.One striking Japanese character dominates: the symbol for, Omura. It is seenon buildings, warehouses, and the headbands of scores of laborers.A series of palanquins, litters carried by bearers, await our voyagers.As does SIMON GRAHAM, a dissipated Englishman who has lived in Japanfor many yean. Slender and pale, with an occasional consumptive cough, inhis 50's, he wears a white linen suit, a bit worse for wear. OMURA Captain Algren, this is Mr. Simon Graham. He will be your translator. 15. GRAHAM Pleasure, Captain. BAGLEY You'll be quartered at the Embassy for now. OMURA The Emperor will summon you at his pleasure.Graham ushers Algren and Gant into their own less-ornate version. GRAHAM If you please, Captain... ALGREN They're gonna carry us? GRAHAM You're guests of the Emperor. You cannot walk.Algren notes the hoods covering the faces of the palanquin bearers. ALGREN Why the hoods? GRAHAM So you won't have to burden your eyes by looking at slaves. Oh, excuse me, they're servants now. (coughs, wipes a bit of blood) This wa y, gentlemen...INT /EXT PALANQUIN - YOKOHAMA STREETS DAYTheir bearers maneuver them through the bustling streets of Yokohama.White face painted geishas walk alongside bearded Russians. TraditionalJapanese kimonos alongside European suits and hats, schizophrenic worldof ancient Japan versus modern commercialism. GRAHAM Twenty years ago Yokohama was a lovel y little port. Then your Commodore Perry arrived and changed all that. ALGREN All this in twenty years? GRAHAM Japan has...embraced... Western wa ys. Hired lawyers from France, doctors from Germany, naval architects from Britain, civil engineers, railway designers, scientists, teachers. And, of course, warriors from the United States. 16. ALGREN Buying the future. GRAHAM Or selling the past...INT. GUEST QUARTERS DAYA shoji screen is opened by a bowing servant to reveal the clean, classic linesof a Japanese room. Algren is about to enter when Graham stops him,indicating for Algren to remove his boots.Algren scowls, confused, and struggles to pull off the high, filthy boots. He takesin the foreigness of the room, an arrangement of fl owers on a low table. ALGREN No chairs? . . GRAHAM Correct. And this-- (points to a mat) ..is your bed. ALGREN And this?He points to a block of wood. GRAHAM Your pillow. ALGREN You mean to say there are no real beds in Japan? GRAHAM For its entire history Japan his been completely aakoku, I "closed country." Thirty years ago, if you had washed up on Japanese soil... you would have been beheaded on sight. Now, they let you keep your head... and give you a wooden pillow.EXT. AMERICAN EMBASSY-. GARDEN DAYS LATERIn the pristine grounds of the Embassy, a garden party is in progress.Incongruous lilting Yankee tunes are heard from the Japanese band.Algren and Gant, now in their dress uniforms wander through the party with Graham.Liveried servants pall trays of canapÈs.Elsewhere we see diplomats representing all the powers currently trying to devourJapan: Russia; England; Germany; France; Spain; etc. 17. GRAHAM I remember when it was just America and the Dutch. Now ever ybody' s getting into the game.They pass two German diplomats. The Germans glance to Algren and Gant with suspicion, bow tersely.Graham greets them in German. GRAHAM The Germans are particularly eager. ALGREN What do they want? GRAHAM Same thing your country wants. Most favored nation status. ALGREN How long have you been in Japan? GRAHAM Oh, western time quickly loses its meaning here ... I first came as part of the British legation in 1857. But I was soon relieved of m y position, as a result of various...disagreements with the Crown's attitude toward the locals.Omura separates himself from his entourage and approaches. OMURA Gentlemen. I hope you are enjoying a taste of home. ALGREN I've done with worse, believe me. OMURA America has much to offer us, though. Its' industry and ingenuity are without peer. (ingratiating) I have spoken to the Emperor about you. He is interested in the most modem theories of warfare. ALGREN I look forward to the opportunity of meeting him someday. OMURA You will have that chance sooner than you think. He has requested an audience.Graham is open-mouthed at this turn of events. 18.EXT. IMPERIAL PALACE DAYAlgren and Bagley sit with Graham in an ornate carriage as they cross themoat and enter the ancestral palace of the Shoguns.INT. IMPERIAL PALACE ≠ ANTECHAMBER DAYAlgren waits with Bagley and Graham outside the throne room. GRAHAM Remember that he is arahitogami. A god in human form. During the last two hundred years no emperor was even seen by commoner. You may look at him, with deference, but do not speak unless you are spoken to.EXT. IMPERIAL COURT -- THRONE ROOM DAYAlgren and Gant are surprised to discover the living god is barely in histwenties. The divine EMPEROR MEIJI is an intelligent and curious young man,yet there is a tentativeness about him.His throne is surrounded by ADVISORS, principal among them is Omura.Nearby, the American AMBASSADOR SWANBECK a cagey diplomatThe throne room itself is sweeping, beautiful, and extremely restrained. Everywhere,tasteful displays of the traditional flower of the monarchy: chrysanthemums.The vibrant yellow bl ossoms haunt the chamber.As the Emperor considers his guests, Omura whispers into his ear. Then: OMURA The Emperor bids you welcome. He wishes you to know that he is most grateful for the assistance your country offers ours, in order to rid ourselves of the brutality of the provincial warlords - and to accomplish the same national harmony which you enjoy in your homeland.The Emperor speaks in Japanese. The advisors are non-plussed, and Omura leans downfor a moment to confer with him, then smiles indulgently: OMURA The Emperor is most interested in your American Indians, and wishes to know if you have seen them firsthand.Algren looks at Graham, who nods. He may speak. 19. ALGREN I have seen many of them, and have fought them, too. They are very brave.Graham translates. The Emperor nods and smiles. EMPEROR (accented English) Thank... you... very ...much.He stands. Everyone else hurries to follow suit. The audience is over.EXT. PALACE GARDEN DAYA1gren, Graham, and Bagley walk through the palace grounds. BAGLEY That young pup runs this country? GRAHAM That "pup" runs the country no more than I do. He was installed as a figurehead at age twelve when the warlords realized Japan needed a central government. But don't be fooled -- he may be a powerless god, but to these people he's a god nonetheless.GENERAL YOSHITAKA appears. He is a seasoned soldier in his 40's. Adecent man. He stops before them, bows quickly. GRAHAM Gentlemen, may I present General Yoshitaka. He will assist you in training the army. ALGREN General.Algren offers his hand. General Yoshitaka does not take it. He bowl his head andspeaks a few words. Graham translates: YOSHITAKA/GRAHAM He greets you with extreme courtesy and asks if you are ready to meet the Imperial Army.EXT. PARADE GROUND DAYAbout a thousand Japanese soldiers in baggy uniforms are milling around a largeparade ground. Each has an old single shot rifle. Algren, Gant, and Yoshitakalook down on them from a reviewing stand. GANT Jesus.... 20. ALGREN Ask the General what training they' ve had.Graham speaks to General Yoshitaka, then translates his response. YOSHITAKA/ GRAHAM He sa ys... We have trained them not to shoot their ...asses off.Algren glances to General Yoshitaka, who looks back wr yl y. ALGREN Sergeant Gant, have the men stand to attention. GANT Imperial Army, Atten-tion!Graham translates, rather mildly. ALGREN For God's sake, let's not keep it a secret who's in charge here ... Mr. Gant. GANT (roars) ALL RIGHT YOU SLANTY-EYED LITTLE BASTARDS STAND UP STRAIGHT OR I WILL SHIT-KICK EVERY ONE OF YOU COCKSUCKERS!!As the soldiers immediately stand to attention, we begin a montage of the trainingof the first Imperial Army:We see Gant drilling the men. Shouting at his translator. Trying to get them to marchin formation. Algren is nearby, watching. ALGREN (V.O.) August 4,1876. As I watch this new army train, I cannot help but think of those who rode with me in me 23rd cavalry.Algren sits in his tent, writing in his journal. Outside, the Japanese are being taughtthe basics of firing tactics. ALGREN (V.O.) For four years they had survived, never once shrinking from the fire. And so, when given my order to charge the advancing rebel infantry, they never hesitated. ...And they all died.We see Algren showing the Japanese how to fire in formation. The old single-shotrifles they carry make reloading a painfully slow process. 21. ALGREN (V .O.) Now I am training another army. In another civil war.Algren and Gant spar with sabers - Algren's expertise far exceeds Gant's, afact which Gant accepts with good humor. ALGREN (V.O.) Is this why I was spared? Once again to lead men to their death?It is sunset Algren, Graham, and General Yoshitaka watch the training.General Yoshitaka speaks. YOSHlTAKA/ GRAHAM ... the problem is they're peasants. They have never had this sort of responsibility or power.Algren watches Gant march beside the Japanese. They are illuminated by themajestic red sunset ALGREN (to Graham) Ask him if they have a flag.Graham translates. Genera1 Yoshitaka responds. GRAHAM No flag. ALGREN They need a flag.EXT. TOKYO ≠ STREET EVENINGTokyo is a city in chaos. Everything seems out of balance. Dystopic. Acollision of Eastern and Western. Algren and Gant watch as Graham preparesto take a photograph of an old merchant in front of his store. GRAHAM ... I've been doing this for years. Trying to capture it before it's all gone. Afraid I'm losing the battle.Algren silently watches the passers-by. Something draws his attention:Across the street. a man is striding down the crowded sidewalk. His martialbearings, two swords, traditional dress and unique top knot of hair instantlyidentify him to us as a samurai. .We will meet him again later, he is UJIO. A terse, grim man in his 40's. Hisproud gait and rigid, imperious manner intrigue Algren. 22.Most of the people on the sidewalk instantly step out of the wa y, bowing in deference. But two youngJapanese in Western dress do not.Ujio stands before them, waiting for them to move. They don't.Tense words are exchanged. Ujio glares at them. Algren watches. ALGREN Mr. Graham... GRAHAM Ah... now this should be interesting... He's waiting for them to show deference.Across the street, Uji o barks out some harsh commands to the twoJapanese men. They laugh in response. Then one of the men raises a handand barks some clearly disrespectful words back--Like lightning-- Ujio pulls out his long samurai sword - it flashes --Cleanly beheading the disrespectful Japanese man --The beheaded corpse begins to fall--In one smooth motion, Ujio wipes his blade clean of the corpse as it fallsand sweeps it back into its scabbard. The other man immediately drops tohis belly, prostrating himself.Without another glance, Ujio walks awa y. His face is completely impassive. GANT What the hell was that? GRAHAM That...is a samurai.INT. RESTAURANT NIGHTSergeant Gant gazes unhappily at his dinner: glistening raw fish; tepidbeancurds; boiled rice. Algren, Gant, Graham, and General Yoshitaka sitcross-legged on the floor. Gant finds this extremely uncomfortable. GRAHAM ... Before the edicts ever y citizen had to prostrate himself in the presence of a samurai. ALGREN What edicts are those? GRAHAM The Council of State has been passing a series of laws designed to eliminate the samurai. GANT Why? 23. GRAHAM Because you are here now, Sergeant... For the last 800 years guarding Japan and fighting her wars was the exclusive occupation of the samurai.The next course arrives. Thick, black eel. Gant groans. GRAHAM Men like Mori Katsumoto were the most elite caste in Japanese societ y until the Council of State -- led by your friend Omura - decided the whole class had to go ... (munching eel) ... Most of the samurai accepted the new laws. But some didn't. Or couldn't. Like Katsumoto.General Yoshitaka speaks up. Graham translates: GRAHAM General Yoshitaka bids you to remember that the word samurai means "one who serves." Their whole existence is based on serving their country as warriors.Graham finishes translating, then continues on his own: GRAHAM . Your Imperial Army is taking awa y their only reason for being ... So what are they to do now?Algren considers this as he pours another cup of sake. . ALGREN This is sake? GRAHAM Sake. Rice wine. YOSHITAKA Hie! Sake. ALGREN Sake.. (to Yoshitaka) Good.Yoshitaka nods. Enthusiastically tries an English word. YOSHITAKA Good! 24. GRAHAM Vexing people, the samurai. Blood-thirsty, honorable, cruel, fabulousl y artistic. Wanted to write a book about them for years, but no Westerner can get close enough. ALGREN Ask him if he ever saw a samurai in battle.Graham looks at A1gren. GRAHAM He is samurai.Algren looks at Yoshitaka with new eyes.EXT. TOKYO ≠ STREET NIGHTLater that night.Algren and Gant, a little drunk by now, wander Tokyo's bustling red lightdistrict. Like Amsterdam, the geishas sit in windows facing the street.INT. GEISHA HOUSE NIGHTThis is certainly not the whorehouse they expected. Elegant Japanesefurnishings. Lovel y flute music. The MADAM lowers her head and speaksquietly in greeting. GANT My friend and I were looking for some companionship...The Madam speaks no English. Gant speaks louder, as if to a deaf person. GANT Ladies of the evening? Hootchie-contchie? Boom-Boom? ALGREN ( embarrassed) Zeb. (tries a bow to the madam) ...so sorry.Gant flashes a fistful of Japanese currency. GANT Universal language. boyo.The Madam nods and bows. Almost magically, two beautifully-dressedGEISHAS appear, their faces are painted pure white. 25.One of the Geishas smile. Her teeth are blackened, to better set off thewhiteness of her face paint GANT That one's yours.INT. GEISHA HOUSE ≠ ROOM NIGHTAlgren and Gant are led into an elegant room with paper screens, and a tableset for the Japanese tea ceremony. .Gant tries to take the arm of one of the geishas - but she moves awa y,gesturing for him to sit The other begins the tea ceremony. ALGREN No tea... Sake.A musician plays a traditional lute. The geisha begins a graceful fan dance. GANT Fan dance. Saw this once in Chicago.Algren smiles at the Geisha preparing the. She smiles back. Algren pourshimself a cup of sake.Later...The sake bottle is empty. The interminable lute music continues.Gant is increasingly agitated as the geisha continues her dance. Algren can'thelp but laugh at his frustration. Finally Gant has had enough. He rises, abit unsteady from the sake. GANT Okay, darlin' time to get down to business:He shoos the musician out of the room, then approaches the geisha, whoshrinks from his intention. ALGREN Zeb. I don't think she -- GANT She's just shy. Who knows what we white devils have got in our trousers, eh, darlin'?He takes her arm. She resists - her voice rising. GANT Come on, now.He tries to pull her along. Her kimono tears. She calls out in terror. Two menappear, bouncers presumably, but alight of build. 26. ALGREN Oh, shit.The Madam yells angrily at Gant in Japanese. Pushing him out roughly. GANT Now, hold on there, sister. I paid good money.One of the bouncers puts his hand, politely, on Gant's arm. GANT Back off, short-stuff.This time, the bouncer is more insistent. Gant takes a swing at him. Wrongmove. Before Gant knows what hit him, the little man uses Gant'smomentum in an akido move to flip him to the mat, hard.Algren can only stare, in awe, at the lethal move. As the second bouncer movesto confront him, bowing apologetically, Algren speaks in English, smiling,knowing they can't understand a word he's saying. ALGREN Obviousl y you can kick the shit out of people much larger than you, so we'll be leaving now...EXT. _PARADE GROUND DAYThe training continues. We see Gant, now sporting a black eye. Algrenwalks with General Yoshitaka and Graham. Graham translates: YOSHITAKA/ GRAHAM The General wishes to know if you bad a pleasant evening?Algren looks at Yoshitaka, who gives him. wry look.. ALGREN It was... educational (Yoshitaka nods) Would the General mind telling me more about our common enemy?Yoshitaka looks at him. Has Algren deliberately used the word, "enemy,"knowing that Yoshitaka, too, is a samurai? Algren gives nothing awa y. YOSHITAKA/GRAHAM ... Mori Katsumoto is an extremely charismatic leader. To those who honor the old ways, he's a hero. His force is estimated at about five hundred and growing by the day. All samurai. ALGREN What kind of man is be?Graham translates. General Yoshitaka considers his words. 27. YOSHITAKA/GRAHAM Katsumoto has no fear. He has no pity. He is kotsutai-- the soul of old Japan ... He is my honored kinsman. ALGREN Kinsman? YOSHITAKA/GRAHAM We grew up together in Yoshino. Marched together and fought together. He is Kaishaku the brother of my spirit.Algren considers this as they observe rifle practice. Erratic butimproving. Algren notes Yoshitaka's reaction. The rifles seem to makehim unhappy. ALGREN Ask him what kind of guns Katsumoto has. GRAHAM The samurai don't use guns. ALGREN No, ask him what kind of firearms they have.Graham obliges. Yoshitaka responds, with disdain: YOSHITAKA/GRAHAM The samurai no longer dishonor themselves by touching firearms.Algren is surprised at this bit of information. A servant approaches, bows. GRAHAM Colonel Bagley requires you.INT. TENT DAYColonel Bagley and Algren stand at a map. Omura sits. ALGREN They're not a fighting unit yet BAGLEY We have no choice. (refers to the map) --the railroad has been stopped here. Just as it entered Yoshino, Katsumoto's province. 28. OMURA Captain, we cannot govern a country in which we cannot tr avel freel y. ... Katsumoto's provocation is strategic. His defeat will demonstrate to the other disloyal samurai that resistance is an act devoid of honor. BAGLEY The rebels don't have a single rifle. They're savages with bows and arrows. You get up there and show 'em how it', done. ALGREN With respect, sir, I need more time. OMURA With all due respect. this railroad cannot wait. He bows and leaves them alone. Bagley spins on A1gren. BAGLEY You think we're the only country interested in Japan?! You don't think the Germans and the French would like to oversee the new army? ALGREN Colonel-- BAGLEY (brutally) Why do you think we're here, Captain? Because Remington and Colt and Winchester have powerful allies in Washington. We're here to sell a shitload of American guns...and steel...and timber. That shouldn't be bud for a Winchester whore like you to understand.Algren looks at him, murderously. ALGREN Yes, air.EXT. RUINED VILLAGE DAYA STEAM ENGINE lends plumes of smoke into the air as it waits. Algren,Bagley, and General Yoshitaka ride along the railroad line.The Imperial Army follows, with Sergeant Gant, on foot.A traditional Japanese village is being torn aside to make room for the railroadline. Houses are being leveled and black smoke drifts up. The displacedvillagers gather belongings. Omura guards herd them about rather bruta1ly. 29.Railroad workers are laying a new spur, building a brick station. A1gren notesthe by now familiar Omura symbol on the new water tower and on theheadbands of the guards and workers. ALGREN What is that sign? GRAHAM It's the symbol for the Omura Zaibatsu. ALGREN Zaibatsu? GRAHAM Old family businesses that own ever ything worth owning. The molt powerful is the Omura Zaibatsu. That's your friend, Omura. ALGREN They own all of this? GRAHAM They do now.SEVERED HEADS on pikes line the road, a warning to those who continueto resist ALGREN (V.O.) October 24,1876. Today we entered Kansai province. Here the local warlords have all been convinced to accept the emperor's rule.They pass a particularly wrenching sight. Villagers kneeling outside whatused to be a Shinto temple. The railroad tracks cut straight through it. ALGREN (V.O.) Our destination is Yoshino, home of the rebel Katsumoto. Protected by high mountain passes, it can be reached only during the summer months, and even then with great difficulty.The Army moves on. Ahead are towering mountains.EXT. MOUNTAIN PASS DAYThe Imperial Army winds its way up I steep mountain pass. ALGREN (V.O.) A long march. And then a battle. A new enemy, but the same feeling I had in my guts at twenty-one, in the cornfield at Antietam -- men will die here, today, and will I be among them? 30.EXT. MOUNTAIN PLAIN MORNINGFog. Obscuring everything.Algren and Bagley, on horseback, wait with Graham. General Yoshitaka anda few Japanese Commanders are mounted as well. The thousand strongJapanese Army is on foot They stand, rifles ready. , ALGREN (to Graham) Ask him how they'll come at us.Graham speaks to General Yoshitaka. Yoshitaka responds: YOSHITAKA/ GRAHAM They'll come straight on. They will push forward and keep on attacking... And he adds that there is no samurai word for "retreat."Algren prepares himself.They wait.General Yoshitaka is suddenly alert. He speaks quietly to Graham. YOSHITAKA/GRAHAM He sa ys they're coming...Algren gazes into the thick fog ahead, sees nothing. Bagley looks worried. BAGLEY Captain Algren, have you posted a rear guard to protect our supply train? ALGREN Yes. BAGLEY Who is overseeing their deployment?Algren is somewhat confused by the question. ALGREN No one. BAGLEY Mr. Graham, you will accompany me to the rear. I want to be certain we are protected from any surprise assault. GRAHAM Yes. Of course.Before Algren can respond, Bagley has left the front lines with Graham in 31.tow. Gant watches as they head out of harm's wa y. . GANT Son of a bitch. ALGREN (almost to himself) ...I'm going to kill him. GANT Waste of good ammo.Gant checks his two revol vers. The methodical clicking of the chambers ashe checks his rounds is the only sound. .Then absolute silence. A light SNOW begins to fall.Algren continues to peer into the fog. Nothing.Then a sound ... distant ... building through the fog...The steady rumble of horses. Slowl y approaching. Closer and closer...Algren notes some of the Japanese soldiers are literally shaking in fear.Algren peers again into the fog. Nothing. But the sound is closer.Then the sound abruptly stops.Silence broken only by the murmured prayers of some of the soldiers. ALGREN Sergeant Gant, order the troops to assume staggered firing positions. GANT Imperial Army, assume staggered firing positions.His order is translated. The Japanese soldiers prepare to fire, onerow kneeling, the other standing behind them.One of the Japanese soldiers faints from sheer tension.Algren can see nothing through the dense fog. The tension is unbearable.Then a form on horseback... ghostly... like lame sort of medievalmonster. An elaborate, horned helmet. Sweeping samurai armor.All we can see it the eerie silhouette in the fog.Like something from a nightmare.And then another figure... and another ... as 500 mounted samurai warriorsslowl y move into position. 32.The Japanese troops are terrified GANT (quickly) Hold the line ... hold the line...The order is translated.A terrible, beautiful moment of absolute stasis.Nothing moves.The Japanese soldiers wait.The ghostly silhouettes wait.Silence.Then -- as if a silent signal were given -- the samurai suddenly CHARGE,emerging from the fog in a great wave--! The force of a tsunami.The silence is shattered as the charging samurai roar out ancient war-cries that chill the blood -- sweeping forward on their hones likelightning -swords and spears flashing ALGREN FIRE!The Japanese troops fire then quickly begin trying to reload their single shotrifles -- others fumble at the ask and then break and run--Panic and chaos-- ALGREN Hold the line!Too late-- the samurai are on them--They attack with an intensity few have ever seen -- many of the Japanesesoldiers try to escape, turning and running in blind panic -- they are butchered--run through by the ashigaru, cut inhalf by the naginata.Those soldiers who laboriousl y try to reload their rifles are quicklymowed down by ferocious clouds of samurai arrows, fired by mountedSamurai. ALGREN Sound fall back! Sound fall back!A bugler sounds the order. The Army begins to retreat.But suddenly they are attacked from behind as well! Arrows shoot from thefog and more mounted samurai appear. 33.They are surrounded.Algren, Gant, and the Japanese Offi cers call out orders but all disciplinesoon breaks down -- it is every man for himself--The battle swirls ever ywhere around us. Fleeing soldiers are run through bylances, run down and trampled by horses.Each samurai wears individual, vibrantly col ored armor. Various battleflags sweep through the fog.Gant uses his two cavalry revolvers -- firing constantly -- finally out ofammo he drops from his horse in the cavalry st yle and pulls a Winchesterrepeating rifle, crouching and quickly firing--Algren uses his revol ver first -- firing as he turns on his horse -- whenthe revol ver is empty he pulls his cavalry saber. He manages to parrythe lethal blows as the Samurai hurtle past --But one Samurai, his armor all in black, comes at him on a collision courseand SLAMS INTO HIM, sending both horse and rider to the ground.Algren scrambles to his feet, his saber nowhere to be found as anotherrider heads toward him carrying a lance.Algren manages to grab it and throw the rider to the ground, wrestling thelance from his grip and running him through.In the midst of the battle we notice a peculiar thing. One samurai is just sittingon his horse. Watching Algren. This samurai wears a BLACK MASK.The MASKED SAMUARI watches Algren fight.Algren now wields the lance to battle the horsemen as they sweep past. Hespears one and then unseats another. When a third samurai cuts his lance inhalf, Algren uses the remaining half as a club to take him down.The Masked Samurai continues to watch Algren. Algren's tenacity is amazing.He continues to fight with heroic passion, refusing to give an inch, long afterThose around him have fled.Then a blaze of bright yellow ≠ a samurai in yellow armor galloping past, firingarrows steadily from horseback. His control and speed are astounding.We will come to know him as YORITOMO, a handsome young samurai.Yoritomo fires arrow upon arrow ≠ the speed is breathtaking ≠ Two arrowsslam into Gant, knocking him to the ground.The battle, meanwhile, has become a rout. Those Imperial soldiers who fightare easily cut down. Those who flee are run down like prey.Left alone, Algren finds himself confronted by ashigaru ≠ samurai footsoldiers carrying pikes. He turns to discover his retreat cut off by other 34.samurai wielding katana ≠ the lethal long sword.But rather than give any quarter, Algren launches an attack. He kills onesamurai before he is RUN THROUGH, at the shoulder, by a lance.In agony, Algren SNAPS OFF the hilt of the lance, leaving its tip burieddeep in his chest, and fights on.He manages to parry a blow ≠ which SLICES into his side. The next blowtakes off a piece of his scalp. Blood fl ows down his faces and into his eyes.Algren is now surrounded by ten samurai. A man's heroic stand againstcertain death is of great interest to them. As they begin to close in, Algrenwhirls the lance around, a tattered battle-flag with TIGER INSIGNIA stilldangling from the end.The MASKED SAMURAI removes his mask. It is the JAPANESE MAN,whose dream of the tiger we glimpsed at the beginning of the story. Hiseyes wide in surprise, he watches his dream come to life--the blue tigerholding the dogs at bay.In SLOW MOTION Algren whirls the lance, as one samurai, wearingBLOOD-RED ARMOR, advances. With a murderous smile, he draws hiskatana.Algren seems spent ≠ he drops to one knee, swaying, on the brink of losingconsciousness. .But as the RED SAMURAI, lets out a battle cry and propels himself forward for the death blow - Algrensuddenly LEAPS UP and propels the jagged wooden end of the broken lance into the unprotected throat of hisattacker.As the samurai falls, the rest of his comrades close in to cut Algren off.A harsh COMMAND stops them in their tracks.The Masked Samurai leaps from his horse. Everyone steps aside deferentiallyso that be might pass by without being jostled. .He looks down at Algren, then removes his battle helmet.And we meet _MORI KATSUMOTO, the leader of the samurai. He it animposing man of about Algren's years.Sensing that he is about to be killed, Algren pulls himself t o his knees, and SWINGS his saber at Katsumoto.With blinding speed, Katsumoto pulls his katana from its scabbard.Algren's saber is SNAPPED CLEANLY IN TWO.Katsumoto looks down at Algren.Then Gant appears behind Katsumoto -- limping toward him, cocking hisrifle, urgently trying to save Algren--Ujio, (the Samurai we saw earlier on the streets of Tokyo) leaps toprotect his Lord. His sword flashes-- 35.Gant is eviscerated. Algren watches in horror.A dreadful beat as Gant stands, pathetically trying to hold his guts in. Then hesinks to his knees.Katsumoto turns, leaps back onto his horse and trots off.Algren finally wrenches himself from under his horse. He crawls to Gant,blood pouring from his own injured back and shoulder.Gant is dead.Algren looks up to see the battle is lost. The Japanese soldiers have fled.Or are surrendering, injured or dead.And he sees one other thing. General Yoshitaka is still on his horse,head down. He has not pulled his sword. He has not been hurt.Katsumoto rides to Yoshitaka. A few serious words are exchanged. Katsumoto bows his bead in respect, seemsto agree to something.Both men climb from their horses. General Yoshitaka pulls out a small b1ade and hands it to Katsumoto, whoholds it out firmly.General Yoshitaka quickly and calmly pulls himself on to the blade, plungingit into his stomach, embracing Katsumoto.It is seppuku -- the traditional form of samurai suicide.Algren watches, stunned.Then a terrible scream cuts through the battlefield.Algren sees samurai calmly walking among the injured and captured Imperialsoldiers .. killing them one by one with a single stroke.Algren looks over the slaughter.And then passes out, bill wounds overcoming him.Fade to...EXT. MOUNTAIN PASS DAYAlgren is unconscious, tied to a horse.The mounted samurai move up a treacherous mountain pass, disappearinginto the soaring mountains of Yoshino.EXT. VILLAGE SUNSETKatsumoto's village is the other Japan. The Japan we have not yet seen.The gorgeous mountain scenery of Yoshino envelopes the village. Snow-capped mountains soar in the distance. A valley below with rice fields. 36.After the turmoil of Tokyo, this place seems a bucolic paradise. Traditional,wooden Japanese architecture. Farming. The sense of harmony so markedlyabsent from the cities.Algren, barely conscious, hunches over his horse. He has lost a lot of blood.Katsumoto leads his samurai into the village. As he passes, ever y person inthe village touches his or her forehead to the ground to show respect.Most of these villagers have never seen a white face and gaze at Algren withcuriosity. And suspicion.Katsumoto dismounts in a large square, the rest of his men follow suit. A samuraihelps Algren painfully slide from his horse.Katsumoto moves to the steps of the largest house. His officers fallinto formation around him. Algren notes Ujio - the grim samurai who killedGant -- in jet black armor, glaring at him coldl y.Ujio walks forward and SCREAMS at Algren in Japanese. Algren doesn'tmove. This only makes Ujio more angry. He paces back and forth like acaged panther spitting invective at Algren.Algren doesn't move. He watches Uji o evenly. This takes incredible will.His wounds are so bad that- he can barely stand.SUDDENLY - Ujio draws his long sword -- it slashes through the air - theblade singing -- and stops an inch away from Algren's face!Algren doesn't move.Ujio brings the cutting edge' into contact with Algren's check. Blood runswhere even this feather-light touch cuts Algren's skin. Algren doesn't move.Ujio glares at him. Then sheathes his sword and walks away.Katsumoto looks at Algren deepl y, gauging him. Then be speaks. In English.Algren is surprised. KATSUMOTO You cannot escape. We are deep in the mountains and winter is coming.Katsumoto turns and walks into his house. Uji o follows him. Algren collapses.Fade to black.As Algren begins his time at the heart of the samurai world.INT. YORITOMO'S HOUSE NIGHTAlgren'. eyes open...A WOMAN is leaning close, her eyes intent on the task of sewing up hiswound. She is beautiful, but he is not really conscious enough to notice, or 37.even feel the pain. He blacks out again.INT. YORITOMO'S HOUSE NIGHTAlgren wakes again. He is lying on a simple mat. His injuries are such thathe can barely move his head. He takes in the traditional Japanese furnishings.A red ball rolls across the floor. And after it... TOSHIIE, a little boy. aroundfour. The boy l ooks at Algren. offers him the ball. Smiles.A1gren blacks out...INT YORITOMO'S HOUSE ANOTHER DAYAlgren's eyes open...Through the archway he can see Toshiie and his older brother HIGEN, aroundten. Also the beautiful WOMAN who earlier was stitching his wound.From his recumbent position, Algren watches as she ministers to the boys,who are dearly her sons. Algren is fascinated by her grace and the sweetattention she gives them.She seems to sense him. Her eyes raise, meet bit. She speaks to someone,and YORITOMO appears. He is twenty-one, too young to be the woman'shusband. Yoritomo comes into Algren's room. Speaks to him.Algren shakes his head. Doesn't understandYoritomo speaks to the woman, who approaches and places bowl of soupin front of Algren. He ignores itThe boys stand in the doorwa y. Yoritomo shoos them awa y.Algren glances up at the: woman. Her eyes avoid his, her expression is opaque.INT. YORITOMO'S HOUSE ANOTHER DAYAlgren now sits in the main room. The woman is changing the dressing onhis wounded right shoulder and arm.Yoritomo kneels across from Algren. He is impressed at the many battlewounds on Algren's body; the old bullet wounds and scars. In Japanese, heindicates his admiration.Algren his no idea what Yoritomo is saying. Finally he interrupts with theonly Japanese word he has bothered to learn: ALGREN Sake. 38.Yoritomo's face breaks into a wide smile. YORITOMO Sake? ALGREN Sake.Yoritomo glances to the woman. She nods, and brings A1gren a saucer ofsake. He drinks it down. Holds out the saucer for a refillSmiling, Yoritomo indicates for the woman to comply, but before she canpour another saucer, Algren takes the jug out of her other hand. Yoritomolaughs as Algren drinks it down.EXT. VILLAGE NIGHTAutumn leaves fall to the ground. In a tiny hut, the village swordsmith beginswork on a samurai blade.INT. YORITOMO'S HOUSE NIGHTAlgren writhes on his mat. Trapped in his recurrent nightmare.A sudden flash:The wagonload of the dead. Davey's bl oody corpse closes in on Algrensuffocating him.Back in the houseYoritomo and the woman are asleep in separate rooms.A piercing SCREAM shatters the nightEXT. VILLAGE FOLLOWINGThe screaming continues. Lamps are lit around the village...INT. YORITOMO'S HOUSE FOLLOWINGYoritomo and the woman hurry to Algren's room --Algren in the throes of his recurring nightmare - awakens, disoriented. ALGREN Sake.Yoritomo and the woman confer. Yoritomo looks It Algren and shakes hishead, no. 39. ALGREN SAKE!Yoritomo refuses -- Algren roars and tries to rise. Laughing at Algren'sferocit y in his weakened condition, Yoritomo easily pushes him back down.Algren folds in on himself, rocking like a feral animal.EXT. YORITOMO'S HOUSE NIGHTKatsumoto stands outside the house, drawn by the commotion. Ujio standswith him, shaking his bead. UJIO (subtitles) My lord, why do you spare the barbarian? He is shamed in defeat, be should kill himse1f. KATSUMOTO (subtitles) The barbarian doesn't know hit shame. UJIO (subtitles) Then I will kill him. KATSUMOTO (pats him; subtitles) Ujio-San, he will still be shamed tomorrow or in a month. For now there are things I wish to learn.EXT. VILLAGE DAYA glimpse of village life -- fish are hung on lines to dry, children chase eachOther, clothes are washed in the river, and in the rice fields below, farmerssquat as they have for thousands of years. In his hut, the swordsmithcontinues to hammer and fold the blade.INT. YORITOMO'S HOUSE NIGHTAlgren sits hunched in a dark corner. His body is convulsed with shivering.His withdrawal from alcohol, his wounds, his isolation and his imagined sinsare devouring him. .Then we see he is not alone. The woman stands in the doorway, watchinghim closel y. Finally she enters with a bowl of soup.He glances up, something like panic in his eyes.She kneels and attempts to hand him the soup, but be knocks it out of thewa y and grabs her by the throat. 40. ALGREN Sake!She stares at him, the breath being squeezed out of her, but there is not evena whisper of fear in her eyes. She is utterly impassive. Shaken, he lets hergo, and crumples to the floor. . ALGREN (mumbling to himself) Sake...The woman leaves the soup and wa1ks away.INT. YORITOMO'S HOUSE DAYS LATERDaylight streams in, finding Algren lying on his back. The worst of the detoxis past. As be lies there, these first moments of repose lead to:A sudden flash of memory:The beautiful blond WOMAN from the picture laughs merrily, and fallsback languorousl y in a grassy fi eld.Back in the roomAlgren shakes off the memory as harsh SOUNDS from outside draw him tothe window. .EXT. YORITOMO'S HOUSE MORNINGAlgren watches from the window as the samurai train. It is like nothing elsein the world. Part sacred ritual, part martial preparation, samurai trainingcom bines athletic prowess and graceful artistry into one effortless whole.Finally well enough to walk, Algren comes out onto the porch to watch thespectacle. In front of him, is a Kendo (The Way of the Sword) masterpractice with their long and short swords. They have incredible control.NAKAO, a mountain of a man, is a Karate master. He stands unarmed,four samurai facing him. They attack with wooden swords. He effortlesslydefeats them -- the agility of the huge man is shocking.Kyudo ("The Way of the Bow") masters use their bows for target practice.Yoritomo holds a bundle of arrows. In the distance, a line of plums.Algren watches. Yoritomo just seems to stand there, his eyes hall-open.And then -- in a stunning blaze of movement -- Yoritomo fires the arrows --one after another, amazingly fast -- cleanly hitting each plum. The final arrowsplits the previous one as it buries itself in the tree.A wooden sword leans against the porch.Algren idly picks it up, feeling its balance. In a flash, Uji o has raced over andgrabbed it from him. Algren stands motionless as Ujio screams at him. 41.The training stops, as everyone watches Uji o berate Algren.Even as Ujio continues screaming. Algren simply shakes his head, turnsawa y, and walk back into the house.INT. YORITOMO'S HOUSE DAYAs the sounds of training resume outside, Algren explores the house.He comes upon Higen and Toshiie playing with the red ball. They areembarrassed to encounter him alone. There's a moment of suspension, andthen Higen throws the ball to Algren.Algren looks back and forth between the two boys, fixes his gaze on Higenbut throw the ball to Toshiie, causing both boys to laugh and run awa y.Algren walks on.INT. SMALL ROOM DAYAlgren opens a sliding shojii screen and discovers a small room that has beenmade into a kind of shrine.Cand1es and incense burn, a small Buddha sits on a dais, and Algren's eyesare drawn to what seems like an apparition standing in the corner.The BRIGHT RED ARMOR of the warrior Algren killed in the fog, is heldupright by an unseen stand. It is almost as if the dead warrior himself isswing back at him.Algren senses someone behind him and turns. The woman is standing acrossthe hall. Their eyes meet. She turn, and walks away.EXT. VILLAGE NIGHTA first, light snowfall has covered the ground. A1gren walks out into the stillnight. He turns a corner and confronts curious sight:Ten warriors kneel, motionless in the snow, their eyes closed in concentration.As Algren puzzles over this, he becomes aware that Katsumoto is nowstanding next to him. KATSUMOTO They are training. ALGREN Training what? KATSUMOTO Their minds. It is called bushido... 42.Algren looks at him. He has never heard the word. KATSUMOTO The wa y of the warrior. We study from when we are young. Are my words correct?Algren does not respond. KATSUMOTO I will practice my Eng1ish with you. ALGREN Why do you learn English? KATSUMOTO To know m y enemy. ALGREN If I am your enemy, why have you not killed me?Katsumoto doesn't answer. ALGREN Was General Yoshitaka your enemy? KATSUMOTO No, I honor his memory as my kinsman. ALGREN That why you helped him kill himself? KATSUMOTO If a samurai is defeated in battle, he must take his own life to spare himse1f the shame of capture. It is required that his kaishaku his trusted friend, help him. I was honored to by his kaishaku. ALGREN Hell of an honor. KATSUMOTO It was his destiny. He knew it, he died at peace. ALGREN Who was the warrior in the red armor? KATSUMOTO My son-in-law. His name was Hiroshi. ALGREN And the woman who cares for me? 43. KATSUMOTO My daughter, Hiroshi's wife. Her name is Taka. Algren is incredulous. ALGREN I killed her husband? KATSUMOTO It was an honorable death.Katsumoto walks awa y.INT. YORITOMO'S HOUSE DAYAlgren it now well enough to kneel at the table with the others. Taka treatshim with utter politeness and dignity. He watches her intently, seeking anysign of the animosity he's certain she must feel.She hands him a bowl of rice. ALGREN (smiling politely) You hope I choke on it, don't you?She bows, uncomprehending. ALGREN You want to poison it and watch me fall over the table and foam at the mouth.Yoritomo bows in response to Algren's new willingness to communicate. YORITOMO (to Taka, subtitles) I promise I'll make him take a bath. TAKA (subtitles) Soon. Please..EXT. VILLAGE -- BATHING TUB DAYYoritomo leads Algren to a large, wooden bathing tub in I secluded part ofthe village. A banked fire smolders beneath it.Embarrassed, Yoritomo indicates to Algren that be needs to bathe. Algrenstrips off his filthy uniform then lowers himself into the steaming water.Yoritomo begins taking off hit own kimono. A1gren is taken aback. Used toWestern privacy, he is a bit disquieted about bathing with another man.Yoritomo, unconcerned, climbs into the tub. He chats pleasantly as theybathe, showing off his old battle wounds. 44.Algren's discomfort turns to outright alarm when a toothless old grandmotherappears. .She happily strips and joins them in the tub!Algren sinks a little lower into the water. The old grandmother smiles athim with her toothless grin.EXT. VILLAGE DAYAlgren. feeling self-conscious in the clean kimono he's wearing for the firsttime, walks back with Yoritomo. Kids start walking with them, pointing athis Japanese garb, laughing as he stumbles in his wooden clogs. They passby Ujio training a group of samurai using wooden kendo swords.Nearby, Higen and Toshiie are imitating the grown-ups, sparring with woodenswords that are much too big for them. Yoritomo watches his nephews proudly,murmuring details of their prowess to Algren, who has no idea what he's talkingabout.Higen charges his little brother, but goes careening past, right toward Algren,who deftl y dodges out of the wa y. This causes gales of laughter from theboys, one of whom takes Toshiie's sword and offers it to Algren.Algren looks at the sword in his hand and unthinkingly twirls if with a f1ourish --causing the boys to applaud. Yoritomo bows, and encourages A1gren inHigen's direction. Algren shakes his head politely, but Higen is already onthe attack.Algren dodges one thrust, then parries another, as the boys begin to cheer.Suddenly, ever yone goes silent. Algren turns.Ujio is standing behind him, arms folded.Ujio barks a command in Japanese. He wants Algren to drop the sword.It is obvious to Algren what it must mean, but he does nothing.Ujio approaches Algren slowl y. Algren holds the wooden sword casually,only his eyes betraying the tension of the moment.Ujio's wooden sword FLASHES, quicker than the eye can follow. Algren'ssword is knocked from his hands, then, somehow in the same fluidmovement, Ujio brings the sword around and cracks Algren across thechest hard enough to knock the breath from his body and lend him to hiskneels.Satisfied with himself, Uji o starts to walk away, but the expressions of thebystanders cause him to turn back: .Algren is standing again, and again holding the sword.With grim purpose, Uji o returns to Algren, who has assumed a ready pose.Again Ujio's SWORD FLASHES. Algren manages to parry one blow, beforehe is cracked across the face, and blood begins to flow free1y from his nose. 45. Ujio knocks Algren's legs out from under him, and while Algren is sprawlingon the ground, Ujio kicks Algren's sword out of his hand, and starts away.Again, Algren manages to stand up, and before Ujio can turn, charges him.But Uji o doesn't need to turn. In a sliding move, he dodges and cracks Algrenin the side, then the legs, then the neck. Gasping for breath, at least one rib broken,Algren writhes on the ground. Ujio digs the point of his sword intoAlgren's hand until he releases his grip. Again Ujio kicks the sword away.The ever-enlarging crowd gasps as Algren once again struggles to his feet.This time without hesitation, Uji o runs back and rains blows upon Algren'snow defenseless body. First the wrist, then the back, then the stomach, thenfinally the head.Algren hits the ground, unconscious, his fingers still clutching the sword.Ujio reaches down, pries it from his fingers, and breaks it across his knee.INT. YORITOMO'S HOUSE EVENINGAlgren lies painfully on a mat, his eyes unfocused.A sudden flash of memory:The lovel y blond woman, tears in her eyes, looks up to Algren's shining face,the epaulets on his crisp officer's, uniform gleaming gold in the sun.The reverie is broken.As Taka kneels to swab the cuts on his face. He stares at her darkly. ALGREN Who are you people anywa y?She makes no attempt to understand or respond. ALGREN You have no God, you have no mercy, you don't even have any fucking walls. Your walls are made of paper, what's the matter with you?She pushes his head aside so she can attend to his neck. ALGREN This man tries to kill me and I've done nothing to him, and you, I kill your husband and you act like, what? Like I'm a guest in your house. What is wrong with you?This last said so intensely that she glances at him before picking up a bowlof soup she had brought for him, and bringing it to his lips... ALGREN Do you have a soul at all? 46.He stares at her for a moment, then knocks the soup out of her blinds.Her eyes FLASH for one moment, before resuming their usual mildness.But that flash is enough to satisfy him, and he calms down. She walks away.He sighs, exhausted, only to see her approach again with a new bowl. Theireyes meet, and hold for a moment. She does have a soul. He takes a sip.INT. SHINTO SHRINE DAYAlgren is led past baldheaded monks into an ancient shrine. Katsumotokneels before a small altar. He doesn't seem aware that Algren is present. KATSUMOTO Ujio is teaching you the wa y of the Japanese sword. ALGREN Is that what he's doing? KATSUMOTO At what age did you become I soldier? ALGREN Nineteen. KA TSUMOTO To fight in your American civil war. ALGREN Yes. KA TSUMOTO Tell me about that war'. ALGREN What about it? KATSUMOTO Everything. ALGREN Everything about the civil war?Katsumoto sits impassively, staring at the altar. ALGREN That would take a year. KATSUMOTO You have pressing business elsewhere?Shaking his head, Algren sits down. 47. ALGREN The civil war began on April 12. 1861 when the rebs attacked Fort Sumter. Well, actually, it probabl y began three years earlier when the Supreme Court decided a runaway slave had to be returned to his master DISOLVE TO:The TWO OF THEM, hours later-- ALGREN --and Pickett says he wants to do it, over Longstreet's objections and Lee doesn't know what to think, but he lets him. So 15,000 men go up that hill. And most of them die. KATSUMOTO Was that wise? ALGREN No, it was stupid. KATSUMOTO Why? ALGREN The point of a battle is to win, or at least have enough men survive to fight another day. KATSUMOTO You did not try to survive when we took you prisoner.Algren eyes him, frustrated. ALGREN What do you want from me? KATSUMOTO What do you want for yourself? ALGREN You know they're not going to ransom me. KATSUMOTO We have little use for money. 48. ALGREN (mounting fury) Then what are you doing, why are you asking me these questions, what is going on here? KATSUMOTO The snows will melt in May, and the passes will open, and the events of the world will unfold. Until that time, you are here. (smiles) I enjoyed this conversation in your English. I hope you will honor me with more tomorrow.Katsumoto stands, bows, and leaves.INT. YORITOMO'S HOUSE DAYYoung Toshiie sits near Algren. He labors over a scroll with a brush, thegentle brush strokes are hypnotic as they sweep across the rice paper.Algren tries to indicate that he would like pen and paper for himself. Toshiiegives him what he asks. Algren begins to write: ALGREN (V.O.) Day unknown, month unknown, 1876. I continue to live among these strange people.EXT. VILLAGE DAYKatsumoto watches Ujio bark orders to the men he is training. A suddenMovement of their eyes, causes Uji o to stop. He turns to find:Algren standing at the end of the line, holding I wooden sword.An almost imperceptible look passes bet ween Ujio and Katsumoto, but Ujio'sResentment is over-ruled. Without a word, he continues.Algren does his best to follow the exercise.Katsumoto, the slightest hint of a smile on his face, walks away. ALGREN (V.O.) Each day I am confounded by their strange customs and contradictions, savagery followed by mildness.INT. YORITOMO'S HOUSE NIGHTAlgren now kneels at the table with the rest of the family as they eat. He isin considerable pain from the rigors of training. He tries to roll the stiffnessout of his neck, when be notices that Higen it imitating him. Toshiie laughs. 49. ALGREN (V.O.) They seem to value nothing more than their families, and yet they kill defenseless wounded men without a shade of remorse..Yoritomo sternly tells Higen not to make fun of their guest. Yoritomoapologizes to Algren, who shakes his head unnecessary. ALGREN. Raisu? [Rice?]They stop, shocked. He has spoken!Yoritomo calls for Taka to serve him more rice, then begins yammeringenthusiastically in Japanese. Algren holds up his hand. ALGREN Not so fast Ko...toba? [Words?] (bolds up chopsticks) What is this? YORITOMO Hashi. ALGREN Hashi.Yoritomo is hysterical with glee now. YORITOMO Hail!The boys are suddenly dervishes, pulling various objects from the table and around the room, shouting theJapanese words for each.Algren shakes his head, and smiles for the first time in this stor y.Yoritomo manages to quiet the boys. He points to himself. YORITOMO Yoritomo. ALGREN (points to himself) Algren. YORITOMO All-gren.Algren nods, and the boys start screaming "All-gren!" YORITOMO (points to each in rum) Higen. Toshiie. Taka. 50. ALGREN (bowing) Higen. Toshiie. (turns to Taka) Taka.She meets his eyes for the slightest moment, then looks down and walks away.INT. KATSUMOTO'S HOUSE NIGHTKatsumoto is arranging flowers. Algren watches in confusion, as thispowerful lord goes about doing something so feminine and delicate. Finally: KATSUMOTO The parliament of your country has two houses. Why is that? ALGREN To keep either one from being too powerful. KATSUMOTO Does not a people need a powerful ruler to protect them? ALGREN We believe the opposite.Katsumoto thinks about this. ALGREN I have a question. How do you come to speak English? KATSUMOTO Members of the Council were required to study............ it. ........Yes, I was a member of the government. I helped restore the Emperor to the throne. ALGREN So that Japan could have a powerful ruler to protect it.Katsumoto understands Algren's irony, but doesn't smile. ALGREN And now you must hate him for what he's done. KATSUMOTO He is my blood. I serve him with my life. ALGREN By fighting his army?Katsumoto looks at A1gren. 51. KATSUMOTO I do not fight the emperor. I fight those who seek to influence him, those who betray the soul of my country.He slowl y draws his long samurai sword, and places it next to the flowers on the table in front of him. KA TSUMOTO The Emperor gave this blade to my ancestors 400 years ago. It has been used only to defend his sacred honor.Katsumoto hands the sword to Algren. Algren studies it. KATSMUOTO It takes many years to make a sword. It is a holy Act. A samurai's sword is his soul. ALGREN This sword is flawed. What is this uneven line near the edge?Katsumoto smiles at Algren's ignorance. KATSUMOTO One man is flexible and compromises too much to avoid conflict. Another man is so fierce he wins ever y battle, but so rigid he can never know peace. A man who knows both is the perfect warrior. The lame is true of a blade .. one steel bends, and the other cuts. And where they meet is never perfect Hold the blade up. .Algren holds the sword, cutting edge up. Katsumoto takes a silk cloth and drops it. It gently billows down -- andsplits evenly on the edge. KATSUMOTO Some believe a blade is thirsty until it tastes the blood of its enemy.Algren hands the sword back. Suddenly, Katsumoto swings the sword, cleanly splitting the table in two.Silence. ALGREN The crew at Winchester can produce one rifle ever y seven minutes. KA TSUMOTO We gave up firearms two hundred years ago. It takes no courage to kill. A man from half a mile awa y. You must look into the eyes of your enemy to know who you have killed. 52. ALGREN I'm not sure an artillery officer would agree. KATSUMOTO Do you? ALGREN I think all killing's a filthy business. KATSUMO TO Taking a man's life is nothing. It is his honor you can never take awa y. ALGREN In other words you have no respect for human life. KA TSUMOTO (fierce) . What do you know of human life? You come here to kill for money Where is your family? Where is your wife, your sons? What is your legacy? ALGREN (undaunted) And what is yours? To rebel against the future? I fought the South in our civil war. Their leaders believed they were fighting for "honor" just as you do. And their people died by the thousands!Katsumoto simply looks at him. ALGREN And my wife is dead. KATSUMOTO Mine, too.They look at each other. Some unexpected recognition has taken place. KATSUMOTO Tomorrow we will discuss your country's wish for dominance in the..."Far East." ALGREN ...I look forward to it.Algren turns to go.EXT.VILLAGE SQUARE DAYWe see the village swordsmith at work. He has been forging the same long samurai blade for months... Algrenwatches him as he works. 53. ALGREN (V.O.) March 9. 1877. I have never known such a disciplined people.EXT. VILLAGE DAYAlgren trains with the other men. He attempts an attack, which is easily brushed aside by Nakao. Algren endsup in the dirt again. ALGREN (V.O.) From the moment they wake, they devote themselves to the perfection of whatever they pursue--EXT. VILLAGEDAYAlgren walking with Katsumoto -- they are deep in conversation. ALGREN (V.O.) And yet the more time I spend here, the less I understand them.EXT. VILLAGE DAYTwo women are bowing repeatedly, chattering in smiling, earnest argument. ALGREN (V.O.) Everyone is polite, every nuance of behavior seems to have a great meaning, and increasingly I am convinced that the lower they bow, the leas they mean it.EXT. YORITOMO'S HOUSEAlgren, holding the wooden sword in 1870'5 baseball manner, is coaxing Higen to throw the ball at him. Thechildren laugh as Algren hits it onto the next porch.Taka watches her sons impassively. It is dear how much they like Algren. ALGREN (V.O.) And I am sure they regard my wa ys to be as confounding and unfathomable as I find theirs.AN ICE CRYSTAL ON THE END OF A BRANCHStarts to drip. SPRING bas begun.BXT. VILLAGE DAYVillagers laugh as they go about the business of life. A man throws a sack of rice to another. Two women hurryawa y from a farmer who is teasing them.Algren is once again among the training warriors. He and another man face off, each waiting for the other toattack with his wooden sword. 54.Algren moves first, but his opponent counters, and strikes him easily. They wheel around and engage again,and again Algren is bested. Furious, he throws himself at his opponent, reverting to classic saber technique.In a flurry of movement, his opponent manages to deflect the blows and also knock Algren to his knees.Yoritomo approaches and bows. YORITOMO A1gren -San. Please forgive. Too many mind. ALGREN What? YORITOMO (pointing as he explains) Mind sword, mind face, mind people watch, too many mind. (on Algren's confused expression) No mind. ALGREN No mind? YORITOMO Hai! No mind. You try.Algren nods, uncertainly, and picks himself up. Again he faces the opponent, shaking off the tension and tryingto stay calm.This time the opponent charges first, and Algren manages to parry one blow, before he is again bested.Yoritomo bows happily and begins yammering in Japanese, clearly taking credit for Algren's progress.Across the square, Katsumoto watches.EXT. IMPERIAL PALACE GARDEN DAYThe cherry blossoms have emerged, creating a scene of intense col or, beauty,and serenity. The Emperor sits cross-legged next to a shrine. He is approached by Omura and two otheradvisors. . OMURA Your majest y, beg permission to approach. (the Emperor nods) Your humble servants are most anxious to know if his Majest y has signed the order regarding the railroad progress. EMPEROR (after a long moment) I am most impressed at the wa y the blossoms float upon the air, as if held by unseen hands. OMURA Yes, they represent the highest form of gyoko. About the order, your Majest y. 55. EMPEROR This railroad must go through Yoshino Province? OMURA It is absolutely necessar y your Highness. EMPEROR If you sa y so, I shall sign.EXT. VILLAGE DAYAlgren walks through the village, past the swordsmith who is now honing the blade, carefully sharpening it..EXT. CHERRY TREE FOREST DAYAlgren makes his way through a stunning cherry forest near the village. The pink and red blossoms are dazzlingand abundant. Other villagers can be seen gathering cherry bl ossoms.It is a place of otherworldly beaut y.It is all so beautiful that Algren just stops. Takes it in for a moment. He reaches out and touches a blossom. KATSUMOTO (O.S.) A perfect blossom is a rare thing...Algren turns. Katsumoto is kneeling nearby, meditating. KA TSUMOTO You could spend your life looking for one. And it would not be a wasted life. ALGREN Were you praying? KATSUMOTO Just sitting... I do not think I have the word. Satori it means, maybe, awareness. ALGREN Of what? KATSUMOTO This moment alone, apart from all others ... You know this? (Algren shakes his head) I am writing a poem about this time we hive spent. I have only written one line on "His eyes were like my own but seen through a deep and troubled ocean." Can you suggest a second line? ALGREN I'm not much of a writer. KA TSUMOTO Is this why you spend so much time with your journal? 56. . ALGREN How do you know that? (no answer) She told you.Katsumoto appraises Algren. ALGREN Did you love her husband as your own son? KA TSUMOTO You have sent men to their deaths, just as I have. ALGREN The difference is, you feel nothing. KA TSUMOTO Before you were a soldier, you were a farmer. ALGREN What does that have to do with anything? KA TSUMOTO You lived on a farm. Or in a forest of trees. ALGREN How do you know? KA TSUMOTO The wa y you look at the cherry blossoms. ALGREN (reluctantly) We lived in a place called Connecticut. My...brother and I climbed the maple trees. KA TSUMOTO Were they beautiful? ALGREN Yes. KATSUMOTO And you were sad to see them die in the winter.A beat. Something flickers in Algren's eyes. KATSUMOTO You were something before you were a soldier. You were a boy who was sad to see the leaves fall and the trees die.Katsumoto looks at him deepl y. 57. KA TSUMOTO Like those trees, we are all dying. The future is an illusion, our plans are an illusion, our fears an illusion. We live life in every breath. Eat, drink, fuck. Now. Every cup of tea. Every word we write... Every blossom we hold.He smiles sadly. KA TSUMOTO Every life we take.A beat. He stands, takes in the beautiful cherry orchard. KATSUMOTO Life in every breath. That is bushido. The wa y of the samurai.He goes. Algren stands for a moment deep in thoughtINT. YORITOMO'S HOUSE NIGHTAlgren is asleep. And then we note that the ground is vibrating .. he slidesacross his mat .- wakes with a startAn unholy rumbling-Algren bolts up ... just as a paper wall rips open, the wooden framework to the room splitsand the roof collapses--An earthquake. Common for this part of Japan.EXT. VILLAGE NIGHTYoritomo appears. He and Algren crawl out of the house just as the ground lurchesviolently-Part of the house contorts and caves inAround the village, the wooden frame houses are swa ying and lurching they have sometorque, but not enoughUjio directs the villagers as they battle a fire-Taka appears, calling frantically for Toshiie.Then an even larger seismic tremor suddenly TEARS THROUGH THEVILLAGEHouses are ripped apart -- the whole world shifting.Though the smoke, Algren sees Toshiie cowering under an eave 58.A heavy ceiling beam breaks loose, threatens to crush ToshiieAlgren dives forward, grabs Toshiie and pulls him out of the wa y... the frontof the house collapses, the beams smashing to the ground..Taka and Higen race to Algren and Toshiie. The boy is safe.Taka grabs the child and cradles him. Her look to Algren is fierce, protective,almost feral -- as if he were the threat instead of the rescuer.EXT. VILLAGE DAYAlgren watches the villagers rebuild. Yoritomo and Higen strugg1e with a largewooden framework. ALGREN (V.O.) I am str uck by these people and their acceptance of Fate in a1l it s variations. At a time like this, they seem utterly without sentiment. Even the children have a gravity beyond their years.Algren goes to them. Silently begins to help them.INT. YORITOMO'S HOUSE DAYS LATERAlgren works with Yoritomo, binding the wooden framework. Higen preparesthe paper walls nearby. He does this with considerable skill.Taka is getting water from a rain barrel she observes Algren helpingrebuild her home. Yoritomo is working nearby.Algren's Japanese is rough but improving: ALGREN (in Japanese, subtitles) Would last longer ... if stone. YORITOMO (subtitles) No. House fall. House go back easy with wood.Algren shakes his head. Taka appears with cups of water. Algren looks at herFor the first rime, she holds his gaze.EXT. YORITOMO'S HOUSE EVENINGTorches illuminate a small stage in the center of the village square. Severalsamurai perform a ritualistic Noh drama. (A form which, by the wa y, thesamurai invented.) Others play flutes and large steel drums. ALGREN (V.O.) And yet I have never seen a people with more capacity for the joy found in the simplest things of life. 59.Katsumoto himself plays the lead role. An enthusiastic actor, he plays to the children inthe audience. They are delighted with his broad theatrics.INT. YORITOMO'S HOUSETaka is carrying in a huge lack of rice. Algren goes to help her. TAKA (subtitles) No, please. ALGREN (insistent) Hai.He carries the rice for her into the pantry area. TAKA (subtitles) Japanese men do not help with this. ALGREN (subtitles) I know.She looks at him, a little surprised. ALGREN (subtitles) I am not Japanese.In spite of herself, she smiles a little. There is an awkward moment. ALGREN (subtitles) 1... didn't know he was your husband. TAKA (struck; subtitles) He did his duty. You did your duty. ALGREN (subtitles) And you do yours. TAKA (softl y) Hai.They look at each other for a long moment. She starts to move, but he stopsher. They are close enough to smell each other's hair, to feel the warmth ofthe other's breath. She looks up at him, pleading with her eyes not to take this any further. 60.He lets her go.EXT. VILLAGE DAYAlgren stands across from Ujio, ready again for the ken-jutso.They stand frozen for a long time, hands on the hilts of their wooden swords.Other samurai watch.Algren and Ujio stare at each other.But there is something different about Algren's expression. Not as muchfury and competition, more a sense of balance and alertness. He studies Ujio's eyes, his hands,the folds of his kimono, the attitude of his body.We watch A1gren closel y.Gradually all SOUND drains away. We hear only Algren's steady breathing. He isaware of everything. A bird in a tree. A woman grinding rice. A plum about to fall.A gently swa ying battle flag,Slow-motion as:Algren attacks -- no fury, just control-- Ujio tries to deflect the blow, Algrenanticipates - he swings his sword elegantly - -Ujio blocks it -- Algren counters --Algren presses forward, his sword slashing masterfully, forcing Ujio backUjio counters with complex moves as he retreats --Algren keeps movingforward, calm -- finally Ujio's sword is swept aside in one cleanmovement. Algren ends with the edge of his wooden sword It Ujio's throat.The other samurai watch. Amazed.Algren twirls his sword in a fancy cavalry "fl ourish." The pride he has alwa ys taken in hisswordsmanship has been restored. He bows to Uji o.Ujio nods his head, slightly, in respectThe other samurai, led by the hearty Nakao, congratulate Algren.EXT. MEADOW DAYAlgren carries water from the river through a riot of spring wild-flowers. Somethingmakes him stop, and see the sunlit clouds in the deep blue sky, the colors around him, hear thebuzzing of the bees, feel the kill of the air.A sudden flash of memoryHis beautiful wife, in green field not unlike this one, laughing, tossing her hair, fallingback into the long grass.Back to Algren 61.The force of the memory causes him to link to the ground.Another flash of memory, longer this time:His wi fe leans over and kisses his mouth, and his cheek, and his forehead. He holdsher al tightly as be can.Back to AlgrenAs tears begin to course down his face, and he sinks down into the flowers and the grass,looking up into the impossibl y beautiful sky. He gives in to the sobs wracking his body.EXT. VILLAGE DAYAs Algren returns with the water, he sees Katsumoto approaching with Ujio and several warriors. KATSUMOTO The Emperor has requested my presence. We leave tomorrow. You will be released in Tokyo.He goes. Algren stands, not sure how to react.INT. YORITOMO'S HOUSE NIGHTAlgren writes on parchment by the light of an oil lamp. ALGREN (V.O.) April 13, 1877. Tomorrow we return to civilization. As eager as I am to be among my own kind, I confess to a curious reluctance.EXT. KATDUMOTO'S VILLAGE DAWNAlgren stands overlooking the village as the sun rises over the misty peaks. ALGREN (V.O.) These months have marked me, and I don't fully know yet wh y.EXT. YORITOMO'S HOUSE DAYAlgren prepares to mount up. Yoritomo says goodbye to his family. ALGREN (V.O.) I do know it is here that I have known my first untroubled sleep in many years.Taka comes to Algren, bows her head. TAKA (subtitles) You are alwa ys welcome in our home. ALGREN Domo Arrigato.He glances at the unfinished house. 62. ALGREN (subtitles) ...You will finish it soon. TAKA (subtitles) If that is my destiny.She bows her head again. Toshiie hands him a scroll: it is a picture of theFamily. Algren is included. Japanese characters list all their names.Toshiie bows. Algren bows and tucks the scroll into his coat.Algren and Yoritomo move out with Katsumoto, Ujio, Nakao and his bodyguard of severaldozen Samurai.The villagers bow and honor the warrior as they pass.EXT. MOUNTAINOUS LANDSCAPE DAYAlgren trots alongside Katsumoto. ALGREN ... The Emperor sends a message for you to return to Tokyo, and you go? KATSUMOTO Yes. ALGREN Even though you're in rebellion against him. KATSUMOTO Against the Emperor? Never. I serve him. As I have alwa ys done. . ALGREN I don't understand. KATSUMOTO Our Emperor is young, and there are things I must sa y to him. ALGREN But ever yone around him wants you dead. KA TSUMOTO And if the Emperor desires, I will take my own life at his command.He spurs his horse and rides on. A1gren watches him. 63.EXT. MOUNTAIN VALLEY SUNSETThey approach a large inn.A boy working in the fields see Katsumoto approaching. He doesn't believeit -- the Great Katsumoto. He drops his hoe and races awa y, calling out. KATSUMOTO We will stop here for the night.EXT. MOUNTAIN VALLEY SUNSETSamurai guards have been posted around the perimeter.INT. KATSUMOTO'S RQOM NIGHTAlgren is escorted in. Katsumoto kneels at a table. Preparing the traditional Japanese tea ceremony. KATSUMOTO Sit, Captain.Algren sits. By now he has learned how to sit on the ground. Katsumoto begins the exacting, delicate andprecise tea ceremony. KATSUMOTO Do you drink tea? ALGREN I've had little else for some time...Katsumoto continues with the tea ceremony. ALGREN How's your poem coming? KATSUMOTO I am having trouble. The truth is I am not a very good poet. (Algren smiles) Do you know wh y you were sent here? To Yoshino. ALGREN To protect the railroad. . KATSUMOTO Why is the railroad here? ALGREN So Tokyo can control the whole country. 64. KATSUMOTO You have seen my province. All mountains. Far from Tokyo. Yet the rail line must come here?Katsumoto tosses a tiny bit of coal on the simmering brazier on the table. Algren watches carefully. ALGREN You have something they want KATSUMOTO What do they want in my mountains? ALGREN Minerals ... Gold. KA TSUMOTO (smiles) There is no gold in Japan.Katsumoto gently blows on the coal brazier. The coal flares a bit. ALGREN Coal? (Katsumoto looks at him) For steamships. KA TSUMOTO And why would steamships be so important? ALGREN ...China.Katsumoto looks up at him. Impressed. KATSUMOTO Japan has nothing. China has ever ything. ALGREN Mine the coal to create a way station for the trip to China ... Freeze the Europeans out and Japan and America have a monopol y on the China trade. KATSUMOTO Add to this the Omura Zaibatsu. You know the Zaibatus? ALGREN The wealthy families. 65. KATSUMOTO As patron of the railroad, Omura owns all land within four hundred feet of ever y new rail line. As my country grows, so will his wealth. (looks at him) This is why you are fighting.Katsumoto completes the tea ceremony. He pours a cup for Algren. Bows his head and offers it to him. ALGREN And you will tell the emperor to stop them? KATSUMOTO I do not tell the emperor what to do. ALGREN Then what do you hope to accomplish?Katsumoto looks at Algren, the slightest gleam in his eye. KATSUMOTO Will you return to America?Algren watches him -- why didn't Katsumoto answer? ALGREN ...I have a job here. KATSUMOTO You should return to your home. ALGREN Why? KATSUMOTO Because I do not wish you to be m y enemy again.Katsumoto returns to his poem, he does not look up. KATSUMOTO Go home Captain ... Anshinritsumai. I wish you peace.Algren waits but Katsumoto just continues to work on his poem.EXT. AROUND THE INN NIGHTThe samurai guards are alert, their senses heightened to almost superhuman proportions.But there is another way. Another way of learning combat. A wa y without thebeaut y, the philosophy and the moral code.They are almost imperceptible at first... their head-to-toe black clothes a perfectcamouflage... their silence and stealth are otherworldly. 66.They were then known as Shinobi, masters of stealth and spying.We know them as Ninjas.They float across the ground ... creeping an inch ever y hour... completephysica1 control. One black-gloved finger moves. Then the next...They crawl and then waitPoised on their fingertips and toes.There is no sound as they strike.The samurai guards are garroted in an instant. Other Ninjas catch thesamurai's weapons as they fall. No sound disturbs the peaceful night.EXT. INN -- FRONT DOORWAY NIGHTSilence.Two samurai guards are in position.One of them glances up at the stars.A Ninja throwing star instantly slices into his jugular-- blood sprays -- the otherguard turns ≠ a series of Ninja slice into him...EXT. INN--WALLS NIGHTSilence.The Ninjas use mew claws to crawl up the walls like spiders.EXT. INN ≠ ROOF NIGHTSilence.A samurai guard stands at the edge of the roof. A Ninja silently movestoward him. Stops. Ten feet awa y.He pulls out a shuriken -- a small needle-shaped projectile, dips it into a sack ofpoison. Places it carefully into the palm of his hand. And with the flick of hiswrist--The needle flies -- stabbing into the samurai -- he crumples.Other Ninjas immediately pour over the edge of the roof -- catching the samurai before he falls...INT. INN -- KATSUMOTO'S ROOM NIGHTSilence. 67.Katsumoto cannot sleep. He stares out the window at a nightingale.INT. INN--UJIO'S ROOM NIGHTSilence.Ujio sits in his room. He is unblinking. Alert. Swords at the ready.INT. INN ≠ ALGREN'S ROOM NIGHTSilence.Algren cannot sleep either. He sits leaning against a wall. Thinking.INT. INN -- MAIN HALL NIGHTSilence.Yoritomo drinks tea with Nakao, the huge martial arts master.INT. OUTSIDE KATSUMOTO'S ROOM NIGHTA guard stands sentinel. Above his head, unbeknownst to him, two Ninjas descend on ropes.One of them swings a long chain - to which I barbed-knife is attached.As it lodges in the guard's chest, the second Ninja swings down just in time to catch the dead guard,silently, before his body hits the ground.INT. INN -- KATSUMQTO'S ROOM NIGHTSilence.Katsumoto lies in bed listening to the night bird. It stops singing. Katsumoto smiles sadly. Hedecides to give up on sleep, leans forward to rise.This act saves his life.For when the Ninjas come, they come all at once--A Ninja suddenly comes TEARING STRAIGHT THROUGH THE PAPER WALL, his swordslashing down .- just missing Katsumoto.Katsumoto calls out an alarm, diving and rolling across the floor for his sword. He instantlykills one Ninja using his steel-tipped "war fan" to slash his attackers throat. Another smashesin through the window.INT. INN -- MAIN H ALL NIGHTNinjas EXPLODE into the main hall. Samurai who come out of their rooms are cut down by avariety of weapons -- one takes a throwing star in the face, others are felled by the traditionalninja-to, short swords ideal for fighting in confined spaces, chain-knives, nun-chaka and others. 68.More Ninjas drop from the rafters on ropes.INT. INN -- ALGREN'S ROOM NIGHTA Ninja SMASHES through the paper wall -- Algren grabs the nearest object, a low tea table.and swings it at his head. The Ninja dodges the blow and slices at Algren with short-sword.Algren barely avoids the blow by ducking behind a post as the sword LODGESdeep in the wood. Algren flings himself, bodily, at his attacker.INT. INN-- MAIN HALL NIGHTNinja throwing stars spin across the room, killing a samurai.Yoritomo emerges from his room, readying his bow, but the dead samurai falls backblocking his wa y. From behind the rice wall, Yoritomo lets fly an arrow without evenlooking.It passes THROUGH the wall, killing the Ninja on the opposite balcony.INT. INN-- FIRST FLOOR NIGHTUjio screams a war cry and begins to battle his way up the stairs. With breathtaking moves, he slasheshands and limbs, forcing the Ninja back.Nakao fights his wa y up beside him, desperately trying to reach Katsumoto's room. Usingonly his bare hands he catches a Ninja's wrist and hurls him over the railing.INT. INN -- ALGREN'S ROOM NIGHTAlgren and the Ninja are in a death struggle, kneeing, gouging, butting. They awkwardly smashthrough a paper wall into the next room.INT. INN -- KATSUMOTO'S ROOM NIGHTKatsumoto wields his long sword in one hand and his short sword in the other. It is the first timewe have seen him in action and his movements are both beautiful and deadly.But more Ninjas are pouring in through the window, threatening to overwhelm him.INT. INN -- ALGREN'S ROOM NIGHTRolling on the ground, Algren manages to grab a chopstick and STAB his adversary through the eye.He picks up the fallen short sword and steps out into the hall.ARROWS whiz past, thudding into the wall beside his head.INT. INN-- KATSUMOTO'S ROOM NIGHTKatsumoto, breathing heavily, his kimono shredded and bloody, is fending off the Ninjas' increasinglysavage attacks as Algren enters.Algren SCREAMS, distracting them just long enough for Katsumoto to take advantage and kill one. 69.Then, just as a Ninja it about to kill Algren, Katsumoto FLINGS his short sword ... it pin-wheels across theroom, hitting Algren's attacker in the chest.Without missing a beat, Algren pulls the short sword from the dying Ninja's chest and uses it to stabanother Ninja who, thinking Algren defenseless, has launched an attack.INT. INN -- MAIN HALL NIGHTUjio and Nakao are back to back, a perfect fighting machine as they fight their wa y toKatsumoto's rescue. They battle Ninjas wielding lethal kusarigamas, the Ninjas swing chains,the attached blades slice the air--Nakao catches the chains and flinging the Ninjaover the balcony.INT. YORITOMO'S ROOM NIGHTYoritomo is pinned down. Darts and throwing stars shred the rice paper wall above him. Hepicks off another Ninja before changing his position.INT. INN-- KATSUMOTO'S ROOM NIGHTThe blazing sword battle continues.Algren throws a beautiful painted standing-screen in front of an attacking Ninja,momentarily confusing him. Then he stabs THROUGH THE SCREEN -as a blood-stain SPREADS across the pastoral painting.But another Ninja catches Algren off-guard and slices at him with his short sword. AsAlgren lifts his sword to parry the blow, HIS LITILE FINGER IS CHOPPED OFF.He drops the sword, momentarily defenseless.Across the hallwayYoritomo has been watching the shadowpla y on the rice-paper walls.Algren's attacker raises his blade to deliver the death blow.In Katsumoto's roomAlgren flinches involuntarily beneath the raised blade. Suddenly the Ninja JACKKNIFESas if punched by an unseen hand. As he spins, dead, to the ground, we SEE an ARROWlodged bet ween his shoulder blades. Yoritomo has FIRED blindly, through the wall ≠killing Algren's attacker.Nearby, a Ninja hurls a throwing star at Katsumoto. With blind instinct Katsumototurns and takes the blade in the meat of his arm.Algren, meanwhile, has ripped the sleeve of his kimono into a tourniquet for his maimed hand.He uses the rest of the fabric TO TIE HIS HAND TO HIS SWORD before launching himselfback into the fray -- slicing an attacker just as he is about to impale Katsumoto.Together, he and Katsumoto force the last two Ninjas through a paper wall to the next room.They fight all the wa y through that room and BLAST through another paper wall to the next. 70.INT. INN ≠ STAIRWAY NIGHTThe battle continues unabated on the stairs -- the Ninjas spring for position withincredible grace --perching and fighting on banisters, leaping from one level to the next.It is a mayhem of flashing swords and flailing limbs and flyi ng arrows and spinning Ninja stars.Sprays of blood splatter against the white rice paper walls.Some of the fighting is less than elegant. Men bite and wrestle and gouge tosurvive in close quarters.All of them arc bloody and sweat y and dirty and tired, heaving for breath, their skin flayedopen, their kimonos ripped, their hands and arms and faces blood-stained.But more samurai reinforcements follow Ujio up the stairs: Together with Yoritomoand Nakao, they have begun to gain the upper hand.Ujio flings both his swords through the air -- killing two Ninjas -- and dives tofight others - his martial arts skills are dazzling.Algren and Katsumoto are fighting sidc by sideAnd we cut to --EXT. INN NIGHTOutside of the inn, we slowl y pull away...The sounds of the battle gradually fade...Soon it is nothing more than a lovel y rustic inn nestled in the mountains.INT. INN ≠ STAIRWAY NIGHTLater. The battle is over.Ninja and samurai corpses litter the inn.We slowl y move up the long stairwa y from the bottom...Yoritomo pulls a Ninja star from Nakao's_shou1der. Then one from his own.We move up another level, past more bodies...Ujio moves through the Ninjas. Making sure they are dead. Before sheathinghis sword, he angrily FLICKS it at the rice paper wall, spattering it with the bloody spray.Katsumoto wipes his sword on a nearby corpse, replaces it in its sheath. He sits besideAlgren on a stair. Both men are exhausted. Bloodied. Alive.A long beat as we watch the two warriors.Slow fade to... 71.EXT. TOKYO -- IMPERIAL PALACE DAYAlgren, Katsumoto and the others are nearing the palace. Algren slows to astop -- his path is toward the city. Katsumoto stops, looks at him, then doessomething absolutel y extraordinary.He kneels and bows before Algren. Quickly touching his head to the dirt.Then he rises, turns and walks toward the palace.Algren stands, stunned.EXT. PARADE GROUND DAYAlgren walks onto the parade ground. The change he sees could not be more remarkable.Thousands of new Japanese troops are drilling with new bolt-action Mausers. Theyare precise, exact and frighteningly mechanistic, their uniforms new and crisp.New German advisors are barking commands. Colonel Bagley sees him. BAGLEY Algren? My God, you never cease to astonish.Bagley runs over, hand extended, but Algren turns to look at the troops. ALGREN They have new weapons. BAGLEY The Kaiser was only too happy to help. Along with his friends at Mauser and Krupp. Thank God we Americans still have a few teeth in our head.And they come to the "teeth." Howitzer cannons. A row of them. Artilleryofficers in US Army uniforms arc instructing Japanese offi cers. BAGLEY The ambassador and I have spent eight months kissing Omura's ass so he'll sign the damn trade pact with us. You spent all this time living with those savages? (A1gren looks at him) He's going to want to talk to you... ALGREN I need a bath. BAGLEY And your back pay, I imagine.Algren starts walking away. 72. BAGLEY They got their flag. ...See?And we see it... snapping on I flagpole high above the parade ground.It is immediately familiar. A red circle on a white field. The Rising Sun.The Howitzers fire in sequence. Thundering blasts that shake the heavens.EXT, ROYAL TEMPLE DAYOmura stands above Emperor Meiji respectful but persistent.The Emperor is kneeling, tending to his iris garden. It is one of the wonders of the Palace: asea of white, pink, blue, and purple blossoms.Retainers and servants stand at a distance. One holds a standard with the Imperial seal: a yellowchrysanthemum.Omura sees Katsumoto making his way toward them. He talks a bit more quickly to the Emperor.Katsumoto begins to prostrate himself before the Emperor, the usual sign of extremerespect -- but the Emperor stops him: EMPEROR (subtitles) No, Mori-san. We arc "civilized" now.Katsumoto stops prostrating himself. The Emperor offers his hand. KATSUMOTO (subtitles) I cannot touch the Sacred One. EMPEROR (subtitles) You can.It is a difficult moment for Katsumoto. He simply cannot do It. OMURA (subtitles) Did you have a pleasant journey, Minister Katsumoto? KATSUMOTO (subtitles) It was uneventful.Omura appreciates Katsumoto's droll response. He assumes that Katsumoto is aware ofhis part in the assassination attempt. 73. EMPEROR (subtitles) If it is not a great imposition. I desire a moment alone with Minister Katsumoto. Omura-San. OMURA (subtitles) Enlightened One, perhaps I can be of service in a conversation of state. EMPEROR (subtitles) So kind of you, but I fear my old teacher wishes to upbraid me in private for neglecting my studies.Omura bows his head quickly and goes.Silence. The Emperor gazes at Katsumoto. Then: EMPEROR (subtitles) You rise against me, my teacher. KATSUMOTO (subtitles) No, Highness, I rise against your enemies. EMPEROR (subtitles) They are my teacher, my advisers, like you. KATSUMOTO (subtitles) They advise in their own interest. EMPEROR (subtitles) The world is changing, Mori -- you have not seen what goes on beyond our borders, the inventions, the science. I need men who can look outward, or soon we will be left behind, and defenseless. KATSUM OTO (subtitles) I am sworn to defend you even to my last breath. EMPEROR (subtit1es) The samurai live in the past. You cannot defend against a future you don't understand. 74. KATSUMOTO (subtitles) If I am no use, then I will happily end my life, EMPEROR (subtitles) No, Mori. It is my wish that you rejoin the Council of State. I need your voice. KATSUMOTO (subtitles) It is your voice that needs to be heard, Highness. You are a living God, you can do what ever you think is right.The young emperor is silent a moment. EMPEROR (subtitles) I am a living God only as long as I do what they think is right. KATSUMOTO (subtitle) Your Highness, may I beg forgiveness for saying what a teacher must, that such a statement is pathetic drivel not worthy of an ignorant stable boy, let alone a young man I know to have some modest intelligence.The emperor laughs warmly, almost happy to be scolded as he once was. EMPEROR (subtitles) Is it possible a living God can be too afraid to make his voice heard? (Katsumoto's look is not unkind) Tell me what to do, Mori-San? KATSUMOTO (subtitles) You are emperor, my Lord, not me. You must find the wisdom for all of us.EXT. YOKOHAMA WHARF DAYA series of warehouses, beyond which we see warships in the harbor. A1gren walkswith Bagley and two other OFFICERS.INT. WAREHOUSE DAYThe cavernous warehouse piled high with huge crates. 75. BAGLEY As soon as they sign the agreement, they're obligated to buy the entire weapons package, from Colt revol vers to Ha1liwell twelve-pounders. Plus this particular item you might recognize.A few stevedores tear open one of the crates. Algren hides his astonishment:A Gatling Gun is revealed. BAGLEY They've been calibrated to fire 200 rounds a minute, The new copper cartridges cut down on jamming.Algren closes his eyes, trying to keep his memories at bay.EXT. TOKYO STREETS DAYAlgren fights the crowds with Colonel Bagley And Ambassador Swanbeck.. ALGREN (V.O.) May 15, 1877. The city I return to is immeasurabl y changedNew construction ever ywhere. Telegraph wires strung next to an ancienttemple. A modern European hotel is going up, dwarfing the traditional Japanesebuildings. Huge billboards advertising Western goods. A new invention, the rickshaw,has replaced many of the palanquins. ALGREN (V.O.) As though Tokyo were determined to become another New York or Chicago .- all in one headlong rush.Spider's web of telegraph cables spread from a tall new brick building.It is like a New York office building stabbing into the heart of oldJapan.The familiar Omura character is emblazoned on the side..INT. OFFICES OF THE OMURA ZAIBATSU DAYAside from the occasional bit of Japanese decor, this could be a buzzing Wall Street firm.Telegraph operators click away. Accountants use adding machines. Secretariesuse pneumatic tubes to send documents back and forth. Engineers plot outrailway lines. All are dressed in Western clothes.Algren, Colonel Bagley, and Ambassador Swanbeck enter. AMBASSADOR SWANBECK (to Algren) If he asks, you can talk about ordnance and tactics. But remember, this has to do with a lot more than just weapons. 76.An anteroom holds waiting delegations from the various European powers.A babel of language. ... French ...Dutch ...Russian ...German.A pretty American secretary looks up from her desk. SECRETARY Ambassador Swanbeck, if you'll follow me.Some of the delegates arc craning forward, watching Algren and the others hungrilyas they head into the final office.INT. OMURA'S OFFICE DAYOmura stands like an industrial titan before large picture windows offering a dramatic view of Tokyo.The only decoration in the room is an enormous Caravaggio. OMURA Please, sit down, gentlemen.Omura removes a gold cigarette case and lights up. Cigarettes are the newest Western fadSweeping Japan. OMURA (re: cigarette case) A gift from Czar Alexander... Captain Algren,. it seems you have endured your captivity with little ill-effect. ALGREN Yes, sir. OMURA He's an extraordinary man, isn't he? ALGREN He is samurai.Omura gazes at him. Slowl y takes I puff from his cigarette. AMBASSADOR SWANBECK Mr. Omura, my people have been drawing up the documents we discussed. I have a draft-- OMURA We're not quite ready to announce the treaty, Ambassador. AMBASSADOR SWANBECK Excuse me? OMURA The Emperor is...sentimental. Katsumoto was his old mentor-- he is not eager to offend him. It will take I few more days. 77. AMBASSJ\DOR SW ANBECK How many da ys is " a few?" OMURA I assure you the Samurai will not stand in the wa y of our agreement. You are prepared to make deliver y? AMBASSADOR SWANBECK Soon as your emperor signs on the dotted line. OMURA Captain Algren you are the expert. Will this array of ordnance be sufficient? ALGREN Depends on what you're trying to accomplish. OMURA I want my country to take its place as a modern power. ALGREN Then they will set you well on your way. OMURA I am pleased. AMDASSADOR SW ANBECK Mr. Omura, you assured us you had the influence with your emperor to make this deal come to pass. With all due respect perhaps there is someone else we should be speaking to. OMURA With all due respect, Ambassador, perhaps there is someone else we should be speaking to, for instance the French. Or the English. Or any of the legations waiting in the next room.Ambassador Swan beck stands swallowing his rage. AMBASSADOR SWANBECK Yes, we1l, we look forward to hearing from you. OMURA Good afternoon, gentlemen.They start to go. OMURA Captain Algren, perhaps you can stay a moment And tell me of your experiences in our rebellious provinces.Bagley looks at Algren. Do as he asks. He leaves A1gren alone with Omura. 78. OMURA Cigarette? ALGREN Thank you.Omura lights his cigarette. A moment as he takes Algren's measure. OMURA You fought bravely on behalf of our army-- against the rebel Katsumoto.Algren says nothing. . OMURA And yet you helped save his life when attacked by the Ninja. ALGREN My role was much less significant than you may have heard. OMURA Tell me about your role in Katsumoto's plans. ALGREN I have none. OMURA And your sympathies? ALGREN Again, I have none. OMURA I know you have little sympathy for Colonel Bagley. ALGREN He is.... unsympathetic.Omura smiles. OMURA I thought it was we who are inscrutable.Now it is Algren who smiles. OMURA You have gained important knowledge of Katsumoto's province, his army, and his rebellion. This is extremely valuable to me.He watches Algren to see how this lands. 79. OMURA You also possess significant knowledge of m y army, my weaponry, and my plans. This is extremely va1uable to Katsumoto. ALGREN Again, you flatter me. OMURA No. I am a businessman. I recognize what is valuable. And I buy it. (looks at him) In this case, I value your loyalt y.Algren considers the implications of what Omura is saying. ALGREN I didn't know loyalt y was something that could be sold. OMURA Then perhaps you will give it, as a token of future friendship - for which, as a friend, I would be in your debt. ALGREN (stands) Then I will consider it. OMURA And I will be grateful.INT. SHIPPING OFFICE DAYAlgren is in a shipping office. A clerk consults his schedule of departure. CLERK All righteee, the ANDREW JACKSON leaves tomorrow ≠ if you want a steamship you'll have to wait six weeks. (Algren is silent) Gets ya to Frisco by the 28th. 14 dollars for a private cabin, 8 for a shared or 3 for a lower berth. What can I put you down for?Algren is silent, concentrating on a calendar hanging behind the clerk. Itfeatures a beautiful Hiroshigi watercolor of mountains. CLERK Sir..? ALGREN (after a moment) Private cabin. 80.EXT. TOKYO ≠ STREET DAYGraham walks with Algren. GRAHAM Leave? Wh y would you leave now? No white man has ever been in your position. Do you have any idea what it will mean to have Omura as your friend? You want land, you want women, you want boys?Algren starts to walk faster, but Graham Stops him. GRAHAM Nathan. I wanted to leave, too. For three years. You must believe me there is a majest y about these people -- can you imagine what your own country would be if it had half the drive and the discipline and the belief and the bravery of these ridiculous little people?Then raised voices from across the street stop them.They see Yoritomo surrounded by four Imperial Army soldiers. The soldiersare rough and imperious, drunk with power. They carry gleaming rifle..The soldiers bark orders. Yoritomo stands proudly, responding calmly. ALGREN Whit is this? GRAHAM My God, it's the edicts... ALGREN What edicts?Algren arrives as the situation is clearly growing volatile - the soldiers arepointing to Yoritomo's head, screamingAlgren steps toward the soldiers-- ALGREN That's enough--One of the soldiers SCREAMS at him -- raises his rifle -- all the soldiers raise their rifles ≠Yoritomo reaches for his sword -- Algren tries to push through - 81. ALGREN (subtitles) YORITOMO, WAIT!One of the soldiers smacks Algren in the chin with a rifle butt. Algren reels,and by the time he stands straight again, four others are pointing theirba yonets at his face.Graham takes hold of Algren's arm. GRAHAM Don't be stupid.Algren makes eye contact with Yoritomo, who -- in deference to his friend --puts his sword away.The Japanese soldiers continue to scream at Yoritomo. They force him to his knees.Rifles pressed to his head.Yoritomo bows his bead, speaking quietly, as if praying.Algren witches in horror all one of the soldiers removes his bayonet -- another grab.Yoritomo's hair, jerks his head back and begins hacking off Yoritomo's traditional top-knotof hair. Brutally. Blood.Yoritomo remains kneeling, head down, blood flowing down his face.The soldiers laugh and move off.Algren kneels by Yoritomo. Yoritomo looks up at him. There are tears inhis eyes.EXT. KATSUMOTO'S HOUSE DUSKKatsumoto's house on the outskirts of Tokyo is spacious andharmonious. Utterly Japanese. Samurai guards in full regalia, standmenacingly outside.INT. KATSUMOTO'S HOUSE DUSKUjio kneels with Yoritomo, dressing the wounds on his head.Graham sits across the room talking quietly to the mammoth Nakao, takingnotes in a small notebook. Nakao has been brutally shorn of his top knotas well. His shame is apparent.INT. KATSUMOTO'S CHAMBER DUSKServants he1p dress Katsumoto in his exacting samurai wardrobe as Algren is ushered in. KATSUMOTO Captain, I had not thought to see you again. 82. ALGREN I'm leaving tomorrow. But before I go I need to tell you what's going on here. KATSUMOTO You mean the Gatling Guns and the howitzers, is that how you sa y it? ALGREN They're about to close a trade agreement that will bring this country more weapons than you can imagine. KATSUMOTO Yes, if the emperor agrees - but Omura knows the Emperor must be convinced there is cause to need those weapons before be will sign. ALGREN (realizing) And you are to be the cause... KATSUMOTO Elegant, isn't it? Omura passes laws sure to cause a samurai revolt, creating a need for the weapons. The Emperor sees that the weapons are needed so he agrees to the entire treaty, giving your country what it wants and the Omura Zaibatsu what it wants. And my country is sold to yours.As Katsumoto dresses, Algren notes that Katsumoto's body it at battlegroundof old scars, so like his own. KA TSUMOTO Today the Council passed two edicts. The first called for the elimination of our traditional topknots. ALGREN I know. KATSUMOTO The second banned the wearing of sword.Algren stops. He knows what swords mean to the samurai. KATSUMOTO (re: his swords) Hand them to me, will you?Algren picks up Katsumoto's two swords. Looks at him deeply. ALGREN If you do this, they will kill you. 83. KA TSUMOTO I am hard to kill. ALGREN You don't know what their weapons can do. All your men butchered ... Just for pride. KATSUMOTO Not for pride. For the emperor. ALGREN But the emperor is the one signing the agreement. KATSUMOTO He has not signed it yet.He holds out Katsumoto's two samurai swords. ALGREN Is it worth it? ... just for these, KATSUMOTO I cannot live without my soul ... Can you?They regard each other.EXT. OUTSIDE KATSUMOTO'S HOUSE NIGHTAlgren leaves Katsumoto's gate and sets off on foot.EXT. TOKYO STREETS NIGHTAs Algren walks, he becomes aware that he is being followed. Two dark figureslurk some distance behind him. After a few moments, he whips around to facethem. They stand for a moment, then melt away into the shadows.INT. COUNCIL OF STATE CHAMBER NIGHTThe Council of State meets in an august chamber. Many of the Councilmembers wear Western clothes. Cigarette smoke billows.The young Emperor sits on a dais off to the side, as befits hisceremonial role in the proceedings.Omura is speaking ... be stops ... looking at something ... all the Council members turn ... and gape.Katsumoto strides into the chamber, his swords proudly displayed. OMURA (subtitled) Minister Katsumoto, you honor us. 84. KATSUMOTO (subtitled) It is my honor to join again the men who are leading Japan into her glorious future. OMURA (subtitled) You arc perhaps unaware of this Council's edict regarding the wearing of swords? KATSUMOTO (subtitled) I read ever y edict with singular attention. OMURA (subtitled) Yet you would bring weapons into this chamber? KATSUMOTO (subtitled) This chamber was protected by m y sword for four hundred years-- OMURA (interrupting, subtitled) We need no protection... We are a nation of laws now. KATSUMOTO (calm, subtitled) . We are a nation of whores. Selling ourselves to our Western "allies."Katsumoto slowl y looks around at the Members of the Council, but his words are addressedto the Emperor. KATSUMOTO (subtitled) Does Japan no longer need its patriots?Omura speaks with quiet conviction and honesty. OMURA (subtitled) Who is the patriot? The man who would keep his country trapped in the past, or the man who would help his people into the future? KATSUMOTO (subtitled) A future with no honor, OMURA (subtitled) Honor means less to me than feeding our children. And teaching them. And giving them modern medicine so they will live. . 85. KATSUMOTO And lining your own pockets in the process.They stare at one another with barely concealed hostility. OMURA (subtitled) Minister Katsumoto, it is with great regret that I ask you to remove your sword, as this body has declared in its edict.Katsumoto's hand closes on his sword hilt KATSUMOTO This sword serves the emperor, and only he can command me to remove it.Katsumoto looks to the Emperor, as murmurs fill the room. OMURA (quickly) Ah, but it is our tradition that the Emperor's voice is too pure and great to be heard in such worldly circumstance as the Council of State.One last time, Katsumoto meets the Emperor's eye. KATSUMOTO Then, with great regret, I must refuse to give up my sword.Omura looks to his associates, and a silent decision is made. OMURA Minister Katsumoto, I must invite you to accompany our soldiers to Himeji Castle, where you will be our honored guest. I think you will find the surroundings there quite harmonious.Guards with Mauser rifles move into position around Katsumoto. He turns tothe other Council members. Looks at them. KA TSUMOTO (subtitled) Brothers ... One day you will know what you have done and feel what I never will ... shame.Omura nods to the guards. The guards lead Katsumoto out. 86.EXT. LIVING QUARTERS AFTERNOONA BEARER is loading the last of Algren's luggage on the back of a rickshaw.Algren emerges from the building, sees the same two disreputable MENwho followed him earlier lurking nearby.He resists the temptation to confront them. Instead he climbs into therickshaw and it starts off.But a moment later, Graham has jogged alongside, huffing and puffing. GRAHAM Thought I'd missed you. Were you going to leave without even saying goodbye? ALGREN I have a fear of sentimental Englishmen. GRAHAM You sod. (trying to keep up) Christ, give us. . second hereAlgren indicates for the bearer to stop. Graham tries to catch his breath. GRAHAM You're making a mistake, I promise you. Katsumoto's under house arrest, Omura's made his move -- he'll need you more than ever --Graham stops, sees the look on Algren's face, realizes. GRAHAM Oh, my goodness. How silly of me.. All that time you were with him, up in those mountains,.................................. ...I told you they were a remarkable people...Algren doesn't answer, but isn't denying it either. GRAHAM Then you should get out. Because Omura will become rather impatient with anyone who isn't on the team.Graham notices Algren staring at his followers. GRAHAM Case in point. ALGREN Who are they? GRAHAM Ronin would be m y guess. Disgraced samurai doing odd jobs for his Nibs. 87. ALGREN What do they want from me? GRAHAM To make sure you're on the side of God and Country, or to make sure you get the hell out. ALGREN You've been a great help, Graham. I thank you. GRAHAM Look who's getting sentimental now.A look bet ween them, then Algren nods for the bearer to continue.EXT. HARBOR SUNSETAlgren stands at the gangplank. Porters wait with his luggage. Algren looksback into the crowd and sees the ronin. They glare back, no longer trying tokeep out of sight.A BLAST from the steam whistle.Algren looks from the ship, to the ronin, to the bustling, chaotic city behindthem. Finally, he looks out at the harbor and the ocean, beyond whichused to lie his home.He turns to the bearer. ALGREN (subtitles) Take back to quarters. I walk.And Algren starts back into the city.EXT. TOKYO STREETS EVENINGDown a shadowy street, lit only by t orches. Slowl y we realize he is beingfollowed and that he knows it.Up ahead, the street appears to dead-end.The two Ronin step out from the shadows and face him, their hands ontheir swords.Behind him, Another dangerous looking Ronin joins the one who has beenfollowing him.They begin to close in.Algren stands completely still. They grow closer.Algren appears to close his eyes. And the sound of the approaching footstepsfades as We HEAR ONLY the sound of his breathing. 88.The Ronin draw their swords.Algren gently opens his eyes. Ever ything has SLOWED DOWN: a sign inthe breeze, a piece of rubbish on the street, the flame of a nearby torch.A BLUR OF MOTION.Everything happens so fast it is hard to tell just what has taken place. In thestrobing shadows, all we really know is that Algren has leapt to the attack.Within seconds, four bodies lie in the streetAlgren holds bloody sword.His face is cut and a sleeve of his jacket is ripped, but other than that he isunharmed. Ujio has taught him weltAs he stands, catching his breath, we HOLD on his face in CLOSE-UP.A sudden flash:We see Algren grab one of the torches and smash it across the ronin's face.It is the attack ≠ replayed in real-time.Rolling to avoid a death-blow, he grabs the fallen man's sword and eviscerates attacker #2.The two remaining Ronin strike.He parries the blow of attacker #3, whirls to slice the legs of attacker #4,whirls again to cut off the hand of attacker #1, who has returned to the attack.Meanwhile, attacker #3 serums and charges -- just lit attacker #4 is trying to stand.Algren steps back as attacker #3 impales attacker #4. Algren steps forward and cuts off the head of attacker #3.Even now, it has happened too fast to be truly appreciated.BACK TO THE STREETWe move, closer-still on Algren's face.A sudden flash:And so we watch the attack again. in super-slow motion now, so we can fullyappreciate it's terrible beauty.A torch smashes across a face.A sword slices the sleeve of a coat.Sparks fly as two swords meet. 89.A severed hand falls in the dirt.Blood sprays from a decapitated head.A sword is wiped clean.BACK TO THE STREETIn real time, Algren kneels to examine one of the dead Ronin. On his arm istattooed a familiar emblem:The sign of the Omura ZaibatsuEXT. OMURA CASTLE NIGHTOmura lives in a huge medieval castle on a promontory directly above TokyoBa y. A testament to Japan's martial past.INT. CASTLE ≠ TOWER NIGHTTwo guards arc: standing at attention in a dank corridor high in one of thetowers of the castle. Cell doors line the corridor.Katsumoto's samurai swords lean against the wall next to them.INT. CASTLE ≠ CELL NIGHTKatsumoto kneels in a cramped cell. A sound draws his attention. He risesand looks out a barred window.Bel ow he sees two rickshaws moving up the twisting road to the castle.INT. RICKSHAW NIGHTAlgren and Bagley, in formal dress uniforms, sit in one of the rickshaws.Bagley looks him over. BAGLEY Oughtta shave more often, Algren. Becomes you. ALGREN Thought I would follow the Japanese fashion. BAGLEY ...Heard you were leaving, actually? ALGREN Why would I do that? Omura wants me to train his personal guard. BAGLEY Certainly seems obsessed by you. Why do you think that is? 90. ALGREN Could it be my nose isn't permanently lodged up his ass?Bagley shakes his bead, turns away. Algren stares up at the looming aide.EXT. CASTLE- MAIN GATES NIGHTThe two rickshaws stop by the heavily-guarded main gates. Guards check the occupants. Motionto other guards atop the gates.The main gates slowl y swing open.EXT. CASTLE - COURT YARD NIGHTThe bearers lower the rickshaws. Algren and Bagley climb from one.Ambassador Swanbeck climbs from the other.EXT. CASTLE -- RECEPTION CHAMBE R NIGHTOmura waits in elegant evening clothes. A woman plays a harp. The interiorof Omura's castle is heavy, oppressive. Old Masters paintings dot the walls.Leather-bound boob. Chippendale furniture. OMURA Gentlemen... AMBASSADOR SWANBECK Omura, you have a lovel y home. It must be very old. OMURA Nothing is "old" in Japan, ever ything is "ancient." ... But the views are pleasant. Sit down...They move to chairs by the roaring fireplace as Omura turns to Algren,noticing the cut on his face, but saying nothing. OMURA Do you know your Wagner, Captain? This is the 'Leibestod' from Tristan and Isolde. ALGREN I'm surprised you enjoy it. Literally translated it means `love/death. ' (looks at him) . A samurai concept, don't you think?The two men take each other's measures. Servants appear with trays.. OMURA Champagne? And cigars, of course. 91.Servants light their cigars. BAGLEY (re: cigar) A gift from President Grant? OMURA (smiles) Queen Victoria. ALGREN Mr. Omura, may I use the necessit y? OMURA Certainly.Omura summons a servant. The servant escorts Algren out. OMURA Now, Mr. Swanbeck, regarding our agreement, I noticed a discrepancy in paragraph seven in reference to the investment protocols for coal.INT. CASTLE ≠ CORRIDOR NIGHTThe servant leads Algren through a corridor, head bowed.Then, stil1 puffing on his cigar, Algren taps the servant on the back, and asthe man turns, decks him. The servant falls.Algren flicks hit cigar out onto the sloping roof. We FOLLOW theBURNING EMBER as it rolls off the roof and lands at the feet of TWOCURIOUS GUARDS.EXT. CASTLE COURTYARD NIGHTThe guards look up, trying to determine where the cigar butt has come from.But their curiosity lasts only a moment: ARROWS pierce their necks,strangling any sound.We REVERSE to discover that one of the rickshaw-bearers has fired thearrows. As he peels back his hood, we SEE it is Yoritomo.We realize the other bearers are Ujio, Nakao, and Simon Graham. Theyhurry past the dead guards and up the stairs.INT. CASTLE APPROACH NIGHTThe three samurai and Graham race up the winding parapets.Three GUARDS round a corner. Swords flash as Ujio and Nakao dispatchthem without even slowing. They race on, Graham laboring to keep up. 92.INT. CASTLE KEEP NIGHTAlgren rounds a corner--Ujio, Yoritomo, Nakao, and Graham are moving toward him. ALGREN This wa y...Clearly, this has all been Algren's plan. They move up a stairwa y.INT. CASTLE KEEP (SECOND FLOOR) NIGHTThe three guards are still standing at attention outside Katsumoto's cell.His swords are next to them.Algren keeps the others out of sight and lowers his head to whisper withUjio. Ujio nods, then walks into sight and calmly approaches the guards.Still hidden, Algren gestures for the others remain to silent. After amoment, he gestures that they can proceed.Algren and the others round the comer to discover the bloody remains ofthe three guards - whom Ujio has dispatched in absolute silence. They unlockthe cell.INT. CASTLE ≠ CELL FOLLOWINGKatsumoto is shocked to see Algren enter. Algren tosses him his swords. ALGREN How's the poem coming? KATSUMOTO The ending is proving difficult.INT. CASTLE -- RECEPTION CHAMBER NIGHTOmura glances up from the documents. OMURA What has become of Captain Algren?INT. CASTLE ≠ CORRIDOR NIGHTAlgren, Katsumoto, and the others race through an upper corridor. KATSUMOTO (re:Graham) Who is this? ALGREN Name's Simon Graham. Wants to write a book about you. 93. GRAHAM An honor. I have followed your activities with great interest. I think the European public would be fascinated by a book about your adventures. KATSUMOTO Not a book. A play!Suddenly, from below, the raised voices of guards. They hurry a wa y.INT. CASTLE ≠ STAIRS NIGHTGuards carrying pikes race up the stairs--INT. CASTLE ≠ CORRIDOR NIGHTAlgren and the others are moving swiftl y down a stone corridor.The sound of the approaching guards is growing louder.A silent WILD BUNCH moment of preparation as they stride down thecorridor, five abreast.Algren pulls the cavalry saber from his dress uniform. Katsumoto prepareshis swords. Nakao stretches his huge arms. Yoritomo and Uji o draw their bows.EXT. CASTLE - UPPER COURTYARD FOLLOWINGTen guards with rifles patrol the upper battlements.Yoritomo and Uji o crouch and fire. Arrow a fter arrow a fter arrow, asfast as a repeating rifle, the arrows streak through the night.Completely silent.It is a dazzling display. They time shots to sail over walls, shoot throughtiny windows, shoot out torches. Multiple arrows. Perfect aim.In a matter of seconds all ten guards are dead.They continue across the courtyard, up some steps --INT. CASTLE--TIGHT CORRIDOR FOLLOWINGThey stride through a tight, dark stone corridor.Suddenly, a cadre of Omura guards emerge from the shadows.Without hesitation, they launch into battle. Algren and Katsumoto wieldtheir swords. Yoritomo and Ujio fire arrows.Nakao fights with his hands, dramatic martial arts from the huge man. 94.But this corridor is just too tight -- it is a sea of combat.. the guards andour warriors are slammed together --the swords and pikes sending up sparksin the darkness as they strike the stone walls.The right corridor echoes with samurai war cries and clanging swords.Then...More guards appear.These guards have rifles.Rifle blasts thunder --startling strobe-like bursts of light in the darkness --Algren dives in front of Katsumoto to protect him-Yoritomo is hit-He jerks back -- blood--Ujio fires arrows at the guards with rifles, hitting two -- but more guards with rifles are appearing, bulletssending showers of debris and ricochets--Algren sees a stairway leading to a higher 1evel, barks out a command. As Nakao dragsYoritomo toward the stairs-- the others bolt a heavy SIEGE DOOR ≠designed to keep attackers at bay.INT. CASTLE SIEGE ROOM NIGHTUjio fires arrows through the siege ports -- momentarily delaying the guardsas Algren leads them toward a rear stairs.INT. REAR STAIRS NIGHTAlgren starts down -- only to discover MORE GUARDS blocking this meansof escape. He backs out of the wa y just in time as rifle blasts SPLINTERthe wooden stairwe11.Meanwhile, an EXPLOSION from behind them indicates that the guardshave blown the siege door.Algren, Graham, and Ujio have no choice but to continue upwards into thecastle keep. Nakao helps the wounded Yoritomo as they climb.INT. UPPER KEEP NIGHTA narrow ladder leads to the final redoubt. They start to climb but Yoritomoleans against the wall. He is gravely wounded. ALGREN Come on. YORITOMO (subtitled) You go, Algren-san. I will stop them. 95. ALGREN No-- YORITOMO ...Please.Yoritomo's determination is absolute. Finally, Algren nods.Katsumoto moves to Yoritomo, leans in for a few final words, taking hishead and pressing his forehead to Yoritomo's.Bullets begin ricocheting around them -- Yoritomo looks to Algren: YORITOMO (subtitled) Tell my family.Algren bows his bead in respect.Then Algren leads them up the stairs. Ujio fires a final volley, nods withrespect to Yoritomo, then follows the others.Yoritomo pulls himself erect. Draws his two samurai swords.A beat. He closes his eyes. Smiles.Then he opens his eyes and hurls himself down the stairs--The guards fire hitting Yoritomo - but still he comes -- wading into themswords flashing -- he is hit again and again -- but still he comes.It is a glorious death.EXT. SIEGE ROOM NIGHTAlgren leads them into the highest room of the castle, the siege room. Theechoes Yoritomo's death rings in their ears. .Katsumoto glances at Ujio and Nakao. Without a word, they kneel on thefloor, open their kimonos and unsheathe their short-swords, preparing tocommit seppuku. ALGREN No. Wait...!Katsumoto glares at him harshly, furious to have his concentration disturbedat such a moment. ALGREN There's a wa y out. Look--!Reluctantly, Katsumoto joins him at the window. 96. ALGREN This place is designed to keep people from getting in, not from getting out. We can make it KA TSUMOTO This was your plan? ALGREN Do you have a better one?Nakao and Ujio look at Katsumoto, awaiting his response. He turns to Algren. ALGREN I may die. But I'll die trying.And without another word he LAUNCHES himself out the window, onto the sloping roof.EXT. CASTLE ROOF TOPS NIGHTLike his cigar butt earlier in the sequence, he rolls, then falls, hits anotherroof, rolls, slides, falls, hits again.INT. UPPER KEEP CONTINUOUSKatsumoto and the others share a look. Has he survived?GUNFIRE begins to pepper the floorboards, bullets whistling past them.EXT. CASTLE ROQF TOPS CONTINUOUSAlgren slides, bumps, rolls, falls, hits, then slides again. Until he finally plummets into the moat.As his head rises above water, he lets out a scream of absolute joy.INT. UPPER KEEP CONTINUOUSKatsumoto hears the scream. A look of disbelief spreads over his face.Then the beginnings of a smile. Without a second look, be leaps out thewindow. Ujio follows.Graham shrinks away in fear. Nakao lifts him bodily, throws him out, and then follows.INT. CASTLE -- RECEPTION CHAMBER LATEROmura stands, very calm, smoking a cigarette, listening to the report of his guards.Colonel Bagley tries to apologize. BAGLEY ... 1 don't know what to say, sir. I never would have thought him capable of treason. OMURA I would say Captain Algren's acts tonight have assured our success. 97. AMBASSADOR SWANBECK What do you mean? OMURA Katsumoto will rejoin his kinsmen. They will fight. We will destroy them with your new weapons. BAGLEY What if he just goes off to the mountains and becomes a damn sheep-herder or some such? OMURA You still do not understand us ... Katsumoto can do nothing but fight. It is his role in the drama. He must act out his destiny. He knows it. AMBASSADOR SWANBECK You trust a lot in destiny. OMURA This story was written years ago. From the first sight of your warships in our harbor... (stares out the window) It is a1l inevitable.EXT. HILLS SUNSETAlgren, Katsumoto, and the others ride over rocky ground. ALGREN (V.O.) June 1, 1877. Yesterday, I passed the field where Zebulon Gant was killed by the man with whom I now ride.In the distance a steam train chugs along. Inevitable. Progress.EXT. FOREST ≠ MOUNTAINS DAYThey climb a steep trail. Beyond, the glaciers glow pink. ALGREN (V.O.) I am beset by ironies -- trained to fight rebels now I am one. And yet 1 ask mysel f... can a man be reborn?:Algren, Katsumoto, and the others ride through a dense forest Katsumotoreins his horse. The others follow suit. They wait ALGREN (V.O.) And if so, what would he make of it?Mounted samurai emerge from the thick forest As it they were invisible. 98.The leader leaps from his horse and bows, touching his head to the dirt.All the other samurai follow suit.EXT. CHERRY TREE FOREST--NEAR THE VILLAGE EVENINGKatsumoto rides at the head of his samurai as they pass through the cherryorchard. Then he reins his horse and falls in beside Algren. KATSUMOTO (his voice troubled) I was prepared to die in Omura's castle. And yet here I am. I cannot help but ask why were you sent into my life. What is the lesson you were meant to give me? ALGREN Maybe that neither of us is as smart as we thought...Katsumoto laugh. And then in a surprisingly deft imitation of Algren KATSUMOTO You...ain't whistlin' Dixie...He spurs his horse and heads off. Algren shakes his head and follows.EXT. VILLAGE EVENINGThe returning warriors are warmly welcomed by the villagers.Algren rides directly to Yoritomo's house, dismounts.Taka and Toshiie are waiting.He goes to them. His expression tells them all they need to know.INT. YORITOMO'S HOUSE NIGHTAlgren sits with the family. The boys sit next to their mother. ALGREN (subtitles) ... he gave his life to save us. He died bravel y. TAKA (subtitles) Thank you, Algren-San. 99. HIGEN (subtitles) Will you fight the white men? ALGREN (subtitles) If they come here, yes. HIGEN (subtitles) Why? ALGREN (subtitles) Because they come to destroy what I have come to love.Taka looks at him, moved and surprised. Suddenly, Higen jumps up andbolts... out of the room. Algren looks to Taka. TAKA (subtitles) The wa y of Samurai is difficult for children. He misses his father. ALGREN And he is angry because I am the cause of that.She smiles ever so slightly at his obliviousness. TAKA No. He it angry because he fears you will die as well.EXT. VILLAGE NIGHTHigen stands, looking up at the stars. ALGREN Higen. HIGEN (subtitles) My father taught me it is glorious to die in battle. ALGREN (subtitles) That is what he believed. HIGEN (subtitles) I would be afraid to die in battle. ALGREN (subtitles) So would I. 100. HIGEN (subtitles) But you have been in many battles. ALGREN (subtitles) And I was always afraid.Higen looks at him, tears welling in his eyes. HIGEN (subtitles) I don't want you to go.Algren has no answer. He can only gather the boy up in his arms and holdhim.EXT VILLAGE DAYNakao is standing proudly, his massive arms folded across his chest. Wepull back: Graham is bunched behind his photographic equipment. A flashof phosphorous and the moment is immortalized.Meanwhile, Algren is working with Higen on the house.Katsumoto silently watches Algren working with the boy. KATSUMOTO Algren-san.Algren turns. KATSUMOTO They are corning.EXT MOUNTAINS DAYAlgren and Katsumoto perch on a precipice, looking down into a valley.It is a beautiful setting. Towering peaks and peaceful valleys. It is here thatthe final act of the inevitable drama will play out.Bel ow they see the Imperial Army, thousands strong, marching across thevalley toward them. Terrifying martial columns in strict formation. ALGREN I call it five thousand troops. They'll come in waves of about a thousand, a few minutes between each wave.Katsumoto listens carefully to Algren's expertise. 101. ALGREN German formations have the infantry staggered with on1y light flanking. They'll come straight on with rifles and fixed bayonets. Mausers are only accurate to about 150 yards. They'll look to overthrow us.Katsumoto takes this in.EXT. VALLEY DAYColonel Bagley, Omura, several German advisors and Japanese officers rideat the head of the Imperial Army. .Bagley sees something, raises a hand. The troops halt.Algren and Katsumoto ride up to them. Stop. ALGREN Colonel. BAGLEY Captain... (to Katsumoto)... Sir, the Imperial Army of Japan demands your surrender. If you and your fellows lay down your arms you will not be harmed. KATSUMOTO That is not possible. As Omura knows.Omura meets Katsumoto's look, nods. Bagley turns to Algren. BAGLEY Captain Algren, we will show no quarter. You ride against us and you are the same as they are. ALGREN I take that as a compliment, Colonel. (a deadly calm) I'll look for you on the field.Algren and Katsumoto wheel their horses and go.EXT. MOUNTAIN RIDGE DAYAlgren and Katsumoto ride. ALGREN They have the howitzers. KATSUMOTO How many? ALGREN About a dozen. 102.Katsumoto considers this. Algren looks up into the mountains. ALGREN A man could get lost up there ... Build an army. Hold out a very long time. KATSUMOTO Algren-san...Have you seen what happens to the villages that stand In the way of the railroad?Algren nods. He remembers. KATSUMOTO That is what will happen to my village if we do not stand and fight. (looks at him) No. We serve the Emperor here. ALGREN By dying? KATSUMOTO Perhaps. ALGREN At least make it battle, not a suicide. KATSUMOTO And what would that accomplish?Algren lifts his head, enjoying the feeling of the sun and wind on his face. ALGREN It might give you one more day ... One more fine day like this.Katsumoto stares at him for a long moment, then smiles and spurs his horse. Algren follows.They ride together, side by aide, the wind billowing their cloaks -- We enjoy theride as they do, the trees strobing by, the sun slanting through the leaves.EXT. VILLAGE NIGHTIt is the eve of battle. And the samurai rejoice.Katsumoto is on stage at the center of the village square, enthusiasticallyperforming a Noh drama. Algren sits with Toshiie and Taka in the audience,enjoying Katsumoto's theatrics.Other samurai can be seen around the village, eating, singing, and playinginstruments. Tonight is for celebrating life.Elsewhere, a flash as Graham takes a photograph of some children. 103.On the stage, Katsumoto spots Algren in the audience, points to him andencourages him to join him. Algren resists. Toshiie prods him. Algrensurrenders and joins Katsumoto on the stage. The villagers are delighted.Katsumoto embroils Algren in the performance. Algren does his best,laughing at Katsumoto's antics.It is the freest and happiest we have ever seen Algren. TimeSLOWS as we Savor his simple enjoymentToshiie is highly amused. Taka has a deeper response, she is moved as shewatches Algren give himself over to the part.EXT. VILLAGE LATER THAT NIGHTA somber mood has descended. Algren sits and writes in his journal. ALGREN (V.O.) July 14, 1877. For so long now, I have managed to convince myself that there was nothing worth believing in.A samurai plays a melancholy bamboo flute. The gentle sound floats through the village... ALGREN (V.O.) Certainly nothing worth dying for.We see samurai preparing for the final battle. Some checktheir armor... Others meditate... ALGREN (V.O.) Now I am not so sure.Some make up their faces so they will look handsome when they greet death.Some methodically polish their swords. Some sit with their families. ALGREN (V.O.) And so, for the first time in my life, I am truly afraid. Not of dying. But of losing something worth living for.Ujio is performing a graceful, ritualistic sword-dance to the song of the flute.Algren Joins Graham to watch him. GRAHAM What is it:? . ALGREN The kenbu,.. his dance of death.Taka comes to them. TAKA (subtitles) Algren-san, will you come with me? 104.Algren leaves Graham and accompanies Taka toward the house.They pass Higen and Toshiie, who sit with other children at the feet of themassive Nakao, listening to a quiet story he tells,INT. YORITOMO'S HOUSE FOLLOWINGThe gentle flute music from outside drifts in.One of Yoritomo's beautiful kimonos is elegantly spread on a mat. TAKA (subtitles) If you wear this, it will honor us.He nods.She steps to him.A moment. She gently reaches forward and unbuttons his collar.A tender, silent scene as she undresses him and carefully wraps him in the kimono. Her hands move gracefull y around his body, never quite touchinghim. His movements are gentle in response.When he is fully dressed, then are tears in his eyes.Suddenly, fiercely, they are holding each other.EXT. KATSUMOTO'S HOUSE -- PORCH LATER THAT NIGHTThe quiet evening continues.Algren, now dressed in the kimono, finds Katsumoto carefully dropping littleleaves of incense into a small flame that simmers inside his battle helmet. KATSUMOTO So m y hair will have a pleasing scent when I meet my ancestors ... (dry) ... You do not do this ?Algren smiles, sits. ALGREN I studied war at a place called West Point. They taught us about a battle called Thermopylae. Three hundred brave warriors held off the king of Persia's army of a million men. For two da ys they made them pay so dearly that the king lost all appetite for further invasion (looks at him) ... I have some thoughts about the battle tomorrow. KATSUMOTO (bemused) Do you really think we can defeat them? 105. ALGREN I sure as hell want to find out. KATSUMOTO You believe a man can change his destiny? ALGREN No ... But I think a man cannot know his destiny. He can only do what he can, until his destiny is revealed.A si1ent beat.Then Katsumoto picks up a long bundle wrapped in cloth. He unwraps it.A beautilu1 long samurai sword.He bows his head and offers it to Algren.There are Japanese characters etched on the blade. ALGREN What does it say? KATSUMOTO "I belong to the warrior in whom the old ways have joined the new."Algren is moved beyond words. He bows.As the CAMERA pulls away, Algren and Katsumoto squat side by side,drawing in the dirt with a stick, planning the next day's battle strategy.Across the square, Ujio continues his elegant dance of death, his gracefulform illuminated in silhouette by a fire.INT. YORITOMO'S HOUSE MORNINGIt is the day of the battle. Algren is buttoning the long coat of his cavalry uniform.He looks up to see Higen standing in the doorwa y, holding the breast-plateof his father's armor.EXT. YORITOMO'S HOUSE DAYAlgren emerges from the house, wearing the breast-plate over his coat.Taka is at his horse, tying a bag of food to the saddle. She turns and sees herhusband's armor on this man. And her breath stops.Algren approaches her. They stand very cl ose. TAKA (subtitles) Return. 106. ALGREN (subtitles) If that is my destiny ... Anshinritsumai. [I wish you peace.] TAKA Anshinritsumai.He bows his head to her, she responds. The boys stand on the porch,watching. He mounts his horse and trots off. They watch him go. .Algren joins the line of samurai leaving the village. It is the first time we haveseen them in their full battle armor since the battle in the fog.Katsumoto in his black armor, Ujio in his jet black. And Algren in the blood-redbreast-plate. It is dazzling.EXT. BATTLEFIELD DAWNWe move along the line of waiting samurai. The faces are stoic. Prepared.Their horses are corralled well behind them.Algren stands with Katsumoto and Ujio. Graham is nearby. They peer into theplain beyond.They have chosen a strong defensive position. A steep mountain pass. Slopes on eitherside create a funnel ahead of them. The Imperial Army will have to pass through thefunnel to reach them.On a hill above themHigen is revealed. He looks down first at the five hundred Samurai, thensees, beyond, the overwhelming mass of the IMPERIAL ARMY.Back on the battlefieldA distant thud followed by a high-pitched whine. A MASSIVE EXPLOSIONahead of the Samurai. Artillery.Algren finds Graham cowering at the base of a straw barricade. ALGREN Mr. Graham.... GRAHAM Captain? ALGREN Would you please stay with the horses?Graham would like to be brave enough to remain, but he is not a soldier. GRAHAM As you suggest. 107.Graham starts to go -- ALGREN Mr. Graham ... Take this.From his coat, Algren takes his journal, hands it to Graham. ALGREN Maybe you can use it for your book. GRAHAM I will.He heads back to the relative safet y of the horse corral.Meanwhile, the samurai remain impassive as artillery is stepped in closer, therange bracketed. Then artillery rounds begin to fall among them.Samurai are blown to pieces as they bravel y stand and awaitdeath. Katsumoto BARKS a command to Ujio.Suddenly, the Samurai break ranks and trot into a new defensealignment. The artillery rounds now fall ineffectually where oncethey stood.Bagley directs the artillery to be re-targeted, It is a laborious, clumsyprocess. They fire again. Another command. The Samurai changeposition again.Bagley is furious. Their fluid tactics have rendered his field artillery useless.Katsumoto and Algren share a look of grim satisfaction. They are levelingthe playing field.Bugle calls are heard from the Imperial Army. ALGREN The call to advance.The rattle of the snare drums. The sound of marching boots.And then they appear. Thousands upon thousands of them. The ImperialArmy marching relentlessly forward in strict formation. The Rising Sun displayed.Katsumoto gazes at the awe-inspiring sight. His 500 samurai face a staggering5,000 soldiers. KATSUMOTO Tell me ... what happened to those three hundred warriors at Thermopylae? 108. ALGREN (a grim smile) Dead to the last man.Katsumoto glances to him, smiles.EXT. THE SAMURAI POSITION CONTINUOUSThe First Division of the Imperial Army moves into the funnel, their numbersreduced by the size of the access, and head toward the barricade.Katsumoto and Algren watch as they move closer and closer. Weare expecting the samurai to open fire, but they do not. They justwait.Finally the Imperial soldiers are in rifle range. They stop to fi re a volley.Bullets begin hitting among the samurai. Many fall.Algren nods to Katsumoto, Katsumoto then calls out a command and thesamurai retreat.They race back toward the rear of the funnel.The Imperial Army soldiers climb awkwardly over the first barricade andpursue--The samurai, meanwhile, have taken cover behind a second barricade thathad been hidden from the Imperial soldiers' view. Now safel y behindthe second barricade, Katsumoto calls out a command and--The samurai fire!500 arrows explode -- almost instantly followed by 500 more --Like an image from Agincourt, the clouds of arrows sweep across the sky --Imperial Soldiers fall, the attack falters--From behind the new barricades, archers fire FLAMING ARROWS, thatHit the old barricade. It EXPLODES INTO FLAMES, trapping the Imperia1Army bet ween the two barricades.And from the second barricade, two large CA TAPULTS send balls of flamingpitch into the already panicking soldiers.EXT. OPPOSING HILL TOP DAYColonel Bagley, Omura, several German advisers and Japanese Officerswatch through binoculars. Stunned. As the First Wave is routed. HAGLEY What the hell? 109. OMURA It seems Katsumoto will resist his destiny. (snaps an order) Send in the second wave. Two divisions.EXT. BARRICADES DAYAlgren and Katsumoto wait behind the second barricade. We note that thisbarricade is the real thing.Katsumoto removes a piece of shattered armor from his left forearm, abullet wound beneath. Algren looks over the barricade.They see Imperial soldiers using semaphore flags to communicate with their commanderson the opposing hilltop. KATSUMOTO How long? ALGREN They need to regroup and report our position. Then they'll come hard.Katsumoto considers the bodies of the dead Imperia1soldiers. KA TSUMOTO It is sad to see brave men die without faces... You cannot tell one warrior from another. ALGREN They're not warriors. They're soldiers. It's a modern army. KATSUMOTO Not my world anymore.EXT. BATTLE FIELD DAYBugles. The attack is reforming. Ranks now bolstered by reinforcements.They come at a trot, through the narrow defile, skirting the first barricade,continuing at a trot toward the second barricade.EXT. 2ND BARRICADE DAYKatsumoto pulls his long sword. Algren does the same.Katsumoto calls out an order -- the archers fire another round.The Imperial soldiers are being annihilated but still they come in great waves --for ever y one who falls it seems there are ten to take his place.They race forward, stepping over their fallen comrades, bayonets poised --The Mauser rifles flash -- 110.Bullets explode around the samurai, many are hit.The Imperial Army has been trained to keep firing on the run. The waitingSamurai will be decimated, except --From the hills on either sideFully half of the Samurai force -- who have been kept hidden until this moment...charge, screaming into the flank of the attacking Army. Even rifles cannot fire inthree directions at once.Algren and Katsumoto lead the charge over the second barricade. Some are cut down,but in moments swords engage ba yonets in brutal hand-to-band combat.Algren And Katsumoto fight back to back, as if one person, slashing with theirswords, shattering bayonet, dealing death on all sides.Ujio crouches, his back leg straight and planted, his front leg bent. Still usinghis bow, firing off arrows with Stunning speed, refusing to budge--On the opposing hillsideBagley and Omura watch the battle through binoculars. BAGLEY A classic "V" ambush. Sonofabitcb is using Welt Point tactics.In the midst of the battleA charging soldier thrust s his bayonet into Katsumoto's arm - Katsumoto kills,the soldier with his short sword but is awkwardly tangled with his body, a secondsoldier races toward him for the kill - Algren spins and attacks killing the secondsoldier - but a third races toward Algren, bayonet f1ashingHe dodges -- but the bayonet slices into his side --Algren kicks the soldier away -- tries to use his sword but the soldier springsback ath1etically .. Ujio appears like a black spectral figure to deliver thecoup de grace.All SOUND gradually fades and is replaced by the elegaic sound of a bambooflute... the images of combat become fragmented and impressionistic.Bur no matter how bravel y the samurai fight, they are simply outnumbered...Nakao is like a cornered bear, arcing his two swords wildly around him. Heis shot in the chest, and staggers a moment before continuing. Anothersoldier shoots him in the arm at point blank range. Nakao', sword goes fl ying,so the giant Samurai leaps forward and picks up the shooter bodily, twirlinghim around like a wrestler, throwing him finally onto the upraised pike of afellow Imperial soldier. But now three more soldiers have levelled theirweapons, and a ruthless volley staggers him again. Shots rain on him as hetries to continue fighting, but his strength leaves him. Finally, with one lastlunge, he manages to pull an Imperial soldier with him, crushing him as he falls. 111.More and more fall as Algren, Katsumoto, and their comrades fight desperately...The mournful flute is the appropriate accompaniment as Ujio is mortallywounded. The grim award master is cut through with bullets. Still he fights.An Imperial soldier holds up a rifle to protect himself, and Ujio's blade cutsthrough the barrel. The soldier just has time to look at the gun in amazementbefore a second sweep of Uji o's sword beheads him. But there are too manyto take the man's place, and finally fi ve men run Uji o through with bayonets,and he is pinned against the barricade, still upright in death.At last, what is left of this second wave of the Imperial Army, retreats.EXT. PLAIN ALMOST SUNSETThe plain before the barricade is littered with Imperial Army dead.Algren and Katsumoto sit exhausted, leaning against the barricade. They areboth wounded.Only about. hundred samurai are still alive.Algren looks over the decimated warriors for a moment. Even those stillalive are in bad shape as they wait for the next wave of Imperial soldiers.Katsumoto is looking at Ujio's body nearby. KATSUMOTO He was Kaishaku ... my trusted friend. ALGREN We won't be able to hold them back this time. KATSUMOTO This is not your battle. You do not have to die here. A long beat. ALGREN I died a long time ago. KATSUMOTO But now you live again. ALGREN Yes. KATSUMOTO It was not your time. ALGREN No. Maybe I survived just to live this one last day.Algren looks at him. 112. ALGREN I'll stay.He slowl y pulls himself up. He and Katsumoto gaze at the plain before them.At the infantry troops massing on the opposing hilltop.Algren looks at Katsumoto. He reaches into the pocket of his old uniformand takes out the Medal of Honor he received, long ago, at Sutter's Hill.He affixes it to his old cavalry tunic.Katsumoto looks at Algren. They are both thinking the same thing.Silent agreement.EXT. PLAIN SUNSETThe hundred mounted samurai are a beautiful sight.They wait in formation in front of the barricade, the long plain through thefunnel to the opposing hilltop before them.Katsumoto draws his long samurai sword.Algren draws his.And they slowl y begin to trot forward...And then to canter...BEHIND THE IMPERIAL ARMYColonel Bagley and Omura watch, transfixed. There is somethingapproaching admiration on Omura's face. On Bagley's, there is only malice. BAGLEY The gatling guns. Quickly.EXT. PLAIN SUNSETKatsumoto points his sword and screams out his war cry. .And they charge. It is suicidalIt is glorious.It is the end of the samurai.They charge forward, their war cries echoing in the canyon.The Imperial troops fire rifles -- samurai fall .. but still they come: -- poundingover the earth like something from an ancient dream 113.Algren and Katsumoto charge side by side. Alive. Warriors.BEHIND THE IMPERIAL ARMYBagley and Omura watch as the samurai fall, one by one.WITH THE CHARGEFifteen or twenty of the samurai -- including Algren and Katsumoto--somehow manage to fight their way through the lines.They break into the open.And continue riding straight toward the rear.ALGREN AND KATSUMOTOAre both wounded, yet still they charge. They have only one thought inmind -- death to their enemies. They gallop forward toward Bagley and Omura.BAGLEYLooks around in abject terror. He screams out an order.TWO WAGONSAre moving into position. Their rear gates fall open ... revealing the GATILING GUNS.ALGREN AND KATSUMOTOAre near enough to see them. Yet they will not be deterred.They charge on.Up ahead.THE GATLING GUNSAre not yet ready to fire. Japanese soldiers slam ammo belts into the chambers.ALGREN, KATSUMOTO AND THE REMAINING SAMURAIHave almost reached their goal.BAGLEYCowers in fear, looks around, but there is nowhere to hide.THE SAMURAI CHARGEEven while riding at I full gallop, they have fixed arrows into their long 114.bows. They let loose a lethal volley.BAGLEY BAGLEY Fire! Fire, dammit!!!!!But before the guns can open up, he is IMPALED BY ARROW AFTERARROW, a human pincushion. The final arrow pierces his forehead.Then...The Gatling Guns finally fire. Ripping into the samurai-Destroying them-One after another is hit -- and still they come -- their voices raised in glorious cries of triumph-Graham watches from a hilltop, tears in his eyes.Katsumoto is hit, blood explodes .- his horse falls -- he spi1ls off--Then Algren is hit -- he falls--Algren drags himself to Katsumoto, bullets exploding ever ywhere ≠Algren looks up to see...The remaining samurai still charging-And still the Gatling Guns tear through them--And still they charge ≠Until they are all down.EXT. OPPOSING HILLTOP SUNSETA Japanese Officer shouts out an order -- the Gatling Guns stop.Omura screams at him to continue firing!The Japanese officer barks out response. Refusing.Omura sees all the samurai are dead or dying.But he also sees Algren kneeling by Katsumoto, dragging him awa y. Hescreams at the Japanese officer to resume fire!The Japanese officer refuses.He just looks over the plain of dying samurai for a moment. Then he doesthe most remarkable thing.He slowl y kneels and touches his head to the dirt. 115.Then a soldier near him does the same thing. Then another and another.And then by the thousands.They kneel and touch their heads to the dirt.Honoring the last samurai.EXT. PLAIN SUNSETA1gren drags the dying Katsumoto to a8 copse of cherry trees nearby...EXT. CHERRY TREES SUNSETBoth men are bleeding profusel y. KATSUMOTO Help me up... ALGREN Just -- stay there. KATSUMOTO Help me up.Algren helps him to stand. Without Algren's support, he would fall. KATSUMOTO My sword... ALGREN No. KA TSUMOTO You have your honor again. Let me die with mine ... Kaishaku.Algren looks at him, deeply moved. Katsumoto manages to pull out his short sword. KATSUMOTO You must help me. Hold it firmly...Algren supports Katsumoto as he holds the sword's point firmly to his stomach. KA TSUMOTO Are you ready? ALGREN No, Kaishaku. 116. Katsumoto looks at him deepl y, warmly. KATSUMOTO We will ride together again.Katsumoto embraces Algren firmly -- the sma1l sword impales himAlgren holds him tightly. Katsumoto is looking over Algren's shoulder as he dies.Katsumoto sees something. A look of joy and absolute peace comes to his features. KATSUMOTO (whispers) It is perfect... They are all perfect.His eyes cl ose. He is dead.Algren gently kneels with Katsumoto's bodyHe holds him for a moment and then turns to see what Katsumoto was looking at.Cherry blossoms.A display of perfect beauty.We slowl y fade to...INT. IMPERIAL PALACE -- THRONE ROOM DAYAmbassador Swanbeck, Omura, and a retinue of advisors are presenting thetreaty documents for the Emperor's signature. The Emperor sits restivelyon his throne. AMBASSADOR SWANBECK ...will usher in an era of unprecedented prosperity and cooperation between our two great nations.A servant comes and whispers into the Emperor's ear. OMURA (subtitles) Highness, if we could just conclude the matter at hand...The Emperor ignores Omura, and gestures that the doors to the chamber be opened.Algren enters with Graham. Algren carries something wrapped in a blanket.He approaches the Emperor. Kneels and sets the bundle at the Emperor's feet.Algren remains kneeling with his head bowed. He unwraps the bundle. 117.It is Katsumoto's long samurai sword.'The Emperor looks at it. OMURA (subtitled) All your enemies are dead, Enlightened One.The Emperor continues to look at the sword. He does not look up. EMPEROR/TRANSLATOR (to Algren) You were with him at the end. ALGREN/TRANSLA TOR Yes. He asked that I bring you this -- that the strength of the samurai will be with you alwa ys.The Emperor rises from his chair and sits on the floor, in the traditionalJapanese fashion, before the sword. OMURA (after a moment) En1ightcned One, we all weep for his loss, but the future of our country lies in-The Emperor interrupts him, speaking in English -- to ever yone's surprise. EMPEROR My ancestors have ruled Japan for 2,000 years. And for all that time we have slept. During my sleep I have dreamed. I dreamed of a unified Japan. Of a country strong and independent and modern... (touches the sword lovingly) And now we are awake. We have railroads and cannon and Western clothing. But we cannot forget who we are. Or where we come from.The Emperor looks up at the gathered dignitaries. . EMPEROR Ambassador Swanbeck I have concluded that your treaty is not in the best interests of my people. AMBASSADOR SWANDECK Sir, if I may-- EMPEROR You may not. From this moment on, economic investment from ever y nation will be considered equally. 118.Ambassador Swanbeck is stunned. AMBASSADOR SWANBECK This is an outrage--The Emperor gestures. A servant escorts Swanbeck to the exit. Omura takes a stepcloser to the Emperor. OMURA (subtitled) Enlightened One, we should discuss this EMPEROR (subtitled) Omura, do you know our northern island?Omura is confused. EMPEROR (subtitled) There is a small one called Taraku. A rock in the sea. There is nothing there but crabs who have been known to tear a sleeping man apart ... I have had a small house constructed on the island. You will go there now and await our summons. OMURA (subtitled) Sir...? EMPEROR (subtitled) I hereby seize your family's assets and present them as my gift to the people.Omura looks at him, stunned. EMPEROR (subtitled) Further, I have decided to stop the railroad cxpansion into Yoshino. OMURA (subtitled) Enlightened One EMPEROR (subtitled) You have served your function. I have no more need of you ... You can conspire with the crabs now. Remove yourself. 119. OMURA (protests, subtitled) Honored Emperor, I do not know wh y you disgrace me.The Emperor finally looks up from the sword. EMPEROR (subtitled) If your shame is too unbearable ... I offer you this sword.Omura looks at him for a moment. Then bows tersely and goes.The Emperor looks at Algren, still kneeling before him. EMPEROR (in English again) The samurai is not a man now. He is an idea. (a beat) Tell me how he died.Algren looks At the Emperor. ALGREN I will tell you how he lived.We slowl y fade as Algren begins to speak...EXT. VILLAGE DAYSpring. A few years later.There are no samurai training in the square, but otherwise the village isbustling with life. We HEAR Graham's voice: GRAHAM (V.O.) ...And so the days of the samurai had ended.INT. LECTURE HALL (ENGLAND) DAYGraham stands at a lectern on a book tour. A well-dressed audience listensattentivel y. A banner proclaims, "The Last Samurai," by Simon Graham. GRAHAM (V.O.) And in the years to come the Rising Sun of Imperial Japan would fl y in triumph over Korea, over Russia, even over China. Nations, like men, it is sometimes said, have their own destinyEXT. VILLAGE DAYWe see that Yoritomo's house has finally been completed.. Toshiie sits on the porch,Instructing a group of younger children in calligraphy. 120. GRAHAM (V.O.) As for the American Captain, no one knows what became of him. All that is left is his journal which I have published, according to his last request.Taka steps from the house and passes Toshiie, she carries a basket. Wemove through the village with her... GRAHAM (V.O.) Some lay he died of his wounds, others that he returned to his own country...She passes an old man teaching the Noh drama to a group of teenagers.She passes Higen, working on a new building. Apparently he has found agood life as a carpenter. He seems content.We go with Taka as she leaves the village...EXT. CHERRY TREES DAYTaka moves through the cherry orchard. GRAHAM (V.O.) But I like to think he may have found at last some small measure of the peace we all seek, but few of us ever find.Taka stops. Watching. We follow her gaze to discover:Algren, sitting alone. Gazing peacefully sat the cherry bl ossoms.Waiting for the perfect one. He turns to her, a smile of quiet joy spreadsacross his face. GRAHAM (V.O.) Anshinritsumai. [I wish you peace.]Fade out. \ No newline at end of file diff --git a/unformated_scripts/Script_Last Station, The.txt b/unformated_scripts/Script_Last Station, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..5b59d74484eba55d2457143d2e7bd554af72e454 --- /dev/null +++ b/unformated_scripts/Script_Last Station, The.txt @@ -0,0 +1 @@ + THE LAST STATION Written by Michael Hoffman Based on the novel by Jan Parini All happy families are the same. Each unhappy family is unhappy in its own way. Leo Tolstoy- Anna Karenina1 EXT. COUNTRYSIDE. DAY. 1 High angle of the steam train travelling through a wide river valley. The stack belching smoke against the Russian sky.2 INT. SECOND CLASS CARRIAGE. COUNTRY SIDE. DAY. 2 Leo Tolstoy (80), sits writing on his lapboard. He is quite simply the greatest living writer in the world. His devotion to pacifism, his rejection of the trappings of Orthodoxy in favor of a simple Christian lifestyle convince many to regard him as a living saint. With him are his much younger wife, the COUNTESS SOFYA, favorite daughter SASHA, and his personal physician DUSHAN MAKOVITSKY. Sasha and Dushan write in their diaries. Sofya looks from one to the next a little impatient. The train begins to slow. SOFYA Why are we slowing down? No one responds. Slower. Slower. SOFYA We're stopping. Why are we stopping? SASHA I don't know, mother. No idea. Tolstoy look up from his work, asks a passing conductor. SOFYA Excuse me, why has the train stopped? CONDUCTOR It's the crowd, ma'm, the people. They're blocking the track. In the distance we can here voices. VOICES (O.S.) Long live Tolstoy! Long live the old warrior! SOFYA But if they block the track, the train can't go...YOU HAVE TO MAKE THEM MOVE. 2. The conductor shrugs, walks away. She goes to the window to investigate. A crowd of a hundred peasants, students surround the engine, block the track. They carry a huge cloth banner honoring Tolstoy. We can hear voices chanting "Tolstoy. Tolstoy. Tolstoy", voices crying "You are the truth." "You are the hope of the Russian people." SOFYA Oh, they won't move. We are gonna die here. Leo, Leo, go and say something to them. It's the only way we are gonna get out of here. The chanting grows in intensity. Tolstoy gets to his feet, walks to the window, shows himself to the crowd. A great shout goes up. Tolstoy lifts his hand for silence. Gradually, it comes. TOLSTOY I have seen your banner. And I¥ve heard what you say. You think I¥m the hope of Russia, do you? Well, that¥s not true. You are the hope of Russia. The hope of all the world. You say, you want a new way to live? Well, you are not gonna find it making a fuss over me. So, I suggest that you get on with your work and let a poor old men get on with his. The cries begin. "Clear the tracks. Let them pass. Let them go." Tolstoy closes the door and waves to the crowd as the train pulls away.3 EXT. COUNTRYSIDE. DAY. 3 On the chanting crowd now as the train pulls away. We focus on a handsome young man, a little stiff maybe, a little intellectual. This is VALENTIN FEDOROVITCH BULGAKOV. He can't contain his enthusiasm. Over the noise of the train. VALENTIN Do you know who that is? That is the greatest man in the world. The train pulls away into the distance. TITLE OVER BLACK: SPRING 19104 EXT. YASNAYA POLYANA. DAWN. 4 The ancestral home of the Tolstoy family in the first budding of spring. 3. Muzhiks (peasants) gather wood, carry water to the house. A cart arrives loaded down with mail bags.5 INT. YASNAYA POLYANA. SOFYA'S BEDROOM. DAY. 5 A handsome room, walls covered with generations of family photographs. Religious icons are given pride of place, a testament, not to piety, but to an ingrained social conservatism, a certain position in the world. Countess Sofya mumbles her morning prayers before a make shift altar. Wiping away tears, she leaves the room.5A INT. YASNAYA POLYANA. ENTRY/STAIR. DAY. 5A Sofya walks down the stairs and through the entry passed an old servant asleep in a chair. She continues to the basement.6 INT. YASNAYA POLYANA. TOLSTOY'S BEDROOM/STUDY. DAY. 6 Tolstoy has moved himself out of the refined upper floors into a simple vaulted room he uses as both bedroom and study. The walls are bare except for a portrait of his daughter. The furniture is simple, some of it hand made: a small bed against the wall, a little writing desk in one corner stacked with books, littered with papers, more mail, opened and unopened. Pairs of rude homemade shoes line a work bench. Tolstoy sleeps in his bed. Though it's late March and still cold, the window is open. Sofya closes it. She stands very still, watching Tolstoy sleep. Sitting on the bed, she gently touches his hand, whispers. SOFYA Darling. She lies next to him, something girlish, hopeful in her face, as if waiting for him to wake up and adore her, but he sleeps on. She carefully takes his arm, positions it under her neck, and rolling toward him, wraps it around her. The image of love's intimacy, of wedded bliss. His hand slips off her shoulder, once, twice. She moves awkwardly to replace it. He moves a little toward her. She kisses his neck, his cheek. We don't know if he's awake, but even this shadow of intimacy penetrates her soul.7 OMITTED 7 4.8 INT. MOSCOW. STUDY. DAY. 8 A handsome study in the Moscow townhouse of VLADIMIR GRIGOREVICH CHERTKOV, Tolstoy's most articulate and dedicated disciple. He's interviewing Tolstoy's newly appointed secretary, VALENTIN BULGAKOV, the young man we met near the train, who, at the mention of sex, blushes a little. CHERTKOV But sex... You are twenty three. Not an easy age for abstinence, is it? VALENTIN Tolstoy does not approve of sexual relations. I know this. CHERTKOV He despises them, in fact... Chertkov reaches for a small tin of moustache wax. CHERTKOV I don't want to belabor the point, but I arranged for a manservant last year who proceeded to ruin two housemaids just like that. He was very upset. VALENTIN This would not be a problem. I'm celibate. I'm also a strict vegetarian. Chertkov nods his approval, begins to worry his moustache. CHERTKOV Yes, I've heard many good things about you. I've even read what you`ve written. So has he. Valentin's face flushes with pride. Chertkov steals a glance at his reflection in the glass bookcase. One side of his moustache droops a little. He tugs awkwardly at it. CHERTKOV My dear boy, if you were to become Tolstoy's private secretary, you would be given a great gift. You'll be with him every day, eat together, walk in the forest by his side. It's difficult to contain himself. 5. VALENTIN Believe me, since becoming a Tolstoyan, I have become so eager to learn, so comitted to discussing ideas, improving my very soul. CHERTKOV (smiling) Well, we have a lot to do if we are to get his work to the people. VALENTIN We?They both laugh. CHERTKOV Yes, we. If we can encourage the spread of passive resistance...just think of it Valentin thousands of ordinary Russians casting off centuries of spiritual and political oppression- VALENTIN In the name of truth and freedom. CHERTKOV Truth and freedom, yes but still, my boy, there are so many enemies- VALENTIN Enemies?Chertkov walks to the window, signals Valentin to followhim. He points toTWO MEN IN PLAINCLOTHES standing in the street below. CHERTKOV The Czar's police...You'll be followed when you leave here...and the church will stop at nothing to bring him back into the fold. His children can't be trusted... only Sasha... and then of course there is the Countess... (beat) Well, one doesn't like to come between married people whatever the circumstances, but her dogged attachment to private property, her public criticism of our movement... (MORE) 6. CHERTKOV (cont'd) (beat) The point is, he needs a man of your intellectual gifts around him. Someone who can help him with the new work. Someone who understands his goals.Chertkov returns to the desk. CHERTKOV And although they've allowed me to return to Russia, I can't see him. They keep me under house arrest... They might as well keep me in a cage.Clearly upset, Chertkov pauses to get control of himself.He picks up a package, hands it to Valentin. CHERTKOV So, I need you to put these letters directly into his hands. One can't be sure what gets through to him.Valentin looks at him, quizzical. CHERTKOV Sofya Andreyevna does not respect his privacy. VALENTIN She wouldn't open his private correspondence...Chertkov raises an eyebrow. An ominous silence. CHERTKOV I have another task for you, my dear. VALENTIN Please. CHERTKOV You'll keep a diary for me.He hands Valentin a notebook. CHERTKOV I need to know everything that goes on at Yasnaya Polyana. Let me know who visits the house, any talk of the copyright to his work, any contact with the church, what letters come and go. (beat) Anything Sofya Andreyevna says. 7. VALENTIN Anything? CHERTKOV She's very, very dangerous.9 EXT. MOSCOW. DOORWAY/STREET. EVENING. 9 Chertkov kisses Valentin delicately on both cheeks and ushers him into the dying light. CHERTKOV Godspeed, my boy. Valentin makes his way to the droshky that awaits him. CHERTKOV And remember what I said. He turns back to the dark figure in the doorway. CHERTKOV Write everything down! Go!10 EXT. YASNAYA POLYANA. GROUNDS. MORNING. 10 SOFYA. Black and white film of her being handed the newspapers at the step. She looks up at the camera, irritated by its presence. CUTTING OUT TO COLOR we see a cinematographer on the lawn cranking away at his camera. She goes into the house.11 INT. YASNAYA POLYANA. TOLSTOY'S BEDROOM/STUDY. MORNING. 11 Where Tolstoy, awake and dressed, sits on his bed, pen in hand, writing in his diary. Dushan sits next to him, taking his pulse. TOLSTOY Nothing's working... Hand me my other boot, my friend, will you? DUSHAN Let me finish. TOLSTOY It doesn't matter. If my heart had stopped beating, I'd still go riding today. DUSHAN Your pulse is my responsibility... (MORE) 8. DUSHAN (cont'd) and if you must ride, I insist you wear a coat. Even the sun is cold today.He puts Tolstoy's arm down and hands him his riding boot.Sofya comes ranting into the room carrying several Russianand international dailies. SOFYA This is impossible! It really is! These people are parasites! Look... (reading) "Countess Tolstoy has become estranged from her husband. They barely speak."She throws the paper on the floor. SOFYA You know who spreads all this rubbish....She opens another paper, a French daily. SOFYA C'est la meme en France. They gossip about us in Paris... "They do not share a similar view of either religion or politics." Incroyable! TOLSTOY (smiling) Peut-etre. You think that's inaccurate? SOFYA I think it's none of the world's business.She looks at Dushan who is transcribing every word into hisdiary. He does it with all the master's conversations. SOFYA What are you doing? Don't do that. TOLSTOY (smiling) Dushan Petrovich, you're scribbling again?Tolstoy moves with energy and purpose toward the door. SOFYA Darling, where are you going? 9. TOLSTOY Riding with Sasha. Don't expect us for lunch. Something strikes him. He walks to his desk, picks up his pen and quickly writes a sentence on a scrap of paper. SOFYA Leovochka, why do you insist on dressing like that. TOLSTOY What do you mean? SOFYA Like the man who looks after the sheep. TOLSTOY It's not meant to offend you. SOFYA But it does offend me, because it offends reason. You're a Count, for God's sake. He puts his pen down, goes to her, kisses her gently on the forehead and leaves the room. SOFYA Oh darling, I have something else to say. TOLSTOY (O.S.) I doubt it not, my dear. DUSHAN He's forgotten his coat. He runs after him, tripping over the long fur garment. DUSHAN (O.S.) Count Tolstoy, you've forgotten your coat. Meanwhile Sofya notices a photographic portrait of Chertkov on the wall. She takes it down and tosses it in the corner.12 EXT. YASNAYA POLYANA. GROUNDS. DAY. 12 As Tolstoy appears on the porch, we hear the WHIR of cameras. A crowd of photographers, film cameramen, journalists, and disciples try to catch a glimpse of the master. Dushan steps in front of him. 10. DUSHAN Let him walk. Let him walk. JOURNALIST Count Tolstoy, you're no doubt distressed by the Czar's treatment of your secretary Nikolai Gusev ? TOLSTOY These people are bandits. DUSHAN I said, let him walk. TOLSTOY They come into my house and arrest a man whose only crime is to express a view of life saner than that which prevails. JOURNALIST So Gusev is innocent? TOLSTOY (nods) Of course, I'm the guilty one. I reject the Orthodox church. I condemn the established order and I make no secret of it.A young peasant shouts from the crowd. PEASANT God bless you, Tolstoy. Thank you. DUSHAN Let him walk. Let him walk. (to Tolstoy) But you don't banish these people very much to your credit...I wish I had your largeness of spirit.A photographer's flash goes off. An old Muzhik touchesTolstoy's sleeve, as if expecting a miracle.Sasha, her father's soulmate, leads two horses toward them,her mount and her father's black gelding, Delire. SASHA Papa. TOLSTOY Sasha! 11. SASHA Did you ride this morning? A small crowd collects to watch father and daughter embrace, kiss. A WIDE SHOT of the riders- cutting around we are13 INT. YASNAYA POLYANA. ENTRY/STAIR. CONTINUOUS. 13 Sofya watches her husband and daughter ride away.14 EXT. RIVER VALLEY. DAY 14 A steam train snakes through a broad valley.15 INT. TRAIN CARRIAGE. DAY. 15 Valentin in his buttoned up suit looks a little out of place in the overcrowded third class carriage. He writes in the diary given him by Chertkov. He glances up to see, on the bench across, a young mother taking out her breast to nurse her baby. He blushes, doesn't know where to look. An old peasant catches his eye, winks at him, laughs.16 EXT. TELYATINKI. DUSK. 16 Seven miles from Tolstoy's estate, this is Telyatinki, a communal center created by Chertkov dedicated to the study and practice of Tolstoyism. SERGEYENKO Telyatinki was created by Vladimir Grigorevich as a center for the movement. Just last week we had a visitor from India. We talked to the group about the healing properties of cobra venum. VALENTIN Oh, goodness..It's a beautiful day. SERGEYENKO Yes, but we will pay for it. Sergeyenko, Chertkov's joyless secretary, and Valentin stand on a second storey porch looking out across the central lawn where a number of young Tolstoyans tend the garden, work to put up a chicken coop. 12. SERGEYENKO The meeting room is behind us. This is the tool shed. The dormitory ahead. He points out a larger building across the way.17 INT. TELYATINKI. SLEEPING AREA. NIGHT. 17 They enter the building. SERGEYENKO Telyatinki is a place of freedom. Nothing is forbidden here. Except everything. SERGEYENKO Each man is alone with his conscience and his God. (beat) The kitchen is below. You'll be expected to assist with meals at least twice a week ...and to give a hand in the garden. We're all equals here, you know...as Tolstoy teaches us. They start up the stairs. INT. SLEEPING PORCH. TELYATINKI. DAY SERGEYENKO You are expected at Yasnaya Polyana in the morning, first thing. VALENTIN I look forward to it. SERGEYENKO Yes... you're lucky....We're all envious. 13.18 INT. TELYATINKI. VALENTIN'S ROOM: NIGHT 18 Small, sparse, perfect for the novice ascetic. Valentin nods his approval. SERGEYENKO Vladimir Grigorevich is anxious that you begin your reports as soon as possible. You have the notebook he gave you? VALENTIN Of course. SERGEYENKO You understand we must keep the existence of the diary a secret. Valentin smiles. SERGEYENKO What is it? VALENTIN Just that...secrecy doesn't seem to me the essence of Tolstoy's thought. SERGEYENKO But you'll admit, you're no expert. VALENTIN Yes, I...I'll see you in the morning. SERGEYENKO If we're spared. Sergeyenko leaves Valentin to his bare, little room.19 EXT. TELYATINKI COMPOUND. MORNING. 19 The sun rising. Already, disciples are at work the gardens.20 INT. TELYATINKI. VALENTIN'S ROOM. MORNING. 20 Valentin sleeps in his tiny room. A knock on the door. VALENTIN Come in. A lovely girl at his door. She's tall, twenties, high cheek bones, short blonde hair. This is MASHA. 14. MASHA I've brought you a glass of tea. VALENTIN That's very kind of you. MASHA It's your first day. Enjoy it.She sits on the bed. He's a little taken aback, not used tothis degree of familiarity. It makes no impression onMasha. MASHA You met Sergeyenko? VALENTIN Last night. MASHA Ad what do you think? VALENTIN He seems very sincere.Masha hands him his tea. VALENTIN Thank you. Why are you laughing? MASHA Say that again. VALENTIN I said he seems very... Why? MASHA Is that what you think? VALENTIN I just arrived...What's your name? MASHA Masha. But you should still say what you think. Not just about him. We all should. VALENTIN Thank you for the tea.Their eyes meet, hold. Valentin's discomfort increases. MASHA Tomorrow you can make your own.She walks to the door, turns to see him still watching her. 15. MASHA He's a sorry old tight-assed stick in the mud...but yes, he's sincere.21 EXT. ROAD TO YASNAYA POLYANA. DAY. 21 A modest horse drawn cart. Valentin sits beside the driver, contemplates the birch trees that line the road, the long shadows they cast. Above, crows make lazy circles in the sky.22 OMITTED 2223 INT. YASNAYA POLYANA. ENTRY WAY/STAIRS. DAY. 23 Valentin stands in the entry way, waiting. He looks lost. VALENTIN Hello...hello... VOICE (O.S.) You're the new secretary. He looks up to see Sasha examining him from the landing above. SASHA Papa's out. You can wait in the library. Ivan will show you up. She disappears. He hears a door close. He notices a surly house servant, IVAN, who, inexplicably, leads a goat through the house. He points upstairs and walks away.24 INT. YASNAYA POLYANA. LIBRARY. DAY. 24 Alone now among Tolstoy's books, Valentin makes his way slowly to a writing table, the holy of holies, on which War and Peace and Anna Karenina were written. He runs his hand along the old wood top. Emboldened by a backward glance, he sits in Tolstoy's chair. Before him are stacks of letters, pens and pencils, a pot of India ink. There's a notebook lying open. He leans forward to read it. A noise in the hall stops him. Tolstoy enters from the dining room, red cheeked, beard dripping wet, the energy of a man ten years younger than he is. Valentin stands. TOLSTOY I'm glad you're here. So glad. 16.He tromps across the room, kisses the boy enthusiasticallyon both cheeks. Valentin is overcome by the great man'swarmth. VALENTIN I'm... I'm... Here is-Valentin interrupts himself with a sneeze. TOLSTOY God bless you. VALENTIN I'm sorry. Sometimes I...Valentin pulls out a letter of introduction. Tolstoy takesit out and puts it down without a glance. TOLSTOY Vladimir Grigorevich has already written about you at length. I need your help badly. The manifesto against the government is hard work. They commit their idiotic abuses faster than I can catalogue them...and the new book... VALENTIN He told me about it...It's very exciting.Tolstoy nods. TOLSTOY I've become convinced that all the world's religions have a single organizing principle. Can you guess what it is? Love! Love! Simple... Now, I want to talk about you. How are you? How was your journey? Come, sit down.Tolstoy sits on the old sofa. Valentin follows suit. TOLSTOY You know, I was born on this sofa...Valentin gets right back up. Tolstoy laughs, pats the sofa. TOLSTOY Sit. Sit.Valentin sits down. 17. TOLSTOY Myself, my brother, my children, at least five or six of them, right here. (beat) Now, I've read your essays. How`s your work progressing? Valentin looks into the great man's kind old face. He tries to speak but he's overcome with emotion and begins to weep. TOLSTOY My boy, what is it? (beat) I upset you in some way. Was it the sofa? It's only a sofa. Valentin shakes his head, smiling through his tears. VALENTIN I'm very happy. You are very kind. I'm no one and you are... you are Leo Tolstoy and you ask me about my work. Tolstoy takes Valentin's hand, sits him back on sofa. TOLSTOY You rest for a moment and I'll fetch you a glass of tea. Rest, because there's work for both of us together. He smiles and goes, leaving Valentin to contemplate his fortune.25 OMITTED 2526 OMITTED 2627 OMITTED 2728 EXT. YASNAYA POLYANA. GROUNDS. DAY. 28 Sofya, Sasha, Valentin, ANDREY, Tolstoy's son, and Tolstoy all clustered around a table taking tea. Dushan stands near the group fiddling with a gramophone that sits on a small table. SOFYA These people have nothing. 18. DUSHAN It really is the most extraordinary thing.Absolutely ignoring him. SOFYA It's not for lack of land that the muzhiks live in poverty. They have no will power and they drink too much. TOLSTOY I'm not suggesting they be given land. Private property is the root of the problem... We should be giving ours away. ANDREY Give it to whom? SOFYA It's all ridiculous. You think that poverty makes the peasants somehow morally superior. TOLSTOY I believe that wealth corrupts us all, yes I do.A pause. Valentin fills the silence. VALENTIN It's a keystone of the movement. SOFYA Oh, I know all about the movement.A pause. Valentin notices that people from the front lawnhave moved up to watch all this. Life in the fishbowl, theTolstoys seem neither to notice nor care. TOLSTOY If the peasants had money, they wouldn't surround themselves, as we do, with footmen costing ten rubles a month. SOFYA No, they'd spend it on drink and whores. TOLSTOY Valentin Fedorovich, do you think fifty years from now, people will eat while grown men walk around and wait on them hand and foot? 19.Valentin doesn't know what to say. A giggle from Dushan. DUSHAN Oh, that's good...that's good.Dushan, having sat at table, tries surreptitiously to getdown Tolstoy's words in the diary he holds below the table.Sofya flushes with anger. VALENTIN I think...(sneeze) SOFYA Stop scribbling! (points to her husband) You all think he's Christ, don't you? He thinks he's Christ.There is an awkward pause. DUSHAN (flustered) I'm not...I don't believe Leo Nikolayevich is Christ. Christ is Christ but... SOFYA But what? DUSHAN I believe he's one of the prophets. God speaks through him. I recognize the cadence in his voice. SOFYA This is unbearable. No wonder I feel lonely. I'm surrounded by morrons. SASHA Mama, you're being ridiculous. SOFYA Am I? I sit here and listen to this talk of love and God and equality, knowing full well that Count Generosity here is fully prepared to give away everything we have. TOLSTOY (exhausted) You keep going on like that...Why do you think we should profit from the work I¥m doing which is only meant for the sake of the people. 20.She turns to see Dushan scribbling again. SOFYA STOP IT! STOP WRITING NOW!Valentin glances at Sasha, uncomfortable at theseoutbursts. A long pause. Dushan tries to relieve thetension. DUSHAN In defense of my gift, let me demonstrate. It's quite remarkable, really.He gets up, places a record on the gramophone, needle onthe record. What comes forth is not music, but Tolstoy'svoice.It is a recording of a recent speech against capitalpunishment. His voice booms, tinny and distorted. Dushanwalks to the machine, stares at it in awe. Valentin iscompletely caught up in the technology. VALENTIN It's your voice. It's wonderful.They all listen for a moment, look to Tolstoy for aresponse. TOLSTOY It's tiresome. Another remarkable invention will supercede it.Valentin blushes and looks at the table. Dushan tries tohide his disappointment. TOLSTOY Please excuse me.Tolstoy rises, leaves the table, walks out onto the lawn.Dushan gets up quickly, bumping the table as he goes. Teaspills. Valentin moves to wipe it up, sneezes, a barrage ofirritable blessings. DUSHAN Leo Nikolayevich is something of a Luddite, I fear.Sofya crosses to the machine, removes the record from thegramophone, replaces it with another Dushan has brought.Suddenly, the air is filled with the final duet fromMozart's Il Nozze di Figaro. She returns to her place.There is a long moment where all take in the sublimity ofit. Tolstoy walks slowly back to the table. He standscompletely still. Tears fill his eyes and roll down hischeeks. 21. TOLSTOY Oh, that¥s better. That¥s nice. Very nice indeed. Sofya crosses to her husband, wipes the tears off his face. Valentin watches as they embrace. VALENTIN (O.S.) Do your parents often speak to each other so...bluntly?29 INT. YASNAYA POLYANA. LIBRARY. EVENING. 29 Across from Tolstoy's writing desk is Sasha's world, a makeshift office lined with more bookcases where she does her work, sending cables, editing manuscripts, answering endless stacks of mail. Valentin sits near her, learning the ropes. SASHA My mother doesn't understand my father's goals, not since his work as a novelist became secondary. His commitment to the spiritual life offends her. They've fought about it for years. VALENTIN I'm sure she means well. Sasha just looks at him. VALENTIN Your father is the greatest writer in the world. SASHA Quite. A pause. VALENTIN I mean to say, I feel privileged to be here. It's an... honor. Valentin feels himself slip further into mundanity. Sasha goes back to her letter. Valentin SNEEZES. SASHA God Bless You. They read together for a moment. He sneezes again. SASHA (irritated) God bless you. 22. VALENTIN I'm sorry. Sometimes I sneeze when I'm nervous. She regards him like an animal in the zoo. Ivan appears at the door. SASHA What is it? IVAN It¥s a note, for him. He nods toward Valentin. SASHA Well, give it to him then. Valentin reads the note. VALENTIN It¥s from your mother. She wants to see me. As Valentin goes, SASHA She is looking for allies. Pay attention. This is war.30 INT. YASNAYA POLYANA. SITTING ROOM. NIGHT. 30 Sofya is settled on a divan in a small room off the dining room. Valentin sits beside her holding a glass of tea. SOFYA I see a fine young man before me. Clear eyes. Nice features, rather handsome in a peculiar way. VALENTIN Thank you, Countess... SOFYA Call me Sofya Andreyevna. We don't stand on formality here, as you may have observed. (beat) Many young men ruin their looks by loose living. You're a real Tolstoyan, I can tell! VALENTIN I admire your husband immensely. SOFYA That's excellent. He likes that. 23. VALENTIN His ideas are beautiful...social justice...the idea...Don't you think?Sofya drains her tea cup, signals for more. SOFYA He's very grateful for the help you've been giving him. He told me so himself. I think it surprises him that a young man would be so diligent. When he was your age, he was whoring in the Caucasus.Valentin's eyes are wide. She nods. SOFYA He wrote it all down. He even gave me a copy, so I could read all the details... VALENTIN Thank you. SOFYA You've read War and Peace? VALENTIN Many times... twice.Sofya smiles at his honesty. SOFYA When he was writing it, long before Chertkov created that monstrosity at Telyatinki, before all this "new religion" and revolutionary nonsense... (beat) What do you think of Chertkov, by the way? VALENTIN He's given me an extraordinary opportunity. SOFYA But you see what a fool he is, a self-serving puritanical idiot. I have to say, it's been extremely pleasant since they've locked him in his house.Sofya smiles. Valentin is nonplussed by her directness. 24. SOFYA When my husband was writing it, in the mid-sixties, he'd bring me pages to re-copy everyday. I was the only one who could read his handwriting. I could read his intentions, too. Afternoons, we'd drink tea and discuss changes. "Natasha wouldn't say that to Prince Andrey," or "Pierre's too simple here. He's not stupid."She smiles at the memory. SOFYA But I don't count anymore.Silence. She sips her tea. She glances out the door to seeSasha hovering nearby. Listening? Sasha walks away. SOFYA You must help me, Valentin Fedorovich. I want only what is best for my husband and my family. I could tolerate the situation if it only concerned me What I can not do is sit back while they steal my children's inheritance. Do you know I was the only person. I could understand his intention. VALENTIN I don't believe anyone wants to do that.Sofya gives him a condescending smile. She produces apackage from the table beside her, hands it to him. SOFYA I have a little gift for youHe opens it, extracts a small leather bound book. He staresat it. SOFYA It's a diary. (beat) Everyone should always keep a diary. VALENTIN It's a very popular activity around your husband. SOFYA You're teasing me, but I trust you'll write the truth. 25. VALENTIN That may not be so easy. SOFYA Nonsense. You've been listening to your friends at Telyatinki... (beat) Write what you see. That's always the place to begin. (slowly) What. You. See. Valentin fingers the package, stifles a sneeze. SOFYA More tea?31 EXT. TELYATINKI COMPOUND. DAY 31 Valentin rides into the compound. A number of the disciples are outside working. There is the ringing of metal on wood. He looks for the source. As the way clears a little, he sees Masha chopping away with an axe. He stops his horse to watch her. MASHA You're finished for the day? VALENTIN He didn't need me this afternoon. He gets down off his horse. Masha continues to chop. He picks up an axe, holds it awkwardly. VALENTIN Leo Nikolayevich disapproves of women doing physical labor. (beat) Don't you find that reactionary? MASHA No, I find it sweet. I find you reactionary. She laughs. Valentin picks up a log, sets it on end and begins to chop. He doesn't do it well. Masha smiles at his struggle. MASHA He admires you, I believe. What's she saying? MASHA Sergeyenko told me. He's miserable about it. 26. VALENTIN Tolstoy's kind to everyone.The log is stuck to the blade of his axe. He's reallystruggling now. MASHA What do you talk about when you're with him? (beat) Why are you blushing? VALENTIN We talk about me. MASHA Really. VALENTIN He wants to know everything about me, my parents, my relations with women, my experience of god -He looks up to see Masha smiling at him. MASHA And what relations are these?Valentin blushes, goes back to trying to chopping. Almostimmediately the log becomes stuck to the blade of the axe.He bangs it, bangs it trying to free it. He glances up tosee her still looking at him. He pounds again and again.She stops, reaches for his axe, touching him as she does.She lifts the big axe, log and all, above her head,bringing it down hard. The log splits. She hands the axe tohim. MASHA I had a lover before I came here... headmaster of a school where I taught. He was married - happily married. It was difficult. We could make love only at school.This is somehow more than Valentin had bargained for. VALENTIN At school? MASHA In the gymnasium, after the girls had gone. There were straw mats on the floor. VALENTIN I see... 27.He looks away to hide his confusion. MASHA Have I upset you?He looks at her. VALENTIN No...I appreciate your frankness MASHA But you disapprove of me. I see it in your eyes. VALENTIN I don't. Not at all...I think sexual activity...how men and women combine their physical parts is completely neutral. MASHA Listen to you. You're a prig. Just like Sergeyenko. Why else would they have hired you? VALENTIN That's not fair MASHA I don't care if it's fair. It's true...neutral...my God... VALENTIN I'm going.He puts down the axe. MASHA Do as you like.She goes back to chopping. We track in front of him as hewalks toward the house. The chopping stops. MASHA Valentin Fedorovich.He stops, relieved and turns to face her. MASHA You forgot your horse. VALENTIN Yes. You know, I think that I... never mind.He hesitates for a moment, then starts toward her. Her backis to him. She begins to chop again. The color rises in hisface as he tries to salvage a little dignity. 28. He grabs the reins and starts again toward the buildings, trips in a ditch, almost falls flat. Red faced, he rights himself. The chopping behind him remains constant. Sergeyenko watches him from the porch.32 INT. YASNAYA POLYANA. LIBRARY. DAY 32 CLOSE on the CABLE MACHINE. A message coming through.32A INT. YASNAYA POLYANA. ENTRY WAY/STAIR. DAY. 32A Sofya walks into the house with another stack of mail. Sasha comes piling down the stairs. SASHA Where's papa? Without waiting for the answer, Sasha races past her and out the door33 OMITTED 3334 EXT. YASNAYA POLYANA. ZASYEKA WOODS. DAY 34 Valentin and Tolstoy walk together in the woods. . TOLSTOY I couldn't write. I was distracted I think...I had a dream last night, about a Tartar girl I knew in the war. VALENTIN A girl who died? TOLSTOY No, no...A girl I had sexual intercourse with... Sometimes we did it twice a day. Valentin sneezes. TOLSTOY God bless...I've never forgotten our time together, the position of our bodies, the taste of her... VALENTIN You shouldn't torture yourself. It was a long time ago. Tolstoy laughs out loud. 29. TOLSTOY Torture? You are a virgin, aren't you. VALENTIN I try to...you know, to... TOLSTOY To be what, a good Tolstoyan?Tolstoy smiles. TOLSTOY You see, I myself am not a very good Tolstoyan. You should think twice about asking my advice about anything... Torture... (he laughs) VALENTIN Are you alright? TOLSTOY Kalya, her name was...She's an old woman now, white hair, old body like me. She'd hardly remember my name, I suspect. She may even be dead. (beat) Do you think that meant something? VALENTIN What do you mean? TOLSTOY I mean that little romance. Was there some meaning to it? VALENTIN It¥s interesting. I think you would say..I mean, I¥ve read where you say that the physical body isn¥t real. That it¥s all an illusion. TOLSTOY I say lots of things. What do you say? What do you think? VALENTIN I...I don¥t know.Leo Nikoleyevich smiles. TOLSTOY I don¥t know, either.He inhales deeply. 30. TOLSTOY Smell that... VALENTIN Lilac? He looks up as he hears Sasha off screen. "Papa. Papa." TOLSTOY Precisely. It's lilac. The smell's stronger when the sun goes down. He presses Valentin's hand. SASHA Papa! TOLSTOY I've enjoyed myself, my boy. (shouting for Sasha) WE'RE HERE. As he starts in the direction of her voice. Sasha appears in the clearing, telegram in hand. SASHA He's free. He's free...He's coming back Smash cut to35 EXT. RAILWAY. COUNTRYSIDE. DAY 35 A train roars past camera, shaking the world.36 OMITTED 3637 EXT. YASNAYA POLYANA. GROUNDS. DAY 37 Chertkov climbs down from his droshky. Suddenly, Tolstoy is there. Valentin watches them embrace. TOLSTOY My dear, dear man. Tears run down his old cheeks. They embrace again. SOFYA (O.S.) He'll try again to convince your father to change his will. 31.38 INT. YASNAYA POLYANA. ENTRY/STAIRS. DAY. 38 Andrey and Sofya stand together at the window, watching the joyful reunion. SOFYA To give the copyright as "a gift to humanity."...the reptile. ANDREY Papa's not in his right mind. He can't defend himself against these thieves. (beat) My tooth is killing me. SOFYA You're a fine son, darling. None of this make believe chastity and made up religion. I wish all my children had turned out like you. Andrey's finger in his mouth, massages the offending molar. ANDREY A man'th responthibility ith to hith family. From her POV, we see the two men walk away together arm in arm, talking animatedly. SOFYA Chertkov's notions of virtuous behavior are calculated to destroy me. ANDREY To dethtroy uth all. SOFYA There is nothing more pathetic than impoverished aristocrats. She walks out of the room.39 EXT. GROUNDS. YASNAYA POLYANA. DAY. 39 And into the drive to greet Chertkov. He moves immediately to her, offers her his hand and an unctuous smile. SOFYA Vladimir Grigorevich, what a surprise. CHERTKOV Sofya Andreyevna, I'm happy to see you. 32. Valentin watches her match him smile for smile. * SOFYA And I'm happy to make you happy...always.40 OMITTED 4041 EXT. ROAD TO TELYATINKI. DAY 41 Valentin and Chertkov sit together in the droshky, an awkward silence. CHERTKOV I'm glad to have a moment alone with you, Valentin. How do you think you're getting on? VALENTIN (a little nervous) I hope my work is pleasing to Leo Nikolayevich. CHERTKOV Yes. He seems satisfied and that's good. The reports I've received from you however... There seems to be some confusion. VALENTIN What do you mean? CHERTKOV You send me never ending commentary on Tolstoy's writing. That's all very interesting but not very useful. I need to know what goes on with Sofya Andreyevna. You must see by now she's committed to undermining her husband's best intentions. VALENTIN It's not quite so obvious to me. CHERTKOV Because she is duplicitous. You are very bright. Too bright to let her into you. Chertkov fixes the boy with his intense gaze. CHERTKOV You value our work? 33. VALENTIN I do. CHERTKOV The ideals we share? VALENTIN That's why I'm here. CHERTKOV Good, of course it is. (beat) Do you think the Countess suspects something? VALENTIN Well, I think the Countess is very suspicios by nature. CHERTKOV How so? VALENTIN I don¥t think she likes you very much. CHERTKOV What does she say? VALENTIN It¥s a tone I¥ve picked up. CHERTKOV We simply want to distribute Tolstoy's work to the widest audience possible. She just has no understanding what it is we are trying to do. There¥s nothing in it for any of us but a real chance to increase the world¥s happiness. He takes Valentin's hand. CHERTKOV I can only be of limited help to the master if I don't know what's going on. Any effort she makes to shore up control of the copyright, I must know. The survival of our movement depends on it. Remember who your friends are. What you've come here to do. Chertkov turns away to watch the countryside. Valentin stares straight ahead, his nose twitches slightly.42 OMITTED 42 34.43 OMITTED 4344 OMITTED 4445 OMITTED 4546 OMITTED 4647 INT. TELYATINKI. VALENTIN'S ROOM. NIGHT. 47 Valentin, in bed, writes in his diary. Closing his eyes, he begins to drift off when there is a noise outside his door. VALENTIN Hello... Hello? After a moment, it opens a crack. VALENTIN Masha? She is there. She puts two fingers to her lips and walks toward him. She carries a candle which reveals her short hair, her lovely eyes. VALENTIN Masha. She says nothing, simply crawls into bed, positions her knees on either side of him. She leans forward and kisses him. VALENTIN Masha. MASHA Ssshh. She begins to move against him. Their faces touch. She doesn't kiss him, but he can feel her breath. She sits up. MASHA Move the book. VALENITN What? MASHA Your book. It's true. Valentin still clutches the diary to his chest. He puts it aside. Masha, then, pulls her nightdress over head, exposing her small breasts, her flat stomach. 35. She reaches under the sheets, curls her fingers around him. He flinches at the pleasure of it. MASHA Is it alright? He can't speak. Only nod. He bites his lip as she slips him into her and begins to rock. The pleasure is too much, and he comes too quickly. She falls forward on him, begins to laugh. VALENTIN What...what is it? MASHA You really are a virgin. Valentin tenses a little. MASHA I'm playing. It's fine. It's wonderful... (beat) Hold me. He does, as if he'll never release her.48 EXT. TELYATINKI COMPOUND. MORNING. 48 Activity in the compound. Chairs on the lawn, a banner being erected, a long table being set. Preparations being made.49 INT. TELYATINKI. VALENTIN'S ROOM. MORNING. 49 Light spills into Valentin's room. He lies with his arms around naked Masha. VALENTIN Wake up, wake up. MASHA I am awake. VALENTIN I want to ask you something..Say it again. MASHA It was wonderful. They both giggle. VALENTIN Why did you come to a place like this? 36. MASHA What do you mean? VALENTIN You don¥t follow any of the rules. Masha smiles. MASHA You mean, why does someone who doesn't follow the rules come to a place like this? MASHA ..it's not about rules. Not for Tolstoy anyway... A knock at the door startles them. SERGEYENKO (O.S.) Valentin Fedorovich. Valentin is suddenly in a panic. VALENTIN What is it?49A INT. TELYATINKI. CORRIDOR. DAY. 49A Sergeyenko hovers outside the bedroom door. SERGEYENKO Open the door. VALENTIN (O.S.) At the moment, I'm indisposed. SERGEYENKO Yes, well...Leo Nikolayevich is here. He want s to see you.49B INT. TELYATINKI. VALENTIN'S ROOM. DAY. 49B Valentin blanches. VALENTIN Tell him... I'll be down at once. SERGEYENKO (O.S.) Yes..and tell Maria Filipovna we could use another hand in the kitchen. They look at each other. 37. VALENTIN If I see her I will... SERGEYENKO (O.S.) If you see her...yes. And if you're going to behave like rabbits, you should go live in the woods. Valentin is up, immediately. VALENTIN Let me go out first...give me five minutes... Masha just looks at him.50 EXT. TELYATINKI COMPOUND. DAY. 50 A Tolstoyan photo op. A delegation of orphans have come to pay their respects to Tolstoy. He sits in a chair beside Chertkov beneath a large banner : "Leo Tolstoy, Friend of the People.". Behind him, the disciples lay out a vegetarian feast on a plank table. Photographers and a cinematographer are strategically positioned to record the event. Each child gives Tolstoy a flower. Chertkov, in turn, hands each child a photograph of the Count giving money to the poor. Valentin enters, flushed and blushing. He pauses beside Dushan who records the scene in his diary, tears in his eyes. DUSHAN Look at the love in him, like Jesus..suffering the children...all that... Tolstoy greets a little boy affectionately, rubs his knuckles over the boy's shaved head. A little girl approaches, takes a photograph. He bends forward to kiss her head but she pulls away. TOLSTOY An old man is a very ugly thing. Tolstoy sees Valentin, lights up. TOLSTOY My dear boy. Come and kiss me. Valentin, beet red, goes to him. He is warmly embraced. 38. TOLSTOY Now, who is this? Maria Filipovna.Masha comes to stand beside him. She glances at Valentinbut he won't make eye contact with her. TOLSTOY You're both looking so well. Life here at Telyatinki obviously agrees with you.Valentin sneezes mightily, moves a little away. TOLSTOY God bless you, boy. What are you nervous about, now? Sit down. Sit down.Valentin takes the chair beside him. TOLSTOY Dear Masha, Valentin tells me you're the great treasure of Telyatinki. He claims you're a very gifted teacher.Sergeyenko lifts an eyebrow "Indeed.". Valentin is inagony. MASHA We're happy to have you with us.Tolstoy notices a mosquito on Valentin's cheek. He takesthe bug between his big fingers, squeezes until it pops.Chertkov watches in horror, whispers loudly. CHERTKOV What are you doing? TOLSTOY What do you mean?He motions to the photographers. CHERTKOV You've killed a living thing.Chertkov hears a laugh behind him. It is Masha who hasover heard the whole thing. CHERTKOV Do you have something to say? MASHA It's absurd. That's all.Chertkov is taken aback. Valentin stares at her. 39. VALENTIN What are you saying? MASHA I'm sorry but- It's a mosquito. TOLSTOY Forgive him. He can't help it. He's a better Tolstoyan than I am. She can't help laughing again. Valentin sees the color rise in Chertkov's face. CHERTKOV It's not the message we want to send. Sasha suddenly appears. She holds a cable in her hand. SASHA From my mother "Nerves dreadful. Stop. Insomnia. Stop. Pulse 100. Stop. Please come home.51 INT. TELYATINKI. CHERTKOV'S STUDY. DAY. 51 Chertkov is there. Tolstoy, Valentin and Sasha. SASHA Don't give in to her, Papa. It'll never end...I swear to God, that woman has an instinct for knowing when you're just about to enjoy yourself A knock on the door. Valentin opens it. It's Dushan with another cable. Tolstoy gestures for him to read it aloud. DUSHAN From Sofya Andreyevna. "I beg you. Stop. Unwell. Stop. Hurry back." SASHA Who taught her to use that damned machine? Valentin starts to sneeze, stifles it, starts again, stifles, starts, explodes. Guilty. CHERTKOV Perhaps Sasha's right. Encouraging this may not be the best thing. 40. SASHA It's a trick, Papa. She'll drain you. You'll be miserable. Tolstoy looks from one to the other, gets up from his chair. SASHA Then, let me go with you. TOLSTOY No, my dear, I'll go alone.52 OMITTED 5253 INT. YASNAYA POLYANA. SOFYA'S BEDROOM. NIGHT. 53 Close on Sofya lying in bed. She looks ravishing in the candle light. In the background, Tolstoy arrives in the bedroom door. TOLSTOY Sofya. A sly smile on her lips, the tension gone from her face, she seems twenty years younger. TOLSTOY Sofya, are you ill? She rolls toward him making it clear she's quite naked under the sheets. This is no sick bed. SOFYA I'm fine...now that you're home. TOLSTOY It's no good, you know, all this. You frightened everyone. SOFYA Did I really? I don't believe it. Not you. I'm your little bird. You know the sounds I make. TOLSTOY That was some sort of love call? SOFYA It brought you back to me. She reaches out her hand to him. 41. SOFYA Come out of the dark... where I can see you. He takes a step toward her, then stops. TOLSTOY Why? Why? Why, do you do it? We live in the country and you insist on making it an opera house. What's wrong with a little peace now and then? Sofya laughs. SOFYA Look at me. This is who I am. This is what you married. We're older, maybe we're old, but I'm still your little chicken (beat) You're still my big cock. She smiles at him. SOFYA Let me make you crow. A pause, then a huge laugh comes up from the very center of him. He twists his neck, thrusts his head upward, crows like a rooster. He virtually runs to her, embraces her, kisses her. She is a giddy girl in his arms. He breaks the embrace and begins strutting around the room. SOFYA Let me make you sing. He takes her in his arms, again, begins to kiss her neck. SOFYA Do you love me? TOLSTOY I do. SOFIA I want you to love me. He stops kissing her, looks her in the eye. Then, another loud crow. Laughing, they fall into each other again.53A EXT. YASNAYA POLYANA. GROUNDS. NIGHT. 53A And we hear their laughter over the dark old house. 42.54 EXT. TELYATINKI. PORCH. NIGHT. 54 Valentin sits by himself on the porch, writes in his diary. Down below, some of the disciples listen to peasants play music around a bonfire. A voice from the darkness. MASHA I'm not supposed to do this either. He locates the speaker by the glow of her lit cigarette. VALENTIN Masha. You are not supposed to smoke at Telyatinki. MASHA You wouldn't look at me. VALENTIN It was difficult in front of the others. MASHA But it wasn't difficult in your bed... When it was only you and me in front of God. VALENTIN I'm not sure I was conscious of God. Masha emerges from the shadows, but keeps her distance. MASHA So, I made you forget God? VALENTIN No... MASHA Yes, only for a moment. You forgot your rules and remembered love. VALENTIN You make it sound very simple. MASHA It is simple. What we did is what men and women do, have done, will continue doing. What could be more simple? We touched each other-- stayed close together. Something passed between us. Something real. That is a betrayal of what? Of nothing. (MORE) 43. MASHA (cont'd) But you're afraid... All your ideas. What are you afraid of? VALENTIN I'm afraid I've hurt you, haven¥t I? MASHA No. I feel a little sad, but it is not for me. It's for you. She disappears into the house. Valentin looks after her.55 INT. YASNAYA POLYANA. SOFYA'S BEDROOM. MORNING. 55 The Countess wakes to find her bed empty.56 EXT. YASNAYA POLYANA. BACK TERRACE. DAY. 56 She comes through the dining room to find Tolstoy on the back terrace. Wrapped in a blanket, he writes in his diary, a cup of tea in front of him. SOFYA Good morning, my darling? Do you mind if I join you? Without looking up TOLSTOY Of course, my dear. He continues to write. She watches him for a long moment. She opens her diary and begins to write as well. SOFYA It's quite insane, my darling. Everyone is making fun of you. He looks up. TOLSTOY What are you talking about? She continues to write. SOFYA Even the muzhiks. I heard them laughing in the barn. TOLSTOY About what? Sofya looks at him knowingly. 44. TOLSTOY Laughing about what? SOFYA I don't want to ruin last night.She sips her tea, goes back to her writing. A pause. Hefollows suit. After a moment... SOFYA Laughing about the fact that you've developed a senile crush on a fat middle aged flatterer. Your passion for Chertkov has become a standing joke. TOLSTOY I have a great affection for Vladimir Grigorivich. Let them laugh if they find it amusing. SOFYA But it's not amusing, darling. It's sick. It's not normal. You hang on his every word. TOLSTOY We have a great deal in common. SOFYA You have nothing in common. You are a genius. He's a sycophant and a pervert. TOLSTOY Because he understands what I'm trying to do? Because he tries to help me accomplish it? SOFYA He is using you. You just can't seem to see it. TOLSTOY This is absolute nonsense. SOFYA That bold, obese, idiotic man. You treat him...He turns to her...his face red with anger and frustration. TOLSTOY It's impossible for you not to distract me. Let me alone... for God's sake. You're like a spoiled child. 45. He rises, spits on the ground, goes into the house. Sofya follows.57 INT. YASNAYA POLYANA. DINING ROOM. CONTINUOUS. 57 Catching him up. SOFYA Do you love me, Lyovochka? TOLSTOY Of course, I do. SOFYA Then why would you betray me? TOLSTOY Why do you say that? SOFYA Because of the will?57A INT. YASNAYA POLYANA. ENTRY WAY/STAIRS/LANDING. DAY 57A Tolstoy, taken aback, says nothing. SOFYA The new will. TOLSTOY There's no new will. She stares at him in silence. TOLSTOY There is no new will. SOFYA Does Chertkov have it? TOLSTOY There's no new will. He walks up the stairs. She follows. SOFYA But that's why he's come back. You talk about it, you and your boyfriend. You plan for it. You have no heart for the people who really love you. You'd rather be seduced by charlatans and deluded by flatterers, all in the name of love....You can't even love your own children. You can't even love me. 46. SOFYA Tell me where it is? TOLSTOY There is no new will.58 INT. YASNAYA POLYANA. LIBRARY. CONTINUOUS. 58 He goes to his desk, tries to ignore her. SOFYA Then, promise me there never will be. A moment's hesitation. TOLSTOY I¥ve told you the truth. Now, let me work. Please, will you? He walks to his desk.59 OMITTED 5960 INT. YASNAYA POLYANA. LIBRARY. CONTINUOUS. DAY. 60 Tolstoy looks up from his work. Sofya stands in the doorway. SOFYA Tomorrow, I'll go to the Station and lie down on the track. Tolstoy's wife becomes Anna Karenina herself! See how the papers will like that! As he goes, we hear. TOLSTOY (O.S.) This is unbearable. You don't want a husband. You want a Greek chorus. Sofya is taken aback by his response. She walks out of the room.61 EXT. ROAD TO TELYATINKI. DAY 61 Four peasants pull a water cart down a rough country road. We pan off to see Sofya in her droshky, resplendent in a white dress. 47.62 INT. TELYATINKI. CHERTKOV'S STUDY. DAY. 62 CHERTKOV and SERGEYENKO look through a crack in the interior window. THEIR POV - the Countess on the sofa drinking a glass of tea. Valentin enters from the meeting room. VALENTIN She's here to question you about the new will. Chertkov nervous, tugs at his moustache. CHERTKOV How does she know it even exists? VALENTIN She claims Leo Nikolayevich told her she could examine the draft. CHERTKOV He is obviously not thinking clearly. And now we have to put up with her petty grasping. VALENTIN It doesn't seem petty to me. CHERTKOV I beg your pardon? VALENTIN He`s her life. The work, in her mind, is theirs...together. CHERTKOV And you're her advocate? You've been taken in by her celebrity. I worried about this. VALENTIN I'm talking about their history -- - simply that. CHERTKOV We should see her. Act as if nothing has happened. VALENTIN Nothing has happened.63 INT. TELYATINKI. MEETING ROOM. DAY. 63 The men enter the meeting room. 48. CHERTKOV Sofya Andreyevna, at last, you honour us with your visit.Valentin watches her match him smile for smile. SOFYA And I'm happy to make you happy...always.She looks at him curiously. CHERTKOV What is it? SOFYA Your moustache is...Drooping, one side of it anyway. CHERTKOV (nodding) It's a problem of the wax.Sofya takes them in. SOFYA Let me get to the point. Vladimir Grigorivich, I don't wish to be your enemy. I'm delighted that my husband has a friend who understands and shares his ideals. All I want is what's reasonable - an opportunity to evaluate the new will. If you agree, I'm sure we can be friends. CHERTKOV You're very kind. Sofya Andreyevna. But I can't help you. Not without specific instructions from your husband. SOFYA (to Bulgakov) Leo Nikolayevich has agreed, hasn't he Val- CHERTKOV No witness you produce will change my position. But I'll certainly talk to Leo Nikolayevich at the first opportunity.Sofya is livid. 49. SOFYA Very well. CHERTKOV I want us to be friends, too, Sofya. Leo Nikolayevich is the most valuable thing in the world, for both of us. We should endeavor to set things right between us. Give him peace. Let him work. SOFYA Yes. (beat) Valentin Fedorovich...are you coming back to the house with me? Valentin glances between them, searching for middle ground. VALENTIN I'll escort the Countess home and be back in time for supper. Sergeyenko sneers. SERGEYENKO Masha will be overjoyed. Valentin's nose twitches. He looks at the floor. SOFYA (O.S.) Have you been keeping something from me? How delightful.64 EXT. ROAD TO TELYATINKI. DAY. 64 They are back in the droshky, the return trip to Yasnaya Polyana. Valentin doesn't respond. SOFYA We've become close friends, I think. Tell me everything, dear boy. I love a romance. VALENTIN It's nothing, really. SOFYA A young woman in your life is nothing? VALENTIN Masha is a friend. SOFYA A lover? 50. VALENTIN A good friend. SOFYA That sounds serious enough. Valentin looks away. SOFYA I don't mean to annoy you. VALENTIN I'm not annoyed. SOFYA You forget that I'm an experienced reader. I can read your face, every letter. It's beautifully clear. (beat) Do you love her? Valentin looks at Sofya, tears in his eyes. VALENTIN Maybe I do. SOFYA Not something they'd understand, these so called disciples of my husband. They've never understood a word he's written. (beat) What do any of them know about love?65 EXT. TELYATINKI COMPOUND. DAY. 65 Masha carries two water buckets suspended from a pole across her shoulders. Arriving at a stream, she takes each bucket and fills it. It's hot work. Pausing a moment, she kneels to splash water on her face. Another P.O.V. - someone watches her from the trees. As Masha wets a cloth, puts it around her neck. Suddenly someone grabs her from behind. She screams, wrestle her way free. She turns to see Valentin, flushed, smiling, excited. He steps toward her, kicks over one of the buckets. VALENTIN Sorry, sorry, I'll... I didn't mean to scare you...Are you alright. 51. MASHA Fine...fine...Why did you...? VALENTIN I came back as soon as I could. It was a strange day. Leo Nikolayevich,...I love to listen to him. I love nothing more...He moves closer to her. VALENTIN But today I could hardly concentrate.He's very close to her, now. VALENTIN All I could think of was you.Masha shakes her head, moves away from him. Begins togather the pole, to refill the spilled bucket. Stops her,turns her to him. VALENTIN What's wrong? MASHA I think I've confused you. I've confused us both. VALENTIN No. No. You didn¥t confuse me..I was stupid. I was afraid, but I'm not afraid anymore.Valentin wants to fight through the awkwardness. He triesto kiss her. She won't have it. She pulls away. VALENTIN I love you, Masha! MASHA Maybe you could help me a little.In silence, he gets the filled buckets balanced on thepole. Without another word, Masha starts toward thebuildings. He doesn't know what to do. He's losing her. Heshouts. VALENTIN Masha...She turns 52. VALENTIN Before the other night...I'd committed the act of copulation many times in my heart. He has her attention now, as well as that of a number of the disciples who look up from their work in the yard. MASHA Yes... VALENTIN I think about you all the time. In my heart I¥ve comitted the act of copulation many times. I just want to say...It was never like it was with you. Masha bursts out laughing. MASHA I'll wait for you, then. As Valentin goes to catch her up, he sees Sergeyenko watching from outside the unfinished chicken coop.66 OMITTED 6667 INT. YASNAYA POLYANA. SOFYA'S BEDROOM. MORNING. 67 Sofya wakes up. She looks relaxed, then she sniffs, sniffs again. Out of bed, she grabs a dressing gown. Opening her door, she spots Ivan in the hall. SOFYA Ivan, who's wearing that awful perfume? Ivan a gesture indicating an elaborate moustache. She steps into the hall in time to see Tolstoy, Chertkov, Valentin and Sasha disappear into the library, ducks back into her room to avoid being seen68 INT. YASNAYA POLYANA. HALLWAY. DAY 68 Sofya approaches the door, listens. She can make out only a few words. "Mama cannot find out", Chertkov shushing her, whispers. We push in on Sofya's anxious face. 53.69 INT. YASNAYA POLYANA. LIBRARY. DAY. 69 Chertkov, Sasha, Dushan, Valentin and Tolstoy sit in a little clump by his desk. Tolstoy his head in his hands, looks at the floor. CHERTKOV I hate to say it but the Countess has become more and more dangerous. TOLSTOY Not dangerous... She's concerned for the welfare of the family. CHERTKOV (to Tolstoy) And we're concerned for the welfare of mankind. (to Bulgakov) Take this down. Valentin records the conversation in his diary. TOLSTOY It¥s a terrible thing you ask. I can¥t do it.70 INT. YASNAYA POLYANA. SOFYA'S BEDROOM. DAY. 70 Sofya, still in her dressing gown, climbs out her bedroom window onto a narrow ledge that runs along the second floor.70A EXT. YASNAYA POLYANA. GROUNDS. DAY. 70A Sofya stand on the window ledge high above the ground. She begins to move toward the library balcony.71 INT. YASNAYA POLYANA. LIBRARY. DAY. 71 CHERTKOV You've been more than reasonable. She already controls the income from your property. SASHA Listen to him, papa. He has our best interests at heart. Tolstoy looks at Valentin, who looks at the floor. CHERTKOV We're speaking only of the rights to your words, your ideas. (MORE) 54. CHERTKOV (cont'd) With all love and respect, the Countess is too interested in making a profit from your work.72 EXT. YASNAYA POLYANA. SECOND STORY BALCONY. DAY. 72 Sofya moves along the narrow ledge as if it's a perfectly normal activity.. Looking down, she sees a couple of gawkers watching her from the lawn. She shoos them away.73 INT. YASNAYA POLYANA. LIBRARY. DAY. 73 Valentin turns his head. Did he hear something? TOLSTOY She's my wife. She¥s part of me. We've been together now, so many years.... Chertkov drives the point home. CHERTKOV But you're more than a husband and father. She must understand that. The best interests of the people are one with your own. You belong to them. Valentin glances up...and is shocked to see SOFYA LOOKING IN AT THE STUDY WINDOW. She disappears.74 EXT. YASNAYA POLYANA. SECOND STORY BALCONY. DAY. 74 Sofya has reached the french doors. She can hear clearly now. TOLSTOY (O.S.) But she won't. She'll never understand. HER P.O.V. a crowd of gawkers gather on the lawn below her. One man sets up photographic equipment. She waves him away turns back to the window.75 OMITTED 7576 OMITTED 76 55.77 INT. YASNAYA POLYANA. LIBRARY. DAY. 77 Chertkov pushes his point. CHERTKOV She's unstable...I wonder if she isn't ill. DUSHAN It¥s sadly more than possible. SASHA I know it¥s hard for you, papa. But we must be realistic. We pan to the french doors to see Sofya furious face as she listens to the betrayal. CHERTKOV (O.S.) Do you really think she's fit to control the final disposition of the will? We pan back to the conspirators. Before Tolstoy can respond, Sofya charges into the room. As she does, she steps on the hem of her long dressing gown and ends up sprawled on the floor. The conspirators just stare at her. SOFYA How dare you? SASHA What are you doing? SOFYA You're all plotting against me. In my own house, too. I bear you thirteen children. How can you betray me like this? (beat) Someone help me up. No one moves. Tolstoy slumps in his chair. SOFYA Give everything you've got to him, your fat little catamite. "What will it be, my dearest dear, my Vladimir Grigorivich? My wife's heart on a platter? Her kidneys? With salt? But of course, my dear Chertkov, whatever pleases you. The china. The estate. Permanent copyright on everything I've ever written? Anything for you, my love." 56.Her eye falls on Dushan, who very unfortunately, has chosento take this down in his diary. SOFYA Give me that. Give it to me, you little weasel.She grabs the offending volume. The struggle begins. DUSHAN Please, Countess Sofya- SASHA Mama, please...She rips the book away and after brandishing it above herhead, throws it through the open doors with a guttural,rumbling growl. She turns on her tormentors. SOFYA Now... TOLSTOY (mumbles) Can I not...Can I not have...His face is red, his body rigid with anger. SASHA You'll kill him, Mama. That's what you want, isn't it? You want him to die!"She helps him up, takes him to his bedroom. Valentinfollows.She looks at Chertkov. SOFYA You! Don't think you deceive me for one little moment! I know exactly what you're doing. I want to see the will. It's my right, in the name of god. CHERTKOV What are you afraid of? SOFYA You. I'm afraid of you.Chertkov looks at her with undisguised disgust. CHERTKOV The press is bloodthirsty. Had I wished, I could've demolished you and your family. You make it easy. 57. SOFYA Tell them anything you like. Go ahead. Ruin us. CHERTKOV I have too much respect for Leo Nikolayevich. You're lucky. SOFYA Why can't my husband see you for what you are? Chertkov's face is red. He starts to speak, stops. He walks to the door, then very deliberately. CHERTKOV If I had a wife like you, I would have blown my brains out long ago. (beat) Or gone to America. He leaves the room. Sofya sinks back to the floor, a flower wilting. She begins to weep. An Aria from Madame Butterfly comes over78 INT. YASNAYA POLYANA. DINING ROOM. NIGHT. 78 From a record on the gramophone. The table is set for ten, although no one is at dinner but Sofya Andreyevna and Valentin. He is visibly uncomfortable. An awkward silence. VALENTIN I hope you're feeling better. SOFYA Do you like the opera? VALENTIN I took singing lessons for years. I thought about a career in music. The only thing I lacked, in the end, was talent. (beat) I'm sorry about everything. She smiles. SOFYA This aria is very beautiful.. It is about a woman who is abandoned by the man who loves her...Everyone is very moved by that...in the opera. A long pause. The clink of soup spoons. Tolstoy enters. He doesn't sit. 58. TOLSTOY Our life together has become intolerable.Stifling a sneeze, Valentin gets up to leave,tries to fleethe inappropriateness of all this. SOFYA Sit down, Valentin. VALENTIN Really, I'm expected at Telyatinki.She waves it off. SOFYA No, no, no. Enjoy your dinner. We've had a disagreement. No more than any other married couple. TOLSTOY I didn't come for more recrimination. Despite good cause for alienation between us, I have never stopped loving you. SOFYA Of course... TOLSTOY God knows you don't make it easy. SOFYA Why should it be easy? I'm the work of your life. You're the work of mine. Its what love is.Aside to Valentin. SOFYA Everything with him is hysterics VALENTIN I should go. TOLSTOY Sit down. (beat) So, this is what love is. Does that surprise you, boy?They both look at him VALENTIN I thought it might be quieter, but- 59.He sneezes violently. TOLSTOY/SOFYA God bless youTolstoy turns to Sofya. TOLSTOY He's right, though. If we cannot live a decent, quiet life, if I cannot work, if I cannot find some peace, I shall simply go away. SOFYA Go? Where? TOLSTOY Not to Chertkov, but I shall go. SOFYA Go where? TOLSTOY Dushan says you're killing me.Sofya rises up in cold rage. SOFYA Then go! Go! Anywhere you please!She smashes a plate on the table to punctuate it andanother and another. SOFYA I hate you. I hate what you've become.She picks up another plate, lets it fall. Now, she acts asif she's choking or gasping for breath. VALENTIN Countess...Are you alright?She fights with her collar, rips open the front of herdress. TOLSTOY (shouts) DUSHAN!!! SOFYA You'll destroy me.Dushan runs into the room. Sofya continues to tear at herclothes, stops, begins to pant, then falls to the floor ina faint. 60. VALENTIN Is she alright? Tolstoy tries to answer, but is overcome by a coughing fit. Dushan starts toward him but Tolstoy waves him in the direction of Sofya. He kneels beside her. DUSHAN Sofya! Open your eyes. SOFYA My back. My back... I'm hurting. DUSHAN You're lying on a fork. Sit up and you'll improve markedly...Valentin, help to get her upstairs, would you? Valentin helps Sofya to her feet. Dushan gets up himself and walks to Tolstoy. DUSHAN She's alright. I'm more concerned for you... We should all go to bed before something else happens.79 OMITTED 7980 EXT. TELYATINKI COMPOUND. NIGHT. 80 Valentin sits at the bonfire, with other disciples. After a while he walks towards the house.81 INT. TELYATINKI. KITCHEN. NIGHT. 81 It's late. The house is quiet. Valentin walks into the kitchen to see Masha washing the dishes. Exhausted, he sits, stares at the floor. VALENTIN It was terrible there today... between them. They loved each other so much, but you see what it becomes. She stays at the sink, says nothing. VALENTIN Masha, what¥s the matter? She speaks without turning to him. 61. MASHA I'm going back to Moscow. VALENTIN What?He gets up, goes to her. MASHA Chertkov spoke with me this afternoon. He says I could be more useful there...which means...Valentin shakes his head. His lip trembles. VALENTIN This is him punishing us, punishing me for befriending Sofya Andreyevna. For not... This is Chertkov. MASHA We've both disappointed him. VALENTIN I don't care. You can't go away. I'll talk to him. I'll make him change his mind. i¥m going to make you stay. MASHA No, I want to go. VALENTIN What? MASHA I'm leaving the movement. VALENTIN You can¥t leave Tolstoy. MASHA I am not. Look, when I read his Confession, it moved me, Valya. He was searching for freedom. Freedom from anger. Freedom from attachment. Freedom from all the superstition and nonsense of the church. It moved me so much. I thought that's what it would be about. Isn't that what it's about? Freedom and love? But they mix it all up.Masha reaches out and puts her arms around him. Her headfalls against his shoulder. 62. MASHA Come with me. Please. Bulgakov doesn't know what to say. The silence gets more awkward as it gets longer. Slowly, she disengages herself from him,looks him in the eye. She nods. MASHA I'm going to my room. As she starts away. VALENTIN Don't leave me, Masha... I need you. She turns back for a moment. MASHA I know you do...I know. Then she's gone.82 INT. YASNAYA POLYANA. SOFYA'S BEDROOM/HALLWAY. DAY. 82 Sofya in her bed. A team of doctors hover over her. One of them peers into her eyes with a sextant-like instrument. We move into the hall to find DR. ROSSOLIMO, an expert in mental illness, conferring in the hall with Tolstoy and Dushan. ROSSOLIMO I believe the Countess suffers from a mental degeneracy, paranoic and hysterical, chiefly the former. DUSHAN Yes. The doctor walks back into the bedroom. Tolstoy red in the face, walks away down the hall. Dushan catches him. TOLSTOY Why did you bring him here? DUSHAN He's an old friend, you know, from Rome. TOLSTOY And astoundingly stupid in the way of all scientists. Dushan is wounded by his uncharacteristic lack of generosity. 63. TOLSTOY I'm sorry, my friend, but this is all very upsetting to me. DUSHAN Yes. Tolstoy sits on a small staircase at the end of the hall. Bulgakov is already there on the step above him. TOLSTOY Take them downstairs. Thank them for me. Offer them a drink. DUSHAN You'll be alright? TOLSTOY Valentin Fedorovich will stay with me, won't you, boy Valentin nods. Dushan goes to collect the doctors. MOMENTS LATER-Tolstoy goes to Sofya's bed. He takes her hand. She looks at him with all the love of a new bride. Tears come to his eyes. He kisses her hand. SOFYA Ya...your...your...I can¥t remember now...Yo, what did I say? What did you mean? TOLSTOY You rest now. Valentin watches from the doorway as Tolstoy leaves the bedside and walks out.83 EXT. ZASYEKA WOODS. DAY. 83 It is an autumn afternoon. Valentin and Tolstoy pick their way through the thick undergrowth. As they come into a clearing. Valentin is surprised to see a portable table and several chairs set up like lawyers office in the middle of the wood. Sergeyenko fiddles with a piece of paper on the desk. Chertkov comes toward them. Tolstoy stops his horse. He turns to Valentin with tears in his eyes. TOLSTOY You see, I no longer feel I have a choice in the matter. She isn't... He rides forward toward the approaching Chertkov. 64. CHERTKOV Good afternoon, Leo Nikolayevich. TOLSTOY Is it?They help Tolstoy dismount. They lead him to a nearby stumpand place the writing board before him. Sergeyenko hands adocument to Chertkov who lays it on the board. CHERTKOV This will insure that the complete works will live in the public domain. SERGEYENKO Monumentous. CHERTKOV Your work is the birthright of the Russian people. Now, they possess it forever.Tolstoy looks up at them. CHERTKOV Yes? TOLSTOY I need a pen. CHERTKOV Of course.Chertkov looks at Sergeyenko who swallows hard. No pen. SERGEYENKO I...uh... CHERTKOV What?Sergeyenko moves close to Chertkov, close enough towhisper. CHERTKOV You're a secretary. How can you not have a pen?Sergeyenko points at Valentin. SERGEYENKO He's a secretary, too. Ask him. CHERTKOV Valentin Fedorovich, do you have a pen? 65. Valentin hesitates for a moment, looks at Tolstoy, seated on the stump, staring into the middle distance. VALENTIN I do. Valentin fetches it from his satchel. Pen in hand, Tolstoy hovers over the document. A long moment. CHERTKOV Are you alright? TOLSTOY I feel like a conspirator. Sergeyenko laughs. Chertkov glares at him. It's beyond awkward. Valentin looks to the sky, sees the crows circling again. Without further hesitation, Tolstoy picks up the pen and signs the document. Then he moves away from the group. Valentin watches him.84 EXT. ZASYEKA WOODS. DAY. 84 Valentin and Tolstoy water their horses at a stream. Tolstoy seems weary. VALENTIN Maybe we should get back. It'll be dark soon. May I ask you something that has nothing to do with work? TOLSTOY Of course, my dear. VALENTIN Do you love your wife? TOLSTOY " Your youth and your desire for happiness reminds me cruelly of my age and the impossibility of happiness for me." When I was courting Sofya, she was so young and pure, it seemed impossible that I'd ever have her. I didn't want to tell her how I felt and I wanted to tell her nothing else. So I wrote down a string of letters and asked her if she could decipher them. She looked completely confused, thinking it was a game or... 66. Tolstoy looks into the middle distance, remembering his love. TOLSTOY I gave her one clue. The first two Y's, I said, stand for "your youth" and then the most miraculous thing happened. She simply spoke the phrase, my phrase... Tolstoy looks at Valentin as if the boy might offer some explanation of the miraculous. TOLSTOY ...as if she had read my mind. In that moment, we both knew we would always be together. For those first years, we were incredibly happy, terrifyingly happy. His old eyes are wet. TOLSTOY And now this. Tolstoy reaches into his boot, extracts his SECRET DIARY. He takes a pen from his shirt, begins to write. Valentin is amazed. HE HAD A PEN ALL THE TIME.85 INT. TELYATINKI. MEETING ROOM. NIGHT. 85 Valentin exhausted, sits at the long table. Chertkov appears at his office door. CHERTKOV Thank you again, Valentin Fedorovich, for your forethought. VALENTIN I'm a secretary, after all. Chertkov let's it go. CHERTKOV You know I had thought for a time to suggest that Leo Nikolayevich look for someone else. But...he said no. He said "He reminds me of myself when I was young." He goes. After a moment, Valentin gets up and goes to the study door. VALENTIN I'm leaving Telyatinki. 67. CHERTKOV Really. VALENTIN I am going to Moscow. CHERTKOV She is leading you around the nose. VALENTIN Look, you say the movement's about love- CHERTKOV Yes... The love he tells us to practice, the love of the Gospels. Why do I have to explain this? Perfect love. Eternal love. The love that binds mankind together. VALENTIN But I've never met mankind, only men and women, imperfect men, imperfect women. CHERTKOV Leo Nikolayevich also teaches us love can not be weakminded. Go. You won't be missed ...a naive sentimentalist Valentin looks at him for a long moment, then bursts out laughing, walks away CHERTKOV Why are you laughing? You think I'm ridiculous. VALENTIN I'm laughing because I didn't sneeze.86 OMITTED 8687 OMITTED 8788 OMITTED 88 68.89 INT. YASNAYA POLYANA. TOLSTOY STUDY/BEDROOM. DAY. 89 Tolstoy has fallen asleep at his desk, his SECRET DIARY open before him. Sofya enters without knocking. He bolts up groggily, tries to hide the little book. Sofya, meanwhile, holds up the letter in her hand. SOFYA Lyovochka? Prozeveskeny wants to purchase the rights to your work after your death. TOLSTOY Then I shall try and die as soon as is convenient. SOFYA Don't be silly. They've offered one million rubles. Silence. SOFYA How can you not be pleased? TOLSTOY I don't write for publishers. I write for people. He gets up from his desk. SOFYA Where are you going? TOLSTOY Valentin's in the library. He's asked to speak to me. SOFYA Splendid...while your wretched family is left to starve. TOLSTOY I don't see anyone starving in this house. On the contrary, our privilege revolts me. He goes. She calls after him. SOFYA But you're always first to the trough...always have been. Sofya sinks into his chair. On the desk is the photograph of herself and Tolstoy that we saw her hang on the wall in the early part of the film. She looks at the wall. There in it's place is the offending photograph of CHERTKOV that she had removed earlier. 69. She can fix that. But as she picks up the photo of her and her husband, she notices A SMALL VOLUME, THE SECRET DIARY, lying under it. She begins to read.90 INT. YASNAYA POLYANA. LIBRARY. DAY. 90 Valentin waits on the sofa. Tolstoy walks in, goes to him. TOLSTOY What is it, dear boy? You look unhappy. What do you want to say? But before Valentin can respond A GUNSHOT RINGS OUT.91 OMITTED 9192 INT. YASNAYA POLYANA. TOLSTOY BEDROOM/STUDY. DAY. 92 Sofya sits in a chair, firing shot after shot at the photograph of Chertkov. Tolstoy and Valentin enter. TOLSTOY Sofya, what are you doing? She turns toward him, waves the gun in his direction. Valentin ducks against the wall. SOFYA How could you do this to me? TOLSTOY You're not well. SOFYA You hurt me again and again. You take little pieces of me until I become nothing. I don't know who I am anymore. (beat) I read your diary. I know what you've done. TOLSTOY You behave like this, I have no choice. Now give me the gun. SOFYA No! Give me the gun! TOLSTOY Give it to me, please. 70. Sofya throws the gun at her husband. She runs out of the room. We see the shattered photograph of Chertkov. After a moment, Tolstoy into his chair. Valentin watches him in silence. TOLSTOY I'd like you to stay here tonight. VALENTIN Yes, of course. With that, the old man gets up and leaves the room, leaving Valentin in the wreckage of his world.93 EXT. YASNAYA POLYANA. GROUNDS. NIGHT. 93 The wind blows the trees around the old house. We see a lighted lamp move up the stairs.94 INT. YASNAYA POLYANA. LIBRARY. NIGHT. 94 Valentin in his makeshift bed. SASHA (O.S.) Valentin. Valentin. He is immediately awake. Sasha, lamp in hand, crouches beside him. SASHA Get up. He's leaving. VALENTIN What? SASHA He¥s leaving.95 INT. YASNAYA POLYANA. TOLSTOY'S BEDROOM/STUDY. NIGHT. 95 Bags are being prepared. Sasha is packing clothes. TOLSTOY Essentials only. Nothing that isn't absolutely necessary. Valentin struggles to close a case full of books and papers. TOLSTOY Please...we must hurry. 71. VALENTIN Where will you go? No one responds. Dushan comes to Tolstoy, sits down and begins the ritual taking of the pulse. Meanwhile, Sasha wraps a heavy fur coat around his shoulders. She smiles at him. SASHA Absolutely essential. DUSHAN A lantern, I think. It's very dark tonight. (beat) And the apparatus for giving an enema.96 EXT. YASNAYA POLYANA. GROUNDS. NIGHT. 96 The horses are hitched to the droshky, the bags are up on the back. SASHA Everything's ready. Dushan climbs into the carriage. Tolstoy turns abruptly and walks back toward the house. SASHA Papa...? DUSHAN He's changed his mind. He's going back to the house. They watch as Tolstoy kneels on the wet grass, bending low to rub his hands against the earth. After a moment, Valentin goes to him, kneels next to him. VALENTIN Do you want to go back? TOLSTOY When I was a boy, my brother Nikolai once brought me to a place when I was a boy. He told me he'd found a green stick with some words on it... the secret to happiness for all men everywhere. He hid it in the ground. I looked for it very often. I've looked for it all these years. I really believed I would find it here...but I never did. 72. Tolstoy looks at him. TOLSTOY I never did...but this life is behind me now. He kisses the ground of his beloved home, gets up and they walk back to the droshky. TOLSTOY Help me up, will you? As they go, he hands Valentin an envelope. TOLSTOY Give this to Sofya. VALENTIN I will. They reach the carriage. Sasha embraces him, kisses him over and over. SASHA Be well. Be well. TOLSTOY Don't cry. I'll send for you when I can. They help him up onto the droshky and the carriage starts slowly away from the old house.97 EXT. YASNAYA POLYANA. GROUNDS. MORNING 97 Out in front of the house, an old peasant woman pulls the feathers off a chicken. Over her impassive face, we hear deep, heavy sobs.98 INT. YASNAYA POLYANA. SITTING ROOM. DAY. 98 Sofya is in a rage. Sasha sits nearby. SASHA I'm simply telling you what happened. He's gone. I have no idea where. Nobody does. SOFYA You're a liar. (beat) Liar! Sasha won't rise to the bait. Valentin comes into the room. 73. SOFYA So, he's gone. (to Bulgakov) For good. VALENTIN I think so, yes. There is a pause. Sofya suddenly smiles, becomes solicitous. SOFY Darling Sasha, where is your father? I know you know. Please, please. Don't play games with me. Now it¥s not the moment. SASHA Honestly, I have no idea. SOFYA DON'T PLAY GAMES WITH ME. VALENTIN I have this for you. It is a letter. She grabs it, as if it is something that might feed a terrible hunger at the center of her. Moving into a corner, she tears it open and begins to read. They both watch Sofya's passion. Her face quivers, the muscles in her neck stand out. Her shoulders begin to shake. Crumbling the paper in her hand, she twists her head and screams. Then, gathering up her dress, she runs out the door. Sasha move immediately to the window. From her P.O.V., we see Sofya streaking across the lawn. They look at each other SASHA The pond! They run out.99 EXT. YASNAYA POLYANA. GROUNDS. DAY. 99 Sofya sprints away from the house and into the trees. A couple of servants join the chase, Ivan and VANYA, a fat manservant. Valentin, head of the group, sees Sofya move out of the birches. She's heading straight to the pond. 74. Sasha suddenly steams past him. SASHA Mama, Mama! Stop. Not this. Hurry! Hurry! VALENTIN Countess!100 EXT. YASNAYA POLYANA. POND. DAY 100 Sofya has reached the bathhouse. Peasant women watch her as they do their wash. She glances back her pursuers, races on. Tiring now, she goes to her knees. She crawls along the jetty toward the water. At the edge of the jetty, she falls on her back then turns over, most ungracefully, and rolls off sideways into the pond. HIGH ANGLE. Sofya sinks into the black water. The sound of her rescuers fades away and is replaced by Tolstoy's voice, reading the farewell note she still clutches in her hand. TOLSTOY (V.O.) My position in the house has become intolerable. What I'm doing now is what people have commonly done - leave their worldly life behind to spend their last days in peace and solitude. SLOW MOTION She floats, strangely relaxed, beneath the water. TOLSTOY (V.O.) I beg you to forgive me for everything I've done to you, just as I forgive you with all my soul for everything you've done to me. The silence is suddenly ripped apart by the rescuers. Sasha and Valentin jumping into the pond. Sasha, barely able to swim herself, thrashes in the water. VALENTIN Sasha, go back to the jetty. Here, let me help you. He offers his arm, using it to push her to safety. SASHA No! She's drowning. Help her! 75. VALENTIN I will. I will. Stay here.With that, he pushes away from the dock and makes a sharpplunge under the water.Sasha watches, waits...and after a long moment Valentinsurfaces pulling Sofya with him.On the dock, the servants and Sasha help him to get herheavy body , water soaked dress, back onto the bank.She looks terrible. Her tongue lolling out, water drizzlingfrom her open mouth. Sasha is overcome. SASHA She's dead. My mother. She's dead.Ivan takes action. He rolls her on to her stomach, works toexpel water from her lungs. This goes on for an agonizinglength of time. Valentin looks to the sky... dull and gray.Then a sound, coughing sputtering. She is alive. Sasha,Valentin, and the servants help up. SASHA Let me take you to the house, mother. SOFYA Let me die. Please. Why would you rob me of that? SASHA Let's go to the house.Sofya is suddenly clear, almost calm. SOFYA Ivan, go to the station. Find out which train the master took.Ivan looks at Sasha for approval. SASHA I see no harm in it. Let's get her to bed.Valentin nods. Ivan appears beside him. IVAN Life returns to torture her for awhile.He laughs out loud,then walks away. 76.101 INT. YASNAYA POLYANA. DINING ROOM. DAY. 101 Sasha walks into dining room. Valentin pours them tea. SASHA She's exhausted herself. She's slept for nearly four hours. VALENTIN I'm glad she can sleep. The pain subsides a little. SASHA The noise subsides a little. They smile at each other. SASHA Well, a little. Ivan comes down the stairs. He stops in the doorway. SASHA Come in. IVAN A message, miss. SASHA For me? IVAN No, for your father. From the Countess, miss. SASHA She's allowed to send a note to my father. I just don't know where to tell her to send it. IVAN She's addressed it to train number 9. That's the train the master took. The station master told me... SASHA Why are you giving it to me? She is allowed to send my father a note! Ivan steps forward and hands her the note to inspect. Sasha can't help but laugh. SASHA She never gives up. (reading the note) "Dearest papa. Return at once. (MORE) 77. SASHA (cont'd) Sasha." She signed it with my name. VALENTIN Ingenious. SASHA Obvious. She pockets the note. Ivan continues to stand there. Sasha looks at him. SASHA Yes? IVAN He gave me this as well...the stationmaster. A note for you. Sasha opens it, reads. She looks up, flushed with excitement. SASHA He's with my aunt. At the Shamardino. Sasha runs out of the room.102 EXT. YASNAYA POLYANA. GROUNDS. DAY 102 Sasha, on horse back, rides up and by the camera and away down the alley of trees that lead away from the house. SOFYA (O.S.) They've all gone103 INT. YASNAYA POLYANA. LIBRARY. DAY. 103 Sitting at his desk, Valentin looks up to see Sofya standing in the doorway. She looks exhausted. VALENTIN I'm here. She walks to his desk. SOFYA You're writing to your girl. That's lovely. Sofya touches his shoulder with real affection, then walks across the room to her husband's desk. VALENTIN I don't know if she's my girl. 78. SOFYA But you believe you'll see her again. VALENTIN I very much hope so. SOFYA Yes. Refuse to believe in the end of love. Do all you can to prevent it... Sofya picks up a photograph of the two of them, examines it. SOFYA I know you know where he is, Valentin. Valentin hesitates. She walks back to him. SOFYA I won't ask you to betray his trust...but I need you to go to him. I do. I have to see him. I have to talk to him. I won't make a scene. Promise him that. I must see him.103A OMITTED 103A104 OMITTED 104105 OMITTED 105106 OMITTED 106107 OMITTED 107108 EXT. COUNTRYSIDE. DAWN 108 Clouds of steam against the white sky. A great black train travels through the bleak world109 INT. THIRD CLASS CARRIAGE. DAY. 109 Tolstoy rests on the hard bench of the third class carriage he always insists on. He writes on his lapboard. We pan to an adjacent bench to find VALENTIN, now with them. He and Sasha have a map spread out in front of them. 79. SASHA He's right, you know, to go. She will be right behind us. VALENTIN I¥ve told you she has promised she wouldn¥t make any problems. But besides, where are we going? Tolstoy has overheard them. TOLSTOY We don't need a plan, my dears, we'll simply go Dushan appears with several newspapers. As he hands them the papers, he reads the HEADLINES. DUSHAN TOLSTOY ABANDONS HOME! WHEREABOUTS UNKNOWN...SAGE OF YASNAYA POLYANA TAKES FLIGHT! Tolstoy looks up from the papers, smiles. TOLSTOY I guess our little secret is out.110 OMITTED 110111 INT. YASNAYA POLYANA. SITTING ROOM. DAY 111 Sofya sits surrounded by the papers. Andrey appears. ANDREY There's a reporter outside from the Russian World. SOFYA Tell him we've received an apologetic letter from your father..very embarrassed. We expect him back any day... ANDREY But that's a lie, right? SOFYA Yes, that's a lie.112 EXT. COUNTRYSIDE. DAY 112 The huge iron wheels grind on. 80.113 INT. THIRD CLASS TRAIN CARRIAGE. DAY 113 Tolstoy sleeps. People still crowd around him. VALENTIN Please move back. Please let him breath. Please give him some room. SASHA (to Valentin) He can¥t breath. Valentin, please. (to Dushan) The smoke is too much. DUSHAN I know. Stay back. Tolstoy stirs. TOLSTOY Where are we? DUSHAN It's alright. Everything's fine. He reaches out to touch Tolstoy's forehead. He goes pale. TOLSTOY Where are we? DUSHAN Let me take your temperature. The old man lifts his shirt, takes the thermometer under his arm. Dushan reaches for his wrist. Valentin and Sasha look at each other, wait for the vital signs. He takes the thermometer from Tolstoy, reads it. He's clearly shaken. TOLSTOY Good old Dushan,...you needn't worry. Remember, you are my doctor, not my angel. Whatever happens, it's not your fault... I'm feeling much better now. I just need to sleep. DUSHAN Good, good. Yes. He drifts off again, Dushan stares at the thermometer. His eyes fill with tears. 81. DUSHAN He will be fine.114 EXT. ASTAPOVO. PLATFORM. DAY 114 The train pulls into a small, dusty station, ASTAPOVO. Valentin and Dushan support, help him off the train. Sasha looks at the sad, empty platform. SASHA We've come to the end of the world.115 EXT. ASTAPOVO. PLATFORM. DAY. 115 Dushan and Tolstoy sit on a bench on the platform. Sasha and Valentin appear. VALENTIN The stationmaster says we may have his house for as long as we need it. There are no inns nearby, so we're lucky. TOLSTOY Very lucky. DUSHAN Yes. They help Tolstoy up. A little bearded man, the station master, waits to escort them. SASHA You'll be comfortable here, papa. The rest of us...we'll find cots or sleep in the station. TOLSTOY And then we'll be on our way.116 OMITTED 116117 OMITTED 117118 INT. ASTAPOVO. TELEGRAPH OFFICE. NIGHT. 118 Valentin approaches the operator. VALENTIN Hello, hello? Could you send a cable for me? 82.119 INT. YASNAYA POLYANA. LIBRARY. NIGHT 119 A message comes over the cable machine. VALENTIN (O.S.) Tolstoy ill at Astapovo. Temperature high. Send it to Sofya Andreyevna, Yasnaya Polyana.120 INT. YASNAYA POLYANA. SITTING ROOM. NIGHT. 120 Sofya paces. Andrey lolls on the couch reading the paper. SOFYA We must leave at once. ANDREY We'll make inquiries in the morning, mother. SOFYA We'll rent a train. ANDREY That'll cost a fortune. SOFYA Don't say irrelevant things, Andrey. It's unbecoming. Contact someone. I'll go and pack. ANDREY Rent a train? God!121 EXT. ASTAPOVO. PLATFORM. DAY. 121 Press and various hangers on have begun to arrive at Astapovo. Outside the station master's house, Dushan gives an update, temperature, pulse. Valentin emerges from the telegraph office, telegrams and cables in his hands. A long passenger train pulls in from the north. There's general commotion at the new arrival. "The Countess." "Is it the Countess?"... More press, a cinematographer lugging his gear and CHERTKOV. He spots Valentin. There is no greeting, no embrace. CHERTKOV Bulgakov! Where is he? Take me to him. As they make their way across the tracks, Chertkov can barely contain his glee. 83. CHERTKOV He left...astonishing...He actually, finally left. VALENTIN He wasn't well enough to travel. It's very cold. Chertkov doesn't hear, He's basking in his victory. CHERTKOV It's a triumph for the movement.122 INT. ASTAPOVO. STATIONMASTER'S HOUSE. DAY. 122 Valentin leads Chertkov through the door. Chertkov stops short, whispers CHERTKOV He looks so small. Now, Tolstoy sees him, wakes up, smiles. SASHA Papa. TOLSTOY It's(hic)you. The men embrace. Tears roll down the both men's cheeks. Tolstoy continues to hiccup throughout. CHERTKOV My dear friend, waht is all of this? TOLSTOY I needed (hic) to see you. Thank you. We have so much (hic) to do. (hic) I¥m sorry. Damn hic ups. (beat) Have you seen Sofya? CHERTKOV I've made a point not to. TOLSTOY I don't know when (hic) she'll come. But she'll come (hic). I know it. CHERTKOV And we'll be ready. VALENTIN Ready for what? 84. Chertkov doesn't respond. DUSHAN I'm sorry, but it's time for your enema. TOLSTOY Don't apologize, my friend. Your enemas(hic)have become the news of the world. (smiles) Now, all of you, help turn me over.123 INT. ASTAPOVO. STATIONMASTER'S HOUSE. NIGHT. 123 Everyone is asleep. Valentin keeps a vigil at Tolstoy's bedside. His rest is fitful, his breathing ragged. Valentin stands and walks out.124 INT. ASTAPOVO. TELEGRAPH OFFICE. NIGHT. 124 Valentin approaches the little window. VALENTIN I'd like to send another cable. The man nods, readies his pencil. VALENTIN At Astapovo. Stop. Tolstoy Ill. Stop. Heart breaking. Stop. Please Come.... That's it. The man looks to him for an address. VALENTIN It goes to Masha...to Maria Filipovna Melinov, Moscow. Thank you.125 EXT. ASTAPOVO. PLATFORM. DAY. 125 The media circus is in town. There are snack bars and huts, an army camp with typewriters instead of guns. Several news cameras are set up near the stationmaster's house. Tents have been erected as make shift shelters and offices. Reporters struggle to get into the telegraph office. Word goes around something big is happening. At the platform, we see the highly polished private train pull in. The Countess has arrived. 85. SOFYA APPEARS in her handsome traveling clothes. An unctuous little orthodox priest follows her out of the train. ORTHODOX PRIEST If the Count should have a change of heart...if in the last moment he chooses to confess, mother church is there to embrace him with open arms. She nods. SOFYA I'll see what I can do, father. She moves with purpose across the tracks and through the throng Reporters pelt her with questions.126 INT. ASTAPOVO. STATIONMASTER'S HOUSE. DAY. 126 Chertkov, Sasha and Valentin watch through the window. SASHA She's coming this way. Chertkov starts to put on his coat. CHERTKOV Not before she stops to tell them lies, catalogue my atrocities. VALENTIN Let me speak to her. He heads toward the door.127 EXT. ASTAPOVO. PLATFORM. DAY 127 Sofya has reached the edge of the platform where DUSHAN gives his medical update, temperature and pulse, to the press. She pulls Dushan aside. Reporters surround them. SOFYA I want to see my husband. DUSHAN Yes I'll...uhm... SOFYA I want to see him. Now! Dushan is terrified. Valentin arrives at the platform. VALENTIN Countess! 86. SOFYA Valentin...Will you help me? I have to see him. Please. VALENTIN Of course. But I'm not certain if it¥s the best time, Countess. She starts toward the building. SOFYA It is. It's the right time for me. VALENTIN Sofya Andreyevna... (to the crowd) Stay back, stay back.128 EXT. ASTAPOVO. STATIONMASTER'S HOUSE. DAY 128 As Valentin arrives outside the door, he see Sofya physically recoil. She is confronted by Chertkov and Sasha blocking the door. SOFYA I want to see my husband. Members of the press, crowd `round trying to listen. SASHA He's too weak now, mother. SOFYA But he's not too weak to see you. Not too weak to see that... She gestures in Chertkov's direction. The passion attracts more onlookers. CHERTKOV Do you really want to do this here? She does her best to ignore him. SOFYA I am the leper outside the gate, while he sleeps with the devil himself. SASHA Vladimir Gregorovich is here because father asked him to be here. 87.This stops Sofya for a moment. She looks to Valentin. SOFYA Is that true?Valentin nods. She tries another tack. SOFYA Have you told him I nearly drowned in the pond? SASHA We didn't have to. It was in all the papers.Valentin is very aware of the publicness of it all. VALENTIN Let me take you back.But she plows on. SOFYA What did he say? SASHA That if you killed yourself, he'd be upset. SOFYA He'd be upset? SASHA Horribly upset...but he could not have acted other than he did.Sofya begins to sob. SOFYA I want to see him. (beat) He's not your husband. He's my husband. SASHA You're unbearable.Sasha goes back toward the door. SOFYA And you are a stone-hearted bitch of a daughter.Sasha disappears back inside. Sofya screams after her. 88. SOFYA I lost five children. Why couldn't one of them have been you? Chertkov watches, makes little attempt to conceal his pleasure. CHERTKOV Are you finished? A pause. Sofya is suddenly aware of the crowd around her. SOFYA Valentin, will you take me back? Valentin nods. VALENTIN Yes, of course. Sofya takes his arm, starts back across the platform. Shaken, she tries her best to maintain her dignity as she walks through the crowd. She leans against Valentin, whispers. SOFYA I've behaved badly, haven't I? VALENTIN No, Countess, Don't worry. Not at all. Around her, journalists ask questions, photographers call out "Turn to us, Countess." "Show us your eyes."129 OMITTED 129130 INT. ASTAPOVO. PRIVATE TRAIN. DAWN. 130 Valentin, in his wrinkled suit, is asleep in a chair. He wakes to see Sofya stretched out on the sofa. He watches her. She doesn't stir. After a moment, he goes out.131 EXT. ASTAPOVO. PLATFORM. DAY 131 Valentin emerges from the telegraph office. He walks along the platform, a stack of letter and telegrams in his hands. A few reporters type their early morning dispatches.132 OMITTED 132133 OMITTED 133 89.134 INT. ASTAPOVO. STATIONMASTER'S HOUSE. DAY. 134 Valentin comes into the room, acknowledges Chertkov who sits at his makeshift desk going through letters and cables. He goes to the bedside, stops next to Dushan. Silence, interrupted only by Tolstoy's incessant hiccups. Valentin notices Dushan is on the verge of tears. VALENTIN What is it? Dushan, what¥s wrong? DUSHAN Listen to him. I'm supposed to be a doctor, for God's sake. Weak, feverish, Tolstoy sits up in bed. Sasha moves to help him. TOLSTOY Sofya! DUSHAN What is it? What is it? Valentin goes to Tolstoy. He's in a kind of panic. Chertkov comes into the room. TOLSTOY She's come, hasn't she? She`s here. He points to the corner. But it is nothing, a gray shape thrown by a coat rack. CHERTKOV You're imagining things. DUSHAN It's true, Leo Nikolayevich. TOLSTOY Sasha...where's your mother? Tolstoy's eyes fill with tears. Valentin looks to Sasha. She looks from him to Chertkov. CHERTKOV She's at home. TOLSTOY If she wanted to see me I couldn't refuse her. (beat) Is she going to come here? All eyes are on Sasha. 90. SASHA I don't think so...I don't know, Papa. There's no way to... TOLSTOY To what? Will she waiver? A long, agonizing beat. SASHA She's at home. I'm sure of it. Valentin looks at the floor. TOLSTOY At home. SASHA Yes, Papa. Tolstoy nods, pats Sasha's hand. TOLSTOY Very beautiful isn't it? SASHA Our home? TOLSTOY Yes. He leans back against the pillow and drifts again. Sasha gets up and goes outside. After a moment, Valentin follows.135 EXT. ASTAPOVO. STATION MASTER'S HOUSE. DAY 135 Valentin sees her leaning against the wall. She's in pain. SASHA He said to me once..."you're like your mother. You're so full of anger." She turns to him. SASHA I know it's terrible...but who will protect him? I don't want him to die. Valentin touches her face, goes back inside and into 91.136 INT. ASTAPOVO. STATION MASTER'S HOUSE. LIVING ROOM. DAY. 136 Where Chertkov has made a makeshift office. He pores through the cables, letters and telegrams that litter the station master's dining table. He holds one up for Valentin. CHERTKOV Kind thoughts from George Bernard Shaw. Valentin walks to the table. VALENTIN You lied to him. CHERTKOV Keep your voice down. VALENTIN He wants to see her. You heard him say it. CHERTKOV What exactly do you think she will bring him? VALENTIN I don¥t know, they¥ve been married for 48 years. CHERTKOV I¥ll tell you what she¥ll bring...Vanity, fuss and noise. VALENTIN She promised me- CHERTKOV What? Promised you what? You¥ve seen her at close quarters, boy. You think she¥s capable of restraining herself? VALENTIN They have a whole life togehter. Why do you have to deny that? CHERTKOV You're a victim of her romantic nonsense. You seem to forget she wants to destroy everything we do. She travels with that unctious little priest. VALENTIN Keep the priest away- 92. CHERTKOV These people are vultures. They send in at the last moment and welcome him back to the church. That's their fantasy. (beat) A death bed recantation. Do you have any idea the damage it would do? Everything he's dreamed of, everything we've worked for will be gone. A simple noble death is what we want. It is what he wants. VALENTIN No, you want an icon. You want to take photographs and give out postcards..You want people to kneel in front of an image you¥ve created. But he doesn¥t wanted that. He never wanted that, and it will give him no peace. (beat) He wants to see her...let her come. They see Sasha looking from the door. She turns and closes it. CHERTKOV I will do everything in my power to prevent that. VALENTIN Oh, God. You exhaust me. CHERTKOV I used to think you were just naive, Valentin, maybe a little stupid. I see now you're more dangerous than she is. He turns back at the door. VALENTIN Tell me one thing. That image you want to create, just looks like you, doesn¥t it? Valentin leaves the room.137 EXT. ASTAPOVO. PLATFORM. NIGHT. 137 The circus sleeps. Valentin sits on a bench outside the station master's house. The tents erected by the press glow like lanterns in the field. 93. Some people lie on the hard platform. He looks across the tracks at Sofya's private car. A single light burns in the window138 INT. ASTAPOVO. PRIVATE TRAIN CARRIAGE. NIGHT. 138 Sofya keeps her solitary vigil. The priest has fallen asleep sitting up. She finishes her prayers, gets up, looks across at the lonely cottage. She can make out Valentin's figure on the platform.139 EXT. ASTAPOVO. PLATFORM.NIGHT 139 Dushan appears in the doorway. Solemn, he gestures for him to come inside. Valentin stands.140 INT. ASTAPOVO. PRIVATE TRAIN CARRIAGE. NIGHT. 140 Sofya watches the two figures disappear inside.141 INT. ASTAPOVO. STATIONMASTER'S HOUSE. NIGHT. 141 Valentin sees Chertkov standing near the bed. Dushan returns to the chair next to Tolstoy. His cheeks are damp, his breathing irregular. SASHA It can't be right. His fever is down. DUSHAN His pulse, you see... Dushan begins to cry. Suddenly, Tolstoy becomes lucid. TOLSTOY Sofya...my dear Sofya. So much has (hic) fallen to her. Everyone moves nearer the bed. Tolstoy looks at Valentin. TOLSTOY Who's going to look after her? (beat) Someone needs to look after her. There is a long pause. Sasha looks at Valentin. SASHA Shall I call her? TOLSTOY This is it(hic). The end. 94. He seems to smile. SASHA Do you want to see her, papa? TOLSTOY Sasha, Sasha.. It's(hic)nothing...Nothing. He falls onto his pillow, asleep. CHERTKOV It's almost over. Sasha looks at him, shakes her head. SASHA I can't do this anymore. CHERTKOV He won¥t know who she is anyway.142 INT. ASTAPOVO. TRAIN CARRIAGE. NIGHT. 142 Everyone sleeps but Sofya. There is a knock on the door. Sofya opens it. It is Sasha. A pause. SOFYA Has he asked for me? SASHA I want you to come. Take a coat. It's cold.143 EXT. ASTAPOVO. STATIONMASTER'S HOUSE. NIGHT. 143 Sofya and Sasha walk to the door. The reporter calls out REPORTER Countess...Countess...Do you have any information? Countess...Is he dying? Is he dead? Sasha takes her mother's hand.144 INT. ASTAPOVO. STATIONMASTER'S HOUSE. NIGHT. 144 She steps into the room. For a moment, she seems overwhelmed at the sight of him. She looks at Valentin, who nods at her as if to say go on. Sofya walks past Chertkov without acknowledging him. Dushan lets go his hold of Tolstoy's wrist and gets out of the chair, out of her way. She approaches her sleeping, husband, the love of her life, her cross, her everything. 95. SOFYA Lyovochka!There is no response. She throws her arms around him. SOFYA Please forgive me, my darling! SASHA Mother... SOFYA I'm a fool.. I'm a selfish woman. But I love you. Please believe me. Please understand me. Please forgive me for all my weakness and badness. Please! Please! Love me! SASHA Mother!Sasha takes her hand, whispers. SASHA Control yourself. SOFYA Was I shouting? SASHA You have to control yourself.Sofya looks around and sits back. Strangely, she doescontrol herself. She becomes very still. She takes herhusband's hand, begins quietly to speak to him. SOFYA You don't speak, but I hear you.She carries on two sides of an impossible conversation. SOFYA "Do you love me, Lyovochka." (beat) "Never stopped, my little bird." (beat) "And you will never stop" (beat) "Never." (beat) "Nor ever leave me again." (beat) "Never, ever again. (beat) "Good...good... let's go home" 96.She sits very still holding her husband's hand. Then, itseems she feels the slightest of movements, the slightestsqueeze of her hand. She looks down to see Tolstoy open hiseyes. He looks at her for a moment, the hint of a smile,then closes his eyes again.Valentin sees it, glances at Sasha. Then, he begins tofight for breath. DUSHAN First cessation.A general sense of panic at the proximity of death. Tolstoyfights for a last breath. DUSHAN Second cessation.Sofya whispers quietly to her dying husband. SOFYA Please forgive me if I cry a little now.Tolstoy continues to struggle, then silence, silence.Sasha starts to sob. Sofya reaches out to her daughter.Sasha comes to her mother who holds her.She feels someone next to her. She looks up. It'sChertkov. CHERTKOV I am sorry, Sofya Andreyevna.The most unlikely thing, she pats his hand. SOFYA It's alright. What happens from now on... it will never really matter. Not really. Everything's finished.Chertkov sits beside them. She turns to Dushan. SOFYA Dushan, could you tell them your great friend is gone? DUSHAN Yes.He nods, walk out into the dawn light to tell the world LeoTolstoy is dead. 97.145 EXT. ASTAPOVO. PLATFORM. DAY 145 A sizeable crowd has assembled, the usual reporters, photographers, cinematographers, but students, too, and soldiers, factory workers, housewives. Dushan faces the crowd. Quiet. Quiet. DUSHAN At ten minutes after six in the morning, a great soul passed from our world. Leo Nikoleyevich Tolstoy is dead. As Dushan finishes his tribute, a single voice begins to sing the old Russian hymn, Eternal Memory. Gradually, more and more of the crowd picks it up. Valentin begins to sing. His eyes run over the crowd of mourners. Then, something stops the flow of his gaze. His eyes fill with tears. VALENTIN Masha... Masha. She walks slowly toward him out of the crowd. He goes to her, takes her in a long embrace. VALENTIN Masha...Masha...I'm so sorry he's gone. He¥s gone. MASHA Yes. Yes. I know, but I came for you, Valya. I came for you, too. VALENTIN I love you. I do. I love you. MASHA Then, hold me. Hold me. Hold me. The song, the voices swell around them. They hold each other like they will never let go.146 EXT. ASTAPOVO. PLATFORM. DAY. 146 A black draped funeral train waits in the station. Many mourners are congregated on the platform. Chertkov comes out of the little house, followed by Andrey, Valentin and Dushan carrying Tolstoy's coffin to the train. Sofya appears with Sasha, who escorts her through the crowd. The Orthodox priest approaches . 98. ORTHODOX PRIEST As a daughter of the church, I'm sure you wouldn't object to my saying a few words at the funeral. Sofya stares at him for a long moment. SOFYA My husband needs no justification. Besides, it¥s been enough talking as it is. Thank you, father. She climbs onto the train.147 INT. ASTAPOVO. PRIVATE CARRIAGE. DAY. 147 Sofya settles into the comfort of the private car. She sits next to Sasha. Andrey and Dushan are near her. There's a noise from outside. VOICE (O.S.) Countess...Countess. She looks out. Below the train window, Valentin and Masha stand hand in hand. She gets up and opens the window.148 EXT. ASTAPOVO. PLATFORM. DAY. 148 VALENTIN Excuse me, Countess. This may not be the time, but- Sofya smiles SOFYA Valentin... and who's this... VALENTIN Masha...this is Masha. Sofya nods. SOFYA This is your girl. Good. Good. Is there anything I can do for you? VALENTIN No, no. Not at all. I just wanted to say good bye. SOFYA Yes...Good bye, good bye. God bless you. 99. VALENTIN God bless you, too.149 INT. ASTAPOVO. PRIVATE TRAIN. DAY 149 Sofya sits back down with Sasha. They hold hands. SOFYA Well, I'm ready to go now. (to Andrey) Why aren¥t we moving? Can't someone make it move? But at that moment, the train begins to move. SOFYA Oh!150 EXT. ASTAPOVO. PLATFORM. DAY. 150 Sofya looks out the window, sees the people lined up along the rail, mourn her loss. As she looks away, we see the people reflected in the glass, some of them kneel, some of them remove their hats. Valentin watches the train pull away. He holds Masha to him. As the train moves slowly through the corridor of mourners, some of them fall in and walk behind it. The camera travels up and up as the train travels north taking Sofya and her husband back to Yasnaya Polyana. \ No newline at end of file diff --git a/unformated_scripts/Script_Last Tango in Paris.txt b/unformated_scripts/Script_Last Tango in Paris.txt new file mode 100644 index 0000000000000000000000000000000000000000..b870fc91ed8c138a841720cbd160fe5890a7d05c --- /dev/null +++ b/unformated_scripts/Script_Last Tango in Paris.txt @@ -0,0 +1 @@ + ULTIMO TANGO A PARIGI [LAST TANGO IN PARIS] Written by Bernardo Bertolucci & Franco Arcalli FINAL SHOOTING TRANSCRIPT FADE IN: EXT. PARIS FRANCE - PONT DE BIR-HAKEIM - DAY PAUL (50's) stands on the street under a RAISED TRAIN BRIDGE. He covers his ears in UTTER DISGUST at the UNBEARABLE NOISE a train makes as it ROARS OVERHEAD. He BELLOWS TO THE HEAVENS. PAUL (ENGLISH) FUCKING GOD!!!! As the train moves on he walks, slowly, DESPONDENT. Lost in a private WORLD OF PAIN. Behind him we see a woman in a fur collard coat and flowered hat walking, gaining on him. This is JEANNE (20's). As she PASSES Paul, she turns to GLANCE at him. We read a HINT of EMPATHY on her face. He is OBLIVIOUS to her or anything else for that matter. She walks on, dodging STREET SWEEPERS as she covers the long walkway, trying to forget the SAD MAN she saw. We see her walk toward a 6 story APARTMENT BUILDING. Paul, with TEARS STREAMING DOWN HIS FACE, comes to reality as he also notices the building. He REGARDS it. CUT TO: EXT. APT. BUILDING - PASSEY - DAY Jeanne stands looking at the grandeur of the building at 1 RUE JULES VERNE. She reads a FOR RENT sign on the door frame. She HESITATES but then RINGS THE BELL. She checks her watch. She SMILES to herself then descends the nearby stairs. She goes into a BAR. CUT TO: INT. KENNEDY EIFFEL BAR - DAY Jeanne comes in and speaks to the BARTENDER. 2. DIALOGUE IS IN FRENCH JEANNE A phone token, please. BARTENDER No tokens. At the end, on the left. JEANNE Thank you. Jeanne goes to the TELEPHONE/WASHROOM. The telephone booth is OCCUPIED. As she waits, she watches in disgust as an OLD LADY cleans her DENTURES with a toothbrush and then puts them back in her mouth. Jeanne STUDIES her own face in the MIRROR, puffing her cheeks up in judgement. As she does, Paul exits the phone booth, still LOST IN ANGUISH. After watching him leave, Jeanne USES THE PAY PHONE. She speaks to her MOM. JEANNE (CONT'D) Mama? Yes, it's Jeanne. I've found a flat to rent in Passy. I'm going to see it. She puts her foot up on the seat. We see her LONG BOOTS as her SHORT SKIRT hikes up. JEANNE (CONT'D) Then I've got to go to the station to met Tom. I promised him. OK, see you later. Bye! CUT TO: INT. APT. BUILDING - FRONT DESK Jeanne talks to THE CRAZY CONCIERGE through a SMALL WINDOW who is SMOKING and has ROLLERS in her hair. JEANNE I've come to see the flat. I saw the sign. CONCIERGE The sign? 3. JEANNE Yes. The Concierge joins Jeanne AT THE WINDOW. CONCIERGE It's always the same! Nobody ever tells me anything. JEANNE I'd like to see it. CONCIERGE You want to rent it? JEANNE I don't know yet! CONCIERGE They rent, they leave and I'm the last to know. Do you think that's right? She sits at her desk and PUTS OUT HER CIGARETTE. CONCIERGE (CONT'D) If you want to go up alone-- She looks through her KEYS... CONCIERGE (CONT'D) Go on. I'm afraid of spiders. The key is missing. Strange things happen. One of the APT. GUESTS puts an empty WINE BOTTLE outside their door. They both TAKE NOTICE. CONCIERGE (CONT'D) They drink six bottles a day. Jeanne thinks the place is like a FUNNY FARM. As the concierge TRILLS OUT FIGARO, she gives up and walks away. CONCIERGE (CONT'D) Wait! Don't go! There must be a duplicate. She looks for it. CONCIERGE (CONT'D) Here it is. 4. Jeanne, against her better judgement, goes back to the desk. She holds out her hand. The Concierge puts the KEY IN HER HAND. CONCIERGE (CONT'D) You must be very young. She GRABS AND HOLDS ON to Jeanne's hand way too long, LAUGHING CRAZY, HYSTERICAL. Jeanne has to forcefully break away from her grasp. JEANNE Let go of me! She gets free of her and heads to the ELEVATOR, rubbing her hand. JEANNE (CONT'D) She's crazy! The ELEVATOR arrives and she gets on. We watch her ascend and DISAPPEAR. CUT TO: INT. APT. BUILDING - BEDROOM Jeanne comes in the DARK ROOM and heads straight for the window. She opens it and the STORM SHUTTER. Light STREAMS IN, revealing Paul, sitting on the RADIATOR. Jeanne is STARTLED when she sees him. DIALOGUE IS IN FRENCH JEANNE Who are you? No response. JEANNE (CONT'D) You gave me a fright. No response. JEANNE (CONT'D) How did you get in? He replies WITHOUT LOOKING AT HER. 5. PAUL (BARELY AUDIBLE) Through the door. JEANNE Oh yes, I left it open. I didn't hear you come in. PAUL I was already here. JEANNE Sorry? Oh it was you who took it. I had to bribe the concierge. These old houses are fascinating. She walks up to the FIREPLACE. JEANNE (CONT'D) An armchair by the fireplace would look good. PAUL The armchair should go in front of the window. JEANNE Are you American? You've got an American accent. He gets off the radiator and WANDERS into the next room for SOLITUDE. LIVING ROOM - CONTINUOUS But she has followed him. She OPENS THOSE WINDOWS also. He is forced into ANOTHER ROOM. DINING ROOM - CONTINUOUS As he studies a WICKER CHAISE LOUNGE, she calls from the other room. JEANNE (CONT'D) Are you going to take it? Are you? PAUL I don't know. She continues to LOOK AROUND. Her CURIOSITY of Paul gets the best of her. She peeks around the corner and watches him SIT IN THE CORNER. 6. JEANNE What are you doing? She thinks he is VERY ODD as he PLAYS WITH a lamp shade. Nature calls. She heads to the -- BATHROOM - CONTINUOUS As the PHONE RINGS, she pulls up her skirt and sits on the toilet for a PEE. She looks around. She finishes and FLUSHES THE TOILET as the PHONE RINGS ON incessantly. LIVING ROOM - CONTINUOUS The PHONE RINGS on... JEANNE (CONT'D) (PERTURBED) Oh la la. Should I answer It or not? Oh... DINING ROOM They pick up the phone at the SAME TIME. Paul EAVES DROPS JEANNE'S VOICE Hello? Hello -- PAUL (to the caller) Hello -- Hello. There's no-one here. There's no-one. I don't know. He puts the SMALL LAMP SHADE back. He hangs the receiver on the back of the chaise. Jeanne continues to listen on her end, UNAWARE. Paul SNEAKS AROUND THE CORNER. LIVING ROOM - CONTINUOUS Jeanne is STARTLED. She hangs up the phone. JEANNE So you're going to take it? You've decided? PAUL I had already decided. But I'm not sure now. Do you like it? She's SPEECHLESS. 7. JEANNE I don't know. I shall have to think about it. PAUL Think fast. He WALKS OFF. Jeanne picks her hat off the floor, lost in CONFUSION. The front door SLAMS. She walks toward the door... But Paul didn't really leave. He walks slowly TOWARD HER. JEANNE I thought you'd left. He STUDIES HER for a moment. He takes her hat and DROPS IT on the ground. He PICKS HER UP in his arms and CARRIES to the window. He puts her down on the window sill. They start MAKING OUT ferociously. He RIPS her panty hose, UNDOES HIS ZIPPER and PENETRATES HER. They are lost in ANIMALISTIC SEX as she WRAPS HER legs around him. PAUL Ah... Oh, God. They KISS SAVAGELY and HIT the floor as THEY CLIMAX TOGETHER. PAUL (CONT'D) Oh, Jesus... Oh... Oh, Christ. Totally spent, they ROLL AWAY from each other. Her skirt, hiked up is showing her ripped panty hose. We can see her AMPLE BUSH through the SHEER FABRIC. They WRITHE on the floor trying to CATCH THEIR BREATH. PAUL (CONT'D) Oh, God. CUT TO: EXT. APT. BUILDING - ENTRANCE - MOMENTS LATER Paul comes out the FRONT DOOR. He puts on his TRENCH COAT. Jeanne LAGS behind, trying to fix herself also. 8. Paul takes the FOR RENT sign off the DOOR FRAME as Jeanne heads off, still STUPEFIED. He watches her descend the stairs and throws the CRUMPLED UP sign on the sidewalk. PONT DE BIR-HAKEIM - CONTINUOUS They go their SEPARATE WAYS. Jeanne crosses the street while Paul takes the RAISED WALKWAY. CUT TO: EXT. SUBWAY STATION - PLATFORM Jeanne RUNS through the crowd IN A PANIC dodging people. She finds who she is LOOKING FOR, her boyfriend TOM (30's). She runs into his arms like LONG LOST LOVERS. All of the sudden, a FILM CREW appears, filming their every moment. They KISS PASSIONATELY. Tom tries to UNTANGLE HER from the cords. TOM Watch out! JEANNE Have they taken us for someone else? TOM We're in a film. He walks her and EXPLAINS. TOM (CONT'D) We're in a film. If I kiss you... He KISSES HER... TOM (CONT'D) ... it might be cinema. If I stroke your hair, it might be cinema. They walk on as the SOUND ENGINEER pokes a MICROPHONE in their faces. JEANNE What's going on? Do you know them? 9. TOM It's a long story. In short, Portrait of a Girl. It's been accepted for television! And the girl is you. It's you! JEANNE You're mad! You might have asked me first. TOM Yeah, but I wanted... Jeanne SMACKS THE MICROPHONE out of their faces. TOM (CONT'D) I wanted to start with shots of Jeanne at the station meeting her fiancÈ. Yes, I know them. They're my crew. JEANNE So you kissed me, and you knew it was being filmed. You're a bastard! Traitor! TOM No, you'll see. It will be a love story. Tell me, Jeanne, darling. What did you do while I was away? JEANNE I thought of you day and night, and I cried. Darling, I can't live without you! TOM Wonderful! Cut! That was perfect! He is THRILLED. He tries to kiss her but she won't let him. She is still MIFFED. But she finally GIVES IN. They have a PASSIONATE EMBRACE. CUT TO: INT. HOTEL - ROSA'S BATHROOM - DAY CATHERINE cleans the bathroom of EXCESSIVE BLOOD. Paul sits on the other side of the PRIVACY SCREEN -- REFLECTING, in a GLUM FOG, listening. 10. She WRINGS OUT a washcloth frequently as she speaks. The EXCESSIVE BLOOD AND WATER falling into a BUCKET. CATHERINE I'd have finished by now, but the police wouldn't let me touch anything. They didn't believe it was suicide. She WIPES A MIRROR. CATHERINE (CONT'D) There was so much blood everywhere. They had fun making me do a reconstruction. "She went there." She wipes another GLASS SURFACE. CATHERINE (CONT'D) "She came through here." She opens the curtain to the SHOWER/TUB. It's INUNDATED with BLOOD. CATHERINE (CONT'D) "She opened the curtain." She STARES at the blood... It's so much. She uses the SHOWER HEAD to rinse the blood off the tub. CATHERINE (CONT'D) I copied all her actions. The guests were awake all night! The hotel was crawling with cops! They enjoy playing around with blood. She rinses the blood FROM HER HANDS AND ARMS. CATHERINE (CONT'D) They were all spies! Asking if she was sad, if she was happy, if you fought, how long you'd been married, why you didn't have any children. Pigs! Disgusted and exhausted, she sits on the edge of the tub. We switch to PAUL'S SIDE of the PRIVACY SCREEN. We see he is DEEPLY DISTURBED by this situation. CATHERINE (CONT'D) They got familiar right away! They said, "Your boss is a bit unstable." "Do you know that he was a boxer?" So? (MORE) 11. CATHERINE (CONT'D) "It didn't work out, so he became an actor." "Bongo player, revolutionary in South America, journalist in Japan." She begins to clean blood from THE STRAIGHT RAZOR Paul's wife used to KILL HERSELF WITH. CATHERINE (CONT'D) One day, he lands in Tahiti, hangs around, Learns French." "Then he comes to Paris. There... he meets a woman with money, marries her and... "Since then what has your boss done?" "Nothing." Paul pulls the curtains aside from the window. He looks out. He SPIES a BLACK COUPLE, one a SAX PLAYER, in an adjacent building. She is attempting ORAL SEX on him. CATHERINE (CONT'D) I say, "Can I clean up now?" "No! Don't touch anything!" "Do you really think she killed herself?" He pushed me into a corner and tried to paw me... When the couple are spotted, they stop. He starts PLAYING HIS SAX. Paul has had enough of the running water and her cleaning. PAUL Turn the tap off now. CATHERINE They'll be doing the autopsy right now. Paul walks to her side. PAUL Why won't you turn the tap off? CATHERINE They told me to give you your razor back. She hands him the STRAIGHT RAZOR. He STUDIES IT. PAUL It's not mine. 12. CATHERINE They said they don't need it any more. The investigation is over. He grabs her hands VIOLENTLY and studies them. CATHERINE (CONT'D) Yes, she had cuts there... He tilts her head back FORCEFULLY. CATHERINE (CONT'D) ... and on the neck, too... He PULLS HER OUT OF THE WAY and turns off the water. He pulls the SHOWER CURTAIN closed. He storms out of the bathroom, leaving Catherine there. When he is gone, she opens the curtain and turns the water back on OUT OF SPITE. CUT TO: EXT. PONT DE BIR-HAKEIM - DAY Formerly known as the Passy Viaduct. We see a great shot of the DOUBLE-DECKER ROAD-AND-RAIL BRIDGE and PAUL'S NEW APARTMENT BUILDING. CUT TO: INT. APT. BUILDING - DAY The front door opens and Jeanne's hand comes in, holding the KEY. The rest of her peeks in. She SPIES A CAT. She decides to make CRAZY NOISES at the animal, CRAWLING ON THE FLOOR, making it RUN FOR THE HILLS. Just then, MOVERS pop in carrying furniture catching Jeanne off guard. MOVER Excuse me, where shall I put this? JEANNE You could have rung the bell. 13. MOVER The door was open. I'll put it there. He puts the chair down in the middle of the room. She moves it to in front of the fireplace instead. JEANNE In front of the fireplace. She heads to the front door but is stopped by... MOVER 2 Careful, madame. With and armfull of chairs. JEANNE There. She tries to leave again but then runs into... MOVER What about the table? With a table. JEANNE How do I know? He'll decide. BEDROOM - CONTINUOUS Jeanne REGARDS the room. MOVER 2 This is a king-size. JEANNE It won't fit! MOVER Well, your husband has no idea. All this in an hour... It's not long. She leans against a wall and looks around, FLABBERGASTED. JEANNE What a mess! We see Paul in the DOORWAY paying the movers. MOVER Thank you. 14. MOVER 2 Thank you. He comes in. LIVING ROOM - CONTINUOUS Jeanne is sitting in the chair in front of the fire place. PAUL The armchair goes in front of the window. He DRAGS THE CHAIR AND HER to the window instead. PAUL (CONT'D) Like that. JEANNE But I only came to return the key. To return it to you. PAUL I don't care about the key. Take your coat off. He takes his COAT OFF and hangs it on a DOOR HANDLE. PAUL (CONT'D) Take your coat off and help me. JEANNE OK. PAUL Get those chairs and bring them here. He grabs the TABLE and brings it to the DINING ROOM. DINING ROOM - CONTINUOUS He places the table. She FOLLOWS with the CHAIRS. PAUL (CONT'D) Put them on the other side. Take that, too. That's it. JEANNE You didn't waste any time... But he has WANDERED OFF to another room. 15. JEANNE (CONT'D) Listen monsieur! I've got to go. DIALOGUE TO ENGLISH JEANNE (CONT'D) Look, sir! I've got to go! BEDROOM - CONTINUOUS She walks across the mattresses with her BOOTS ON. Paul leans against the wall STUDYING THE ROOM. PAUL The bed is too big for the room. JEANNE I don't know what to call you. PAUL I don't have a name. JEANNE Do you want to know mine? PAUL No, no! I don't. I don't want to know your name. He COVERS HER MOUTH and backs her up agianst a WALL. PAUL (CONT'D) You don't have a name and I don't have a name either. Not one name. She THROWS HIS HAND off and puts some space between them. JEANNE You're crazy! She leans against the adjacent wall. PAUL Maybe I am, but I don't want to know anything about you. I don't wanna know where you live or where you come from. I wanna know nothing, nothing, nothing... JEANNE You scare me. Back to the OTHER WALL. 16. PAUL You and I are gonna meet here without knowing anything that goes on outside here. He indicates OUTSIDE THE WINDOW. PAUL (CONT'D) OK? JEANNE But why? PAUL Because... Because we don't need names here. Don't you see? We're gonna forget... everything that we knew. Every... All the people,... all that we do,... wherever we live. We're going to forget that, everything, everything. JEANNE But I can't. Can you? PAUL I don't know. Are you scared? JEANNE No. She walks to the bed, inviting him with her eyes. JEANNE (CONT'D) Come? CUT TO: INT. HOTEL - PAUL AND ROSA'S ROOM - DAY ROSA'S MOTHER roots through Paul and Rosa's belongings. Searching for answers... and maybe some tokens of her DECEASED DAUGHTER. Paul WAITS, listening in the HALLWAY. He loathes the upcoming reunion. ANNOYED by all the RATTLING while she searches, he bites the bullet and GOES IN. He CATCHES her in the ARMOIRE... She stops her ROOTING. 17. ROSA'S MOTHER I thought you'd be here. PAUL I expected you later. ROSA'S MOTHER I took the first train. We notice the IRONY of the SIGN ON THE DOOR, it reads "PRIVY" (PRIVATE). ROSA'S MOTHER (CONT'D) Oh, Paul! How awful! How awful, Paul! She walks TIMIDLY up to Paul. After a moment, they EMBRACE each other in a GRIEF STRICKEN HUG. MOMENTS LATER Paul grows BORED of the reunion, he TAPS HIS FINGERS on the closet he LEANS AGAINST, studying the accessories of the DECOR and her silly hat. She sits, SPILLING HER GRIEF on Paul as if it is a THERAPY SESSION. ROSA'S MOTHER (CONT'D) Papa is in bed with asthma. The doctor wouldn't let him come. It's better like that. I'm stronger. She starts RUMMAGING AGAIN, this time through Rosa's empty PURSES, spilling them out one at a time on the bed BEHIND PAUL. PAUL What are you looking for? ROSA'S MOTHER Something that would explain... A letter, a clue. PAUL Nothing. I told you, there's nothing, nothing at all. He takes the purses and PUTS THEM BACK. She sits on the bed in DESPAIR. ROSA'S MOTHER My little Rosa wouldn't have... Nothing for her mother. Not a word. 18. PAUL It's useless to keep on searching. ROSA'S MOTHER Not even for you, her husband! He closes the ARMOIRE. PAUL You need to rest. I think room 12 is free. He GATHERS HER BELONGINGS and leads her UP THE STAIRS. STAIRS - CONTINUOUS They pass some GUESTS coming down. GUEST Hi. Rosa's Mother stops on the stairway, REFLECTING PAINFULLY. ROSA'S MOTHER ROSA'S MOTHER (CONT'D) With a razor? Paul goes on, IGNORING HER. ROOM 12 - CONTINUOUS Paul comes in and puts her belongings on the BED. ROSA'S MOTHER (CONT'D) What time did it happen? PAUL I don't know. In the evening. ROSA'S MOTHER And then? PAUL Then I... I already told you on the phone... When I found her, I called the ambulance. Paul goes out to the HALLWAY to gather himself. 19. ROSA'S MOTHER After you called, Papa and I stayed up all night, talking about Rosa and you. Papa kept whispering, as if it had happened in our house. Rosa's mother thinks he LEFT. She YELLS. ROSA'S MOTHER (CONT'D) Paul! Paul is BROKEN OUT OF HIS TRANCE... the sudden yelling has INCENSED HIM. He PEERS ANGRILY at her in room 12. ROSA'S MOTHER (CONT'D) Where did it happen? PAUL In one of the rooms. ROSA'S MOTHER Did she suffer? PAUL Ask the Doctors. They're doing the autopsy. ROSA'S MOTHER The autopsy. He goes into the ... BATHROOM - CONTINUOUS He turns off the ANNOYING RUNNING WATER. He looks at himself in the mirror. She UNPACKS her suitcases on her bed. He rejoins her. ROOM 12 - CONTINUOUS She takes out some CARDS. ROSA'S MOTHER (CONT'D) I already had some announcement cards. I've seen a lot of death. I think of everything. I'll prepare her a beautiful room with flowers. 20. PAUL The cards, clothes, relatives, flowers. You've got everything in that suitcase. You didn't forget anything. But I don't want any priests here. ROSA'S MOTHER But... PAUL No priests. ROSA'S MOTHER But Paul... PAUL Understand? ROSA'S MOTHER We have to. Funerals must be religious. Paul EXPLODES -- She jumps a foot back. PAUL No!!! He DARES HER with his eyes, ENRAGED. PAUL (CONT'D) Rosa didn't believe! Nobody believes in the fucking God here! He throws her suitcase AGAINST THE WALL. ROSA'S MOTHER Paul, don't shout. Don't talk like that. He SNATCHES THE PAPER from her hands. PAUL The priest doesn't want any suicides. The Church doesn't want any suicides, do they? ROSA'S MOTHER They'll give her absolution. He RAISES HIS HAND threatening to HIT HER. PAUL Heh!? 21. Scared, she pushes on. ROSA'S MOTHER Absolution and a nice mass. That's all I ask, Paul. Rosa... Rosa is my little girl, do you understand? Rosa... Why did she kill herself? She starts WEEPING. PAUL Why? Why did she commit suicide? Why? He PUMMELS THE DOOR with his fists ... ENRAGED... PAUL (CONT'D) You don't know? You don't know. He closes her DOOR. HALLWAY - CONTINUOUS Some of the OTHER GUESTS pop their heads out to see what the COMMOTION IS. He gently CLOSES THEIR DOORS in a "mind your own business" sort of way. There is always the "Miss know it all, busybody type" though. She sheepishly REOPENS HER DOOR. Paul walks calmly back to it and SLAMS IT in her face --- IRATE. CUT TO: INT. APT. BUILDING - DAY Jeanne enters the ALREADY OPEN DOOR. She looks around the still sparsely furnished living room. LIVING ROOM - Paul has decided his BED FITS BETTER in here. The BOTTOM MATTRESS is on the floor in the MIDDLE OF THE ROOM. He LEANS AGAINST THE WALL and top mattress, WAITING FOR JEANNE. He knew she'd be there. She TAKES A SEAT on the bottom mattress and takes off her boots. He watches her and does the same with his shoes. KICKING THEM OFF and CATCHING THEM in the air PLAYFULLY. 22. LATER Paul and Jeanne sit NUDE, entwined, WRAPPED AROUND EACH OTHERS BODY'S. DIALOGUE IS ENGLISH PAUL OOh... Now... Let's... Let's just look at each other. JEANNE It's beautiful without knowing anything. They REGARD each other for seconds. JEANNE (CONT'D) Maybe... Maybe we can come without touching. PAUL Come without touching? OK. He leans his head back and CLOSES his eyes... SCREWING UP HIS FACE. She COPIES HIM. PAUL (CONT'D) Are you concentrating? Did you come yet? JEANNE No. It's difficult! PAUL I didn't either yet. You're not trying hard enough. They STOP THE SILLINESS. They laugh. She wraps her arms around his neck. JEANNE I shall have to invent a name for you. PAUL A name? Oh, Jesus Christ! Oh, God, I've been called by a million names all my life. I don't want a name. I'm better off with a grunt or a groan for a name. Do you wanna hear my name? 23. Paul does some PLAYFUL ANIMAL SOUNDS. APE SOUNDING GRUNTS and such. He contorts his face and LOOKS SILLY. JEANNE It's so masculine. PAUL Yeah. JEANNE Listen to mine. She mimics his idea and makes her own PLAYFUL ANIMAL SOUNDS. He laughs. PAUL I didn't get the last name. She redoes the SOUNDS for him. He JOINS her. Their ANIMAL SOUNDS BLEED INTO... CUT TO: EXT. JEANNE'S FAMILY COUNTRY MANOR - YARD - DAY ... A DOVER OF LIVE DUCKS QUACKING -- Tom and his FILM CREW record the ducks for b.g. SOUND CLIPS while they WAIT FOR JEANNE. This includes ROOSTERS, PIGEONS and annoyed NAIL FILING by one of the CREW. FINALLY, Jeanne opens the gate door, sheepishly. She is LATE and has a DIFFERENT HAIR STYLE. Tom is MIFFED, for continuity sake... DIALOGUE IS FRENCH TOM You shouldn't have done that to me. She is much more EXCITED about the NEW PERM. JEANNE It's not a wig, it's my hair. She CLOSES THE GATE. Doesn't it suit me? Tell me, don't you like it? Tell me. 24. TOM Of course I like it. Listen, you know... I don't know. You have changed, and yet you haven't. I can see the shot now. He twirls around, setting up the shot between his hands and his MINDS EYE... TOM (CONT'D) The camera is up high. It descends slowly and follows you. You come forward, and it moves in on you. There's music, too. It gets closer and closer to you. JEANNE I'm in a hurry. Let's start. She MOSEYS OFF. TOM But... can't we talk a little first? JEANNE Tonight we improvise. You follow. He does. FAMILY PET GRAVE-YARD - CONTINUOUS Jeanne kneels in front of a HEAD STONE that reads "Mustapha". JEANNE (CONT'D) He was my childhood friend. He used to watch me for hours and hours. I think he understood me. A VOICE from behind Jeanne pipes in. OLYMPIA'S VOICE Dogs are worth more than people. Much more. Jeanne smiles, FAMILIAR. JEANNE Meet Olympia, my nanny. OLYMPIA Mustapha could always tell the poor from the rich. (MORE) 25. OLYMPIA (CONT'D) If someone well-dressed came in, he never stirred. But if someone scruffy came in, you should have seen him! What a dog! The colonel trained him to recognise Arabs by their scent. JEANNE Olympia, open the front door. OLYMPIA Give me a kiss. Jeanne stands and KISSES HER on the cheek through the gate. JEANNE Go and open it. (TO TOM) Olympia is a compendium of domestic virtues. Faithful, admiring, and racist. We watch Olympia walk to the MANOR HOUSE as Jeanne WAXES NOSTALGIC. Slowly, the rest of the property is revealed to us. JEANNE'S VOICE After Papa died, we moved back to the family home for a while. My childhood was made up of smells. Musty smells, the smell of walls and rooms. A GROUP OF KIDS runs into the yard. Children used to come and play in my jungle, all day long. Growing old is a crime. CUT TO: INT. JEANNE'S FAMILY COUNTRY MANOR Jeanne holds up a PICTURE. She points to people as she describes them. JEANNE That's me there. And that's Mademoiselle Sauvage, the teacher. She was very strict... and very religious. Olympia CHIMES IN AGAIN from behind the CAMERA CREW. 26. OLYMPIA She was too good. She spoilt you. The Camera Crew turns the camera on her. Jeanne has a DIFFERENT PICTURE, pointing again. JEANNE That's Christine... They turn back to Jeanne. JEANNE (CONT'D) ...my best friend. She married the pharmacist and has two children. It's like a village here. We all know each other. Olympia chimes in again from behind, in an open door. OLYMPIA I couldn't live in Paris. The camera turns on her, then back to Jeanne. JEANNE We're safe here. It's odd looking at the past. TOM Cut! He walks to her. TOM (CONT'D) Why is it odd? It's you! It's fantastic, it's your childhood. It's everything I was looking for. He turns on his camera crew who is UNDER HIS HEELS, shewing them out. TOM (CONT'D) What are you up to? Move it! Move it! (to the lead crewman) Who are these zombies who are always following you around? (to all of them) Scoot! Go on! The door, the door... He starts opening all the doors in the MANOR. 27. TOM (CONT'D) I'm opening the door. I'm opening all the doors. JEANNE What are you doing? TOM Setting up my shot. There it is! That's it! I've found it. Reverse gear! Olympia is loitering in one of the rooms he comes in. Imagine her nerve, in her own house! Tom is the typical RUDE FRENCH DIVA DIRECTOR. TOM (CONT'D) What are you doing there? Beat it! He turns his attention back to Jeanne, the subject of his OBSESSION. TOM (CONT'D) That's it. Into reverse. Yes! Do you see? Like a car, you go into reverse gear. That's it. Close your eyes. She closes her eyes. He guides her BACKWARDS by the shoulders through the MANOR. TOM (CONT'D) Start reversing. Close your eyes. That's it, come on. Come on backwards. That's it. Go back to your childhood. Jeanne BACKS TO a ROW OF PICTURES. She touches each and recalls the subject. JEANNE Papa? TOM You're soaring. Take off and return to your childhood. Next picture. JEANNE In full uniform. 28. TOM Don't be afraid. Overcome the obstacles. Next. JEANNE Papa in Algeria. TOM You're... He starts a COUNTDOWN of ages, as if he is HYPNOTIZING HER. TOM (CONT'D) 15...14...12...13...11...10...9... Jeanne backs into a DESK. TOM (CONT'D) We're there. Jeanne kneels down in front of the desk. JEANNE My favorite route when I was eight. She crawls under A TABLE. She finds a NOTEBOOK in a SECRET HIDING SPOT. JEANNE (CONT'D) My old notebook. She reads from it. JEANNE (CONT'D) French homework. Theme: the countryside. Exposition: the countryside is cow country. The cow is all dressed in leather. The cow has four sides: the front, the back, the top and the bottom. Isn't that good? TOM Beastly. STUDY - CONTINUOUS She reads on. JEANNE Here are my cultural sources. Le Grand Larousse. (MORE) 29. JEANNE (CONT'D) I just copied from it. Menstruation. Noun. Physiological function comprising the discharge of menses. Penis. Noun. Male copulation organ, measuring five to forty centimeters. That's Le Petit Robert. She shows him a PICTURE she has found that she DREW AS A CHILD. JEANNE (CONT'D) Tom! Tom! Tom! Look! TOM Who's that? JEANNE My first love. TOM Who? JEANNE My cousin Paul. My first love. TOM But his eyes are closed. JEANNE What? TOM His eyes are closed! JEANNE He played the piano divinely. That's how I remember him... AS WE -- CUT TO: EXT. BACK YARD Jeanne and Tom walk BUNDLED TOGETHER as Jeanne REMINISCES... JEANNE'S VOICE Sitting at the piano... His fingers would skim the keys. The FILM CREW follow them, filming. 30. Olympia stumbles behind, watching. JEANNE'S VOICE (CONT'D) He played for hours and hours. At the bottom of the garden, there were two big trees. A plane tree and a chestnut tree. After mass on Sundays, we used to sit there, each under our own tree. It was wonderful. We sat gazing into each other's eyes. All WANDER THE GARDEN. JEANNE Aren't my trees beautiful? They were my jungle. They come upon the CROWD OF KIDS again. One KID is squatting behind some thatch, doing his business. JEANNE (CONT'D) What are you doing? KID 1 Having a shit. The boy pooping stops and PULLS UP HIS PANTS. KID 2 No, we're doing a poo. Jeanne SCOLDS THEM. JEANNE Shame on you, doing it in my jungle! KID 1 Watch out! KID 2 Run for it! They SCATTER towards the STONE WALL with Olympia and Crew CHASING AFTER THEM. OLYMPIA Oh, these dirty little Arabs! Go and shit in your own country! The kids CLIMB THE WALL for escape from the CRAZY ADULTS. 31. TOM Keep filming. Keep filming! Don't stop, whatever you do! Tom wanders back over to Jeanne while Olympia and the Crew continue to SCARE OFF THE KIDS in the b.g.. JEANNE Did you get it? TOM Everything. JEANNE Olympia was great. It'll give a good idea of race relations in the suburbs of Paris. TOM It's a real jungle here. So, tell me about your father. JEANNE I thought we'd finished. TOM Five minutes. JEANNE I'm meeting someone for work. TOM But the colonel... the colonel! But Jeanne is OFF. AND WE CUT TO-- CUT TO: INT. APT. BUILDING - LIVING ROOM - DAY We are back at Paul's new place. Jeanne WANDERS THE ROOM TOPLESS but covering her breasts with a PILLOW. She continues to WAX NOSTALGIC about her father. JEANNE The colonel had green eyes and shiny boots. I worshipped him. He was so handsome in his uniform. 32. PAUL'S VOICE What a steaming pile of horseshit. JEANNE What? Pissed, she THROWS THE PILLOW she was covering her AMPLE BREAST with at Paul. We now see Paul is LOUNGING ON HIS MATTRESS, pant legs rolled up past his knees, TOYING WITH A HARMONICA and drinking from a WOODEN CUP. JEANNE (CONT'D) What? Don't... PAUL All uniforms are bullshit. Everything outside this place is bullshit. Besides, I don't want to hear about your stories, about your past, and all that. JEANNE He died in Algeria in 58... PAUL Or 68 or 28 or 98... JEANNE 58, and don't joke about things like that. PAUL Listen, why don't you stop talking about things that don't matter here? What the hell's the difference? DIALOGUE SWITCHES TO ENGLISH JEANNE OK. She huffs over to the other SIDE OF THE ROOM, crossing her arms, POUTING. JEANNE (CONT'D) So what do I have to say? What do I have to do!? He turns on to his back to evince his CROTCH. 33. PAUL Come on the good ship... (SINGS) Lollipop... He PLAYS A TUNE on his harmonica. She sneaks onto the bed IN THE SHADOWS. JEANNE'S VOICE Why don't you go back in America? He stops PLAYING THE TUNE. PAUL I don't know. Bad memories, I guess. JEANNE Of what? PAUL Oh... My father was a... a drunk. Tough. Whore-fucker, bar-fighter. Super-masculine. And he was tough. My mother was very... Very poetic. And also a drunk. And... one of my memories, when I was a kid, was of her being arrested nude. We lived in this small town. Farming community. We lived on a farm. And I'd come home after school and she'd be gone. In jail... or something. And... I used to... I used to have to milk a cow every morning and every night and I liked that. I remember... An IRISH COUNTRY JIG plays over the MONOLOGUE. PAUL (CONT'D) One time I was all dressed up to go out and take this girl to a basketball game. And I started to go out and my father said, "You have to milk the cow." I said, "Would you please milk it for me?" And he said, "No, get your ass out there." So I went out and I was in a hurry and didn't have time to change my shoes. And I had cow shit all over my shoes. And on the way to the basketball game, it smelled in the car. I don't know. I-I can't remember very many good things. 34. JEANNE'S VOICE Not one? PAUL Yeah. Some. There was a farmer, a very nice guy. Old guy, very poor, and worked real hard. I used to work in a ditch, draining land for farming. And he wore overalls and he smoked a clay pipe. Half the time he wouldn't put tobacco in it. And I hated the work. It was hot and dirty and... it broke my back. And... all day long I'd watch his spit which would run down the pipe stem and hang on the bowl of the pipe. And I used to make bets with myself on when it was going to fall off. And I always lost. I never saw it fall off. I'd just look around and it'd be gone and then the new one would be there. And then we had a beautiful... My mother... My mother taught me to love nature. And... I guess that was the most she could do. And... we had... In front of our house we had this big field... meadow. It was a mustard field in the summer and we had a big black dog named Dutchy. And she used to hunt for rabbits in that field but she couldn't see them. So she'd have to leap up in this mustard field and look around very quickly to see where the rabbits were. And it was... very beautiful. And she never caught the rabbits. Jeanne looks up from the bed, MISCHIEVOUSLY. JEANNE You have been had! PAUL Oh really? JEANNE I don't wanna know anything about your past, baby! PAUL You think I was telling you the truth? 35. Jeanne flaps her arms. Paul TWILLS his eyebrows in response. PAUL (CONT'D) Maybe... Maybe... Jeanne climbs on the bed with the top sheet like a LIONESS STALKING her prey. JEANNE I'm a Red Riding Hood and you're the wolf. She COVERS HIM UP with the sheet. Then she uncovers his arm. JEANNE (CONT'D) What strong arms you have! She SNIFFS HIS ARM. Paul PLAYS ALONG. PAUL The better to squeeze a fart out of you! She plays with his hands. JEANNE What long nails you have! PAUL The better to scratch your ass with. She REACHES UNDER the sleeve of his shirt to his chest. JEANNE Oh, what a lot of fur you have! PAUL The better to let your crabs hide in. She lifts the sheet from his face, moves his harmonica and looks in his mouth. JEANNE Ooh, what a long tongue you have! He TALKS FUNNY as Jeanne holds on to his tounge. PAUL The better to... to stick in your rear, my dear. 36. She makes her way down to his CROTCH, uncovering the sheet as she goes. She REGARDS HIS PRIVATE AREA. JEANNE What's this for? PAUL That's your happiness and my... my ha-penis. JEANNE Peanuts? Jeanne SMILES ON as Paul reels off a list of FOREIGN NAMES for the MALE GENITALIA. PAUL Schlong. Wienerwurst. Cazzo. Bitte. Prick! Joint! Jeanne gets a kick out of this... Sort of. JEANNE It's funny. It's like playing grown- ups when you're little. I feel like a child again here. PAUL Did you have fun as a kid? JEANNE It's the most beautiful thing. PAUL It's beautiful to be made into a tattletale or forced to admire authority or sell yourself for a piece of candy. JEANNE I wasn't like that. PAUL No? JEANNE I was writing poems. I was drawing castles,... big castles with tower. A lot of tower. PAUL Did you ever think about sex? 37. JEANNE No. No sex. Paul MOCKS HER. PAUL "No. No sex." JEANNE Tower. He gives her a LOVE SMACK on the head. PAUL You were probably in love with your teacher. JEANNE My teacher was a woman. PAUL And she was a lesbian. JEANNE How did you know? PAUL That's classical... Anyway... JEANNE My first love was my cousin Paul. Paul explodes. PAUL No! I'm gonna get a hemorrhoid if you keep telling me names. No names. I don't mind if you tell the truth, but don't give me the names. JEANNE Sorry. Sorry. PAUL Well, go on. Tell the truth. What else? JEANNE I was ... He was dark, very thin. I can see him. Big nose! A big romance. I fell in love with him when I heard him playing piano. 38. PAUL You mean when he first got into your knickers. JEANNE He was a child prodigy. He was playing with both hands. PAUL I'll bet he was... Probably getting his kicks. JEANNE We were dying of heat. PAUL Oh, yeah. Good excuse. What else? JEANNE In the afternoon, when the grown- ups were napping... PAUL You started grabbing his joint. JEANNE You're crazy! PAUL Well, he touched you. JEANNE I never let him! Never! PAUL Ohhhh. Liar, liar, pants on fire, nose as long as a telephone wire. JEANNE No, I'm not. PAUL Look me straight in the face and say, "He didn't touch me once." Huh? She SMILES. JEANNE He touched me, but the way he did it. 39. PAUL Aha! The way he did it. OK, what did he do? JEANNE Behind the house, there were two trees. A plane tree and a chestnut. I sat under the plane tree and he sat under the chestnut. And one, two, three... We each began to masturbate. The first who came... won! Paul is suddenly LOST IN HIS THOUGHTS. He wanders to the wall, leans on it and studies his harmonica. JEANNE (CONT'D) Why aren't you listening to me? PAUL When did you first come? How old were you? JEANNE The first time? I was really late for school. I started running and it was downhill. All of a sudden, I felt a strong sensation here. So I ran and ran and I came as I ran. The faster I ran, the better it was and the more I came. A couple of days later, I tried to do it again, but no luck. Paul climbs a TRIPOD that is leaning against the wall. JEANNE (CONT'D) Why aren't you listening to me? He takes the PIN OUT and it comes apart. He FALLS BACK. JEANNE (CONT'D) Why do I feel like I'm talking to a brick wall when I talk to you? Your solitude weighs on me. It isn't indulgent. It isn't generous. You are selfish! He finally looks at her. JEANNE (CONT'D) I can be by myself, too, you know! DRUM MUSIC STARTS AS... 40. He smiles, twirls a drum stick, puts his harmonica on her head and goes into the NEXT ROOM. She THROWS THE HARMONICA on the floor in disgust. As he FIDDLE FARTS around the apartment, Jeanne MASTURBATES. DINING ROOM Paul is REUNITED with his SMALL LAMP SHADE. He puts it over his face and CRIES into it. LIVING ROOM Jeanne has CUM. She ROLLS OFF THE MATTRESSES onto the floor, SPENT. She ROCKS BACK AND FORTH on her haunches. A SIREN screams outside. She hugs the wall. DINING ROOM Paul is LOST IN GRIEF, crying harder. CUT TO: INT. HOTEL - LOBBY SAX MUSIC PLAYS - from a room in the HOTEL. It's soothing and nice. Nevertheless, Rosa's mother roams the room, sleepless, a CROCHET BLANKET wrapped around her. Paul sleeps on the couch. She covers him with a the blanket, MATERNAL. He THROWS IT on the floor. ROSA'S MOTHER I can't sleep with this music. PAUL I came to this hotel a long time ago, to spend one night. And I stayed for five years. ROSA'S MOTHER When Papa and I had the hotel, people came here to sleep. PAUL Now, there's all sorts. They can hide, take drugs, play music. 41. Rosa's mother reaches out and strokes Paul's arm. PAUL (CONT'D) Take your hand away. She continues stroking. ROSA'S MOTHER You're not alone, Paul. I'm here. He sits up calmly, taking her hand in his own, then... BITES HER!!! She PULLS HER HAND BACK in obvious pain. ROSA'S MOTHER (CONT'D) You're crazy! I'm starting to understand. PAUL Do you want me to make them shut up? OK. I'll make them shut up. Paul gets up and TURNS OFF THE MASTER LIGHT SWITCH. Rosa's mother STANDS, SCARED. ROSA'S MOTHER What are you doing, Paul? I'm afraid! Paul STALKS TOWARD her in the DARK. PAUL What's the matter, Mother? Are you upset? Don't be. There's nothing to be upset about. It takes so little to make them afraid. I'll tell you what they're afraid of. He leads her by the ARM to the stairs. PAUL (CONT'D) They're afraid of the dark. Imagine that! Come on, Mother. Meet my friends. ROSA'S MOTHER Put the light on! They look up the stairs to all the GUESTS that are out of their rooms. 42. PAUL You should meet a few clients of the hotel. Hey, folks. I'd like you to say hello to Mom. Mom, this is Mr Juicehead Junky here. And... Mr Saxophone, he's... He's our connection, Mom. He gives us some hard stuff once in a while. And right here is the beautiful Miss Blowjob of 1933. She still makes a few points when she takes her teeth out. ROSA'S MOTHER The light, Paul. PAUL Say hello, Mom! This is Mom! Oh! You afraid of the dark, Mom? She's afraid of the dark. Oh, poor thing. All right, sweetheart. I'll take care of you. I'll give you a little light. I'll give you a little light. Don't you worry about a thing. Paul turns the lights back on. The GUESTS who are gathered on the stairs, scurry back to their rooms. HOTEL ENTRANCE Rosa's Mother stares on as the COMMOTION CLEARS. A GUEST comes in the front door carrying NEWSPAPERS. This is MARCEL, (60's) Rosa's LOVER. He takes off his hat for her. MARCEL Good evening, madame. ROSA'S MOTHER Good evening. Paul saunters into the room. He surveys the IRONIC SCENE. PAUL Good evening, Marcel. Marcel picks up on the awkward energy. He heads up the stairs to his room. Paul hands him a key on the way up. MARCEL Goodnight, Paul. 43. ROSA'S MOTHER Who's that? PAUL Do you like him? He was Rosa's lover. CUT TO: INT. APT. BUILDING - BATHROOM - MORNING Jeanne, NAKED, roots through Paul's coat pockets. She finds his RAZOR, but scoots to the sink when she HEARS HIM COMING. She starts applying makeup and SINGING. Paul enters the bathroom. He takes his SHAVING ACCOUTREMENTS (razor, strop, brush, etc.) out of his coat pockets. Jeanne watches him intently in the MIRROR. He joins her at the LARGE BASIN SINK. She pretends to have been putting on her make-up all along. She RESUMES HER SONG. JEANNE What am I doing in this apartment with you? Love? Paul starts putting his SHAVING CREAM on with a shaving brush. PAUL Well... Let's say we're just taking a flying... a flying fuck at a rolling doughnut. JEANNE So you think I'm a wore. He MOCKS her obvious mispronunciation of "whore". PAUL I think you're a what? A what? A wore? JEANNE A wore. PAUL You mean whore. JEANNE Yes, a whore. Whore. 44. PAUL No, you're just a good old fashioned girl... trying to get along. JEANNE I prefer to be a whore. She applies more makeup. PAUL Why were you going through my pockets? JEANNE To find out OOH you are. He MOCKS her mispronunciation of "who" this time. PAUL To find out OOH you are. JEANNE Yes. PAUL Well, if you look real close, you'll see me hiding behind my zipper. JEANNE Well, we know that he buys clothes in some big store. That's not much. But it's a beginning. PAUL That's not a beginning, that's a finish. JEANNE Well, OK. Let's forget it. How old are you? PAUL I'll be 93 this weekend. JEANNE Oh, you don't look it. PAUL Thank you. She LAUGHS. 45. JEANNE Have you been in college? PAUL Oh yeah. Yeah. I went to... the University of Congo. Studied whale- fucking. JEANNE Wow! He SHARPENS his razor on the STROP. JEANNE (CONT'D) Barbers don't usually go to university. PAUL Are you telling me that I look like a barber? JEANNE No, but that's a razor's barber. He CORRECTS her again. PAUL That's a barber's razor. JEANNE Barber's razors, yes. PAUL Or a madmans. He starts SHAVING his neck with the STRAIGHT RAZOR. JEANNE So you want to cut me up? PAUL No. That would be like writing my name on your face. JEANNE Like they do to slaves? PAUL Slaves are branded on the ass and I want you free. JEANNE Free?! I'm not free! You want to know why... (MORE) 46. JEANNE (CONT'D) why you don't want to know anything about me? Because you hate women. PAUL Oh, really? JEANNE What the hell have they ever done to you? PAUL Well,... either they always pretend to know who I am or they pretend I don't know who they are and that's very boring. JEANNE I'm not afraid to say who I am. I am 20 years old... Paul EXPLODES. PAUL NO! I... Jesus Christ! Where is your brain? State zitta. Halt's Maul, Schweinehund. Shut up. Get it? She stands, POUTING. PAUL (CONT'D) I know it's tough but you're gonna have to bear it. She hits the sink and TURNS to us, we see her AMPLE BUSH. She crosses her arms and continues to POUT like a child. PAUL (CONT'D) You know, these sinks are really beautiful. They're very rare, you don't find them any more. I think it's these sinks that let you stay together. He has finished SHAVING. PAUL (CONT'D) Hmm? Don't you think? He FINALLY NOTICES her pouting. PAUL (CONT'D) What's that? What's all this? 47. PAUL (CONT'D) Mad? He throws her over his shoulder. He SPINS HER AROUND. She screams but goes with it. PAUL (CONT'D) Mad? Mad? Mad? She LOVES IT. He puts her down on the sink. She is LAUGHING. PAUL (CONT'D) I think I'm happy with you. He leaves the bathroom. She slaps the sink top, CHILDLIKE. JEANNE Again! Do it again! Again! CUT TO: INT. APT. BUILDING - FRONT DOOR - A LITTLE LATER Paul is all dressed. He is ready to leave. We hear Jeanne from the BATHROOM. DIALOGUE IS FRENCH JEANNE'S VOICE I'm coming! I'm ready. She comes around the corner... JEANNE Shall we leave together? ... Just in time for Paul to SLAM THE DOOR IN HER FACE. JEANNE (CONT'D) Bastard! He's a git! Not even goodbye! She THROWS HER PURSE at the door. CUT TO: INT. SUBWAY STATION - PLATFORM - DAY A train enters the station. Tom gets off. He searches for Jeanne. 48. When the Train leaves, we see her sitting on a bench on the adjacent track. She notices him first. JEANNE Tom! TOM Jeanne! What are you doing there? I'm coming! I'll fly! He starts RUNNING TO THE EXIT. JEANNE Wait! I've got to talk to you. TOM Why didn't you speak on the phone? What's up? JEANNE You must find someone else. TOM For what? JEANNE For your film. TOM Why. He FRAMES HER with his fingers. JEANNE Because you're taking advantage of me! Because you make me do things I've never done! Because you're taking up my time! You make me do whatever you want! The film is over! A train ROARS into the station between them. Jeanne is ANNOYED. JEANNE (CONT'D) I'm tired of being raped! The train is gone, but there is no one there... Tom is GONE. Jeanne walks toward the EXIT. Tom appears on HER SIDE of the platform. 49. They STALK EACH other like ANIMALS. He SLAPS HER HARD in the head. She SLAPS him back. They FIGHT until she collapses from exhaustion in his arms. CUT TO: INT. HOTEL - MARCELS ROOM - EVENING Marcel is in his RED PLAID BATHROBE. He sits at his desk, clipping coupons from a NEWSPAPER. [OC] KNOCK ON DOOR DIALOGUE IS FRENCH MARCEL Come in! Paul comes in. He is in a MATCHING RED PLAID BATHROBE. PAUL You wanted to talk to me. Go on, then. You know I haven't come to cry with you? MARCEL Do you mind if I carry on working? He does while Paul ROOTS AROUND. MARCEL (CONT'D) It helps me a lot after what has happened. He takes notice of PAUL'S ROBE. MARCEL (CONT'D) Identical. Rosa wanted them identical. PAUL Our bathrobes? You can't tell me anything I don't already know. MARCEL Same colour, same pattern. PAUL Yes, yes, yes. Paul takes a look at one of the newspapers from Marcel's desk. 50. PAUL (CONT'D) Your meticulous. I've always wondered why you save newspaper clippings. Is it work? Or a hobby? MARCEL Hobby? I don't like that word. Let's say it's some extra cash. I do it for an agency. PAUL Oh, so it's serious. It's a job that makes you read? Very educational. MARCEL Be honest. You didn't know we had the same bathrobes. Paul finds this VERY AMUSING. PAUL Marcello... He sits on MARCELS BED. MARCEL We've got a lot of things in common. PAUL Marcello, I know everything. He flicks the light on and off as he talks. No, Rosa often talked to me about you. I don't think there are many marriages like that. It's strange... I'm thirsty. He heads to the door. PAUL (CONT'D) Would you like a shot of bourbon? Marcel stops him. MARCEL Hold on. Here's the bourbon. He takes a BOTTLE OF BOURBON from a hiding place. Paul joins him. He pours a glass for Paul. 51. PAUL Was that a present from Rosa, too? He POURS A GLASS for himself. MARCEL I don't really like bourbon, but Rosa wanted me to keep a bottle here in my room. He SITS back down. MARCEL (CONT'D) I was asking myself this question. If, with these little things, unimportant things, we could go back over things, and understand together. PAUL Together? MARCEL It's almost a year that Rosa and I... Not passionately, but regularly... I thought I knew her as much as you can know... PAUL Your mistress... MARCEL For example, a while ago, something happened that I still don't understand. Do you see there, on the wall? He points to a spot on the wall above them. MARCEL (CONT'D) She had climbed onto the bed and she was trying to tear at the walls with her hands. I stopped her because she was breaking her nails. She had a strange... violence about her. I'd never seen her like that. PAUL Our room is painted white. Rosa wanted it to be different from the other rooms in the hotel. Marcel takes some LIPS SALVE from his bathrobe pocket. 52. PAUL (CONT'D) To make it look like... a more normal home. But... it had to be changed here, too. I think she started with the wall. Paul takes notice of the LIP SALVE operation. MARCEL A cold sore. I don't know. Shit. Paul regards him for a second. PAUL You're lucky huh? You were... You must have been very handsome 20 years ago. MARCEL Not as much as you. PAUL You've still got all your hair. MARCEL My hair... I have to have it trimmed often. And wash it. I wash it nearly every day. PAUL Don't you have massages? He massages his own temples. MARCEL Yes, I do. PAUL You're in good shape. He paws at Marcel's stomach. PAUL (CONT'D) What do you do for... your stomach? That's my problem. MARCEL For that... He gazes across the room. MARCEL (CONT'D) I have a secret. 53. He gets up and heads across the room. PAUL Tell me! He takes a bar from the floor and slides it into a spot on the top of a DOOR FRAME. PAUL (CONT'D) Ah... MARCEL Are you leaving us? I saw your suitcase was packed. Ah... America. Why was she unfaithful to you? PAUL You can't believe that Rosa... killed herself. It's hard for me to... believe, too. While Paul has a moment of REFLECTION, Marcel shows him his PULL-UP LEG KICK combo on his PULL-UP bar. MARCEL This is my secret! Thirty times every morning. Paul leaves, DISGUSTED. PAUL (ENGLISH) Really, Marcello, I wonder what she ever saw in you. CUT TO: INT. APT. BUILDING - DAY Jeanne comes in carrying her FUR COLLARED COAT, purse and a BAG. JEANNE Are you in? She looks around the place. JEANNE (CONT'D) Is anyone here? She kicks the door shut with her foot. She wanders to the... DINING ROOM 54. JEANNE (CONT'D) Hi, monster. She throws her coat and purse on the table. She puts a PORTABLE RECORD PLAYER in the BASSINET. JEANNE (CONT'D) Is something wrong? From the other room we hear Paul... PAUL'S VOICE There's butter in the kitchen. We see that Paul is laying on the floor eating bread. JEANNE So you're here? Why didn't you answer? PAUL Go get the butter. JEANNE I have to hurry. I have a cab waiting. PAUL Go get the butter. She STORMS into the kitchen. Paul continues eating. She comes out and THROWS THE BUTTER on the floor in front of him. JEANNE It makes me crazy! She sits on the floor and opens a MIRRORED door on a cabinet. We see PAUL'S REFECTION IN IT. JEANNE (CONT'D) That you're so damned sure that I'm coming back here. He laughs at her. She sits on her HAUNCHES, then her ass. JEANNE (CONT'D) Do you really think that an American sitting on the floor in an empty flat eating cheese and drinking water is interesting? 55. He NODS YES. She knocks on the FLOOR near her. JEANNE (CONT'D) There's something under here. Can you hear it? It's hollow. Can you hear it? It's hollow. PAUL Yeah. That's a hiding place. He crawls toward her. We see Jeanne's reflection in a MIRROR behind him. He reaches toward the hollow spot. She SLAPS HIS HAND. JEANNE Don't open it! PAUL Why not? JEANNE I don't know. Don't open it. He points to her CROTCH. PAUL What about that? Can I open that? He reaches for it but she MOVES AWAY. PAUL (CONT'D) Huh? Wait a minute. Maybe there's jewels in it. He starts to UNDO HER PANTS. PAUL (CONT'D) Maybe there's gold. He PULLS THE BUTTER OVER WITH HIS FOOT. PAUL (CONT'D) Are you afraid? JEANNE No. PAUL No? He YANKS HER by the legs CLOSER TO HIM. PAUL (CONT'D) You're always afraid. 56. He FLIPS HER ON HER stomach, violently. She is not in the SAME GAME. JEANNE No, but... maybe there is some family secrets inside. PAUL Family secrets? He RIPS HER PANTS DOWN TO HER ANKLES. PAUL (CONT'D) I'll tell you about family secrets. He gets a HAND FULL OF BUTTER. JEANNE What are you doing? PAUL I'm gonna tell you about the family. He YANKS her pants down enough to put his HAND FULL OF BUTTER in her ASS. PAUL (CONT'D) That holy institution meant to breed virtue in savages. He SPREADS the butter in her ASS as she STRUGGLES. PAUL (CONT'D) I want you to repeat it after me. He MOUNTS HER, opening his ZIPPER. She STRUGGLES more. JEANNE No and no! No! PAUL Repeat it. Say, "Holy family." Come on, say it. He grabs her arms, stopping her from STRUGGLING as he SODOMIZES HER. PAUL (CONT'D) Go on. Holy family. Church of good citizens. She is WEEPING. 57. JEANNE Church... PAUL Good citizens. JEANNE Good citizens... She CRIES OUT in pain as he enters her. He smacks her savagely on the back of her head. PAUL Say it. Say it! The children are tortured until they tell their first lie. JEANNE The children... are tortured... Her MUFFLED CRIES. PAUL Where the will is broken by repression. JEANNE Where the will... broken... repression. TEARS STREAM DOWN her face. PAUL Where freedom... JEANNE Free... Freedom! PAUL ..is assassinated. Freedom is assassinated by egotism. Family... JEANNE Family... He DRIVES IT HOME TILL HE COMES... PAUL You... You... You... You f... You... fucking... fucking... family. You fucking... family! Oh, God... Jesus. Oh, you... Oh... 58. He COLLAPSES on her, SPENT as she continues to WEEP. CUT TO: EXT. PONT DE BIR-HAKEIM - THAT MOMENT A TRAIN ROARS by on the TRAIN BRIDGE. CUT TO: INT. APT. BUILDING - LIVING ROOM Paul is SLEEPING on the floor amidst the BREAD AND BUTTER. CUT TO: EXT. PONT DE BIR-HAKEIM - MOMENTS LATER Another couple of TRAINS go by. CUT TO: INT. APT. BUILDING - LIVING ROOM - LATER Paul SLEEPS more. On his STOMACH now, with his foot on a piece of FURNITURE. Jeanne puts a record on the RECORD PLAYER she brought with her. She goes to plug it into the FLOOR PLUG but gets an ELECTRICAL SHOCK. JEANNE Shit! She looks at him sleeping. JEANNE (CONT'D) Hey, you! He looks at her UPSIDE DOWN. JEANNE (CONT'D) Yes, you! PAUL Huh? JEANNE I've got a surprise for you. 59. PAUL What? He looks at himself in a SMALL MIRROR. JEANNE I've got a surprise for you! PAUL That's good. I like surprises. He FLIPS HIMSELF over backwards onto his feet. He walks over to her and the RECORD PLAYER. He stares down at her. PAUL (CONT'D) What is it? JEANNE Music. But I don't know how to work it. He sits on the FLOOR next to her. He plugs in the RECORD PLAYER. He JUMPS as he gets an ELECTRICAL SHOCK. Jeanne is secretly amused. PAUL Do you enjoy that? He gets the RECORD PLAYING. It's some 70's HIPPY MUSIC. Jeanne sways to it while Paul reads the JACKET COVER. CUT TO: EXT. PASSY VIADUCT PARK - DAY HIPPIE MUSIC CONTINUES Tom and Jeanne sit, ROMANTICALLY ENTWINED on a SEA WALL while his FILM CREW films in the b.g. They sit FACE TO FACE, he holds her shoulders and stares into her eyes. TOM Do you know why I sent the others away? JEANNE Because you're angry, or you want to be alone with me? 60. TOM And why do I want to be alone with you? JEANNE You have something really serious to tell me. He plays with her hair. TOM I have something really very serious to tell you. JEANNE Is it happy or sad? TOM It's a secret. JEANNE So it's happy. What sort of secret? TOM A secret... As his FILM CREW dolly around them in the b.g., his SOUND PERSON yells at them. SOUND PERSON Speak up! I can't hear anything. TOM ...between a man and a woman. JEANNE Is it dirty or is it about love? TOM About love. But that's not all. JEANNE A secret about love, but which isn't love. What is it?! He puts a LIFE PRESERVER over her. TOM Voila. That in a week I'm marrying you. JEANNE What? 61. TOM I'm marrying you. JEANNE What?! TOM I'm marrying you! JEANNE You're marrying me? TOM Yes! JEANNE We're getting married? TOM Yes we're getting married. JEANNE No. TOM Yes. JEANNE No! TOM Yes. JEANNE Yes? TOM Yes. JEANNE No. TOM Yes. JEANNE Yes? TOM No. Are we getting married or not? JEANNE I don't know. 62. TOM So, yes, then? JEANNE Yes! TOM No! JEANNE Yes! TOM Yes. JEANNE No. TOM Yes or no? She take the life preserver off and THROWS IT IN THE WATER. Together, they WATCH IT SINK. CUT TO: EXT. JEANNE'S MOTHERS APT. - PORCH - DAY JEANNE'S MOTHER beats the dirt off her LATE HUSBANDS MILITARY JACKET. JEANNE'S MOTHER Of course, I'll send everything to the country. What do you think, Jeanne? INT. LIBRARY - CONTINUOUS Jeanne tries on another of her FATHERS MILITARY UNIFORMS complete with HAT. JEANNE Olympia will be happy. I went there yesterday with Tom. Her mother joins her inside. She carries the FATHERS BOOTS. JEANNE (CONT'D) She's preparing a family museum. 63. JEANNE'S MOTHER Of course, I'm not sending the boots. I'm keeping them with me. I get strange shivers when I touch them. Jeanne goes into an ADJOINING ROOM while her mom continues reflecting, IRONING the JACKET. JEANNE'S MOTHER (CONT'D) All these military things never age. She looks up just in time to see that Jeanne has found her fathers gun and is pointing it in her direction. JEANNE When I was little, it seemed really heavy when Papa taught me how to shoot. JEANNE'S MOTHER I'm keeping that here. In a respectable household, it's useful to have a weapon. JEANNE You don't even know how to use it. JEANNE'S MOTHER The important thing is to have one. It makes an impression. JEANNE You really kept everything of Papa's. She shows her mom a picture she has scrounged up from her FATHERS WALLET of a TOPLESS NEGRO FEMALE. JEANNE (CONT'D) Who's that? His orderly? JEANNE'S MOTHER A fine example of a Berber. JEANNE Oh. 64. JEANNE'S MOTHER A strong race. I tried to employ them as servants, but it was disastrous. 'm glad I decided to send everything to the country. All his things were piling up and piling up. JEANNE Don't worry. You'll soon have all the space you want. JEANNE'S MOTHER What does that mean? JEANNE Nothing. She takes off the HAT and JACKET and throws them on the sofa. She heads to the FRONT DOOR with MOM FOLLOWING, on pins and needles. JEANNE (CONT'D) Madame, the colonel's lady, I announce... Mom RUNS IN. JEANNE'S MOTHER What? What? JEANNE On this solemn day... She goes out the door... JEANNE'S MOTHER What? What solemn day? She RUNS AFTER her daughter. HALLWAY - CONTINUOUS Jeanne is on the ELEVATOR. She sticks her head out. JEANNE I'm getting married in a week! She shuts the door and HEADS DOWN. JEANNE'S MOTHER What did you say? 65. Mom follows her down STEP FOR STEP. JEANNE To Tom! In a week! JEANNE'S MOTHER Pardon? JEANNE Tom! In a week! JEANNE'S MOTHER What are you doing in a week? CUT TO: EXT. OUTDOOR SHOP BAZAAR - DAY Tom and his FILM CREW film Jeanne trying on wedding dresses. He COUNTS DOWN to the shot. TOM Five... two! He does the CLAPPER with his hands. Jeanne and her HOST OF DRESSERS is lost in her fittings. TOM (CONT'D) Move into shot! We're shooting! They move into the center of the shop. We get another look at Jeanne's LEFT BREAST as it slips out of the dress being fitted. Tom fires off QUESTIONS for film purposes. TOM (CONT'D) So,... how do you see marriage? JEANNE Marriage? TOM Yes. Jeanne gives her upbeat EXTISTENTIAL RESPONSES as her fitting continues. JEANNE I see it everywhere. All the time. 66. TOM What do you mean, everywhere? JEANNE On walls. On buildings. TOM Walls and buildings? JEANNE Yes, on advertising hoardings. TOM What are they selling? Cars. Tinned meat. Cigarettes. JEANNE No. They're all about young couples. Before marriage, no children. Then the same couple, married with children. In short, marriage. The perfect, ideal, successful marriage. It's no longer the preserve of the Church. The husband was burdened with responsibilities and the wife nagged. Now, weddings in advertising smile! TOM They smile. On posters. JEANNE On posters, of course. But why t take poster marriage seriously? Marriage... Pop marriage! Tom comes out from under a DRESS. TOM Pop? That's the formula. For pop youth, pop marriage! But... what if the pop marriage doesn't work? JEANNE Then you have to fix it like you would a car. The spouses are two workers in overalls bending over an engine to fix it. TOM And in case of adultery what happens to the pop marriage? 67. JEANNE In that case, there are three or four workers. TOM What about love? Is love pop? JEANNE No. That's not. Love isn't pop. TOM Love isn't pop. So what is it? JEANNE The workers retire to a secret flat, take off their overalls and become men and women again and make love. The fussing on the dress is finished. Jeanne slowly, PUTS ON HER GLOVES, relishing them. She STRUTS slowly for all to stare and LAVISH her in her dress. Tom is CAPTIVATED. TOM You're wonderful. JEANNE It's the dress that makes the bride. TOM You're better than Rita Hayworth. He wanders out into the street. It is RAINING HEAVILY. Better than Joan Crawford! Better than Kim Novak! Better than Lauren Bacall! Better than Ava Gardner when she was Mickey Rooney's lover! Hes FILM CREW scatters for cover. TOM (CONT'D) What are you doing? Stop! Stop, but keep filming! Why aren't you filming in the rain? CREW 1 You're crazy! 68. They huddle underneath the DOOR of the FILM TRUCK. Tom has lost Jeanne in all the HUBUB. He is disgusted with his CREW. TOM You're all fired! He goes back to the SHOP. TOM (CONT'D) Where's Jeanne? DRESSER 1 She must have run off. TOM When? ln the rain? He runs down the street in the rain looking for her. JEANNE Jeanne! Jeanne! Jeanne! Jeanne! CUT TO: INT. APT. BUILDING - LOBBY - DAY Paul comes POINDING in from the rain. He STOMPS the water off his shoes. He breaks into an IMPROMPTU SOFT SHOE. He opens the gate to the ELEVATOR and gets on. He pushes the button. The elevator STARTS UP. JEANNE'S VOICE Please forgive me! Paul stops the elevator. He SENDS IT BACK DOWN. We see Jeanne has been waiting on the ADJACENT STAIRS for Paul. She is still in her WEDDING DRESS. She implores Paul from outside the elevator. JEANNE (FRENCH) Forgive me! I wanted to leave you and I couldn't. (ENGLISH) I wanted to leave you and I couldn't. I can't. I can't leave you, do you understand? 69. She stands, PLEADING at the ELEVATOR. JEANNE (CONT'D) Do you still want me? Paul does the EYEBROW TRILL. He opens the elevator so she can get on. ELEVATOR As it ascends, Jeanne slowly RAISES HER DRESS, revealing NO UNDERWEAR and her AMPLE BUSH to Paul. CUT TO: INT. APT. BUILDING - ENTRANCE - MOMENTS LATER The door flies open. Paul comes in CARRYING Jeanne in his arms. PAUL Voil‡! He starts doing a JIG AND SONG... all the way to the MATTRESSES. PAUL (CONT'D) Oh, there once was a man And he had an old sow ow! Hi-diddle- dow... He puts her on the bed. She is GIGGLING. PAUL (CONT'D) You're wet. Paul pats her stomach and leaves the room. DINING ROOM - CONTINUOUS Paul opens the curtains. Jeanne's SCREAMS come from the other room. He goes to investigate. PAUL (CONT'D) What the hell? BEDROOM - CONTINUOUS Jeanne screams BLOODY MURDER and points to a DEAD RAT on the STILL UNMADE MATTRESS. 70. PAUL (CONT'D) A rat. Only a rat. He PICKS IT UP by the tail. She stumbles over herself to get away. PAUL (CONT'D) There are more rats in Paris than people. Yum, yum, yum. He holds it out, OFFERING IT to her. She freaks. She runs to the other side of the room. JEANNE I want to go! He brings it to her... she continues to BACK PEDDLE. PAUL Wait, wait! Don't you want a bite first? You don't want to run and eat. JEANNE This is the end! He points to the ASS of the RAT. PAUL No, this is the end... Then points to the HEAD. PAUL (CONT'D) ...but I like to start with the head. That's the best part. Are you sure you won't have any? OK. He DANGLES IT over his mouth, flitting his tounge, pretending to eat it. She is gonna HURL. PAUL (CONT'D) What's the matter? You don't dig rat? JEANNE I wanna go! I can't make love in this bed any more. I can't. It's disgusting! Nauseating! PAUL Well, we'll fuck on the radiator or standing on the mantel. 71. He holds up the RAT again. PAUL (CONT'D) Listen, I gotta get some mayonnaise for this. Because, it really is good with mayonnaise. He heads out, then stops and LOOKS BACK AT HER. PAUL (CONT'D) I'll save the asshole for you. He really leaves this time. PAUL'S VOICE Rat's asshole with mayonnaise! He LAUGHS at himself. Jeanne is a BASKET CASE. She sits on her HAUNCHES, muttering. JEANNE I want to get out of here. I want to go. I can't stand it here any more. Yes. I'm going. She gets up, gets her purse and goes to the door. We see her ASS through the SHEER FABRIC of her wedding dress. JEANNE (CONT'D) I'm not coming back... ever. She gets to the... FRONT DOOR Paul is there, WAITING, NONCHALANT. PAUL Quo vadis, baby? JEANNE I forgot to tell you something. I fell in love with somebody. PAUL Oh, isn't that wonderful? You know, you're going to have to get out of these wet duds. He PATS HER ASS. JEANNE I'm going to make love with him! 72. She opens the door but he closes it. She STOMPS into the HALL. PAUL Well, first you have to take a hot bath. Cos if you don't... He walks toward her. PAUL (CONT'D) ...you're gonna get pneumonia, right? Huh? She STOMPS a few more steps toward the BATHROOM. PAUL (CONT'D) And then you know what happens? You get pneumonia, then you know what happens? You die. And then, you know what happens when you die? I get to fuck the dead rat! He THROWS HER OVER his shoulder and carries her KICKING AND SCREAMING into the... CUT TO: INT. BATHROOM Jeanne is in the BATHTUB. Paul sits on the BIDET behind her with a WASHCLOTH. PAUL Give me the soap. She does. JEANNE I'm in love. PAUL You're in love? He shoves her head UNDER THE WATER. PAUL (CONT'D) How delightful. She comes up ANGRY. JEANNE I'm in love! I'm in love, you understand? 73. He SMACKS her with the washcloth on the head. JEANNE (CONT'D) I'm in love, I'm in love! He SHOVES HER under again. JEANNE (CONT'D) Oh! I'm in love! He HITS HER on the head with her own shoe. She just gets more ANGRY. JEANNE (CONT'D) You know, you're old! You're getting fat. PAUL Fat, is it? How unkind. JEANNE Half of your hair is out and the other half is almost white. He smacks her in the mouth with the wash cloth, she smiles. PAUL In ten years, you'll be playing soccer with your tits. He starts WASHING HER back. PAUL (CONT'D) What do you think of that? You know what I'm gonna be doing? JEANNE You will be on a... wheelchair! PAUL Well, maybe. But, you know... I'll be smirking and giggling all the way to eternity. JEANNE How poetic. But please, before you go, wash my feet. She holds up A FOOT. PAUL OK. oblesse oblige. 74. He sits on the edge of the TUB and grabs her foot. He takes a sniff... She pulls it away. JEANNE You know, he and I, we make love. He WASHES her foot. PAUL Oh, really? That's wonderful. Is he a good fucker? JEANNE Magnificent. He puts up the OTHER FOOT to was, he obliges again. PAUL You know, you're a jerk. Cos the best fucking you're gonna get is right here in this apartment. Stand up. She does. He washes her ASS. JEANNE He is full of mysteries. PAUL Give me the soap. Listen, you dumb dodo. All the mysteries that you're ever gonna know in life are right here. He washes her STOMACH. JEANNE He is like everybody but... at the same time he's different. PAUL You mean, like everybody. JEANNE Yeah, but... even he fright me. Even he frightens me. PAUL What is he, your local pimp? JEANNE He could be. He looks it. You know why I'm in love with him? 75. PAUL I can't wait. JEANNE Because he know. He know how to make me fall in love with him. She gets out. He COVERS her with a BIG RED TOWEL. PAUL You want this man you love to protect and take care of you. JEANNE Yeah. PAUL You want this golden, shining, powerful warrior to build a fortress where you can hide in. So you don't have to ever... have... You don't ever have to be afraid. You don't have to feel lonely or empty. That's what you want, isn't it? JEANNE Yes. PAUL Well, you'll never find it. JEANNE But I find this man. PAUL Then it won't be long until he'll want you to build a fortress for him out of your tits and out of your cunt and your hair and your smile and the way you smell. And... and some place where he can feel comfortable and secure enough so that he can worship in front of the altar of his own prick. JEANNE But I find this man! They lean against SEPERATE WALLS. 76. PAUL No, you're alone. You're all alone. You won't be free of that feeling of being alone until you look death right in the face. I mean, that sounds like bullshit, some romantic crap, until you go right up into the ass of death. Right up in his ass... till you find the womb of fear. And then,... maybe... Maybe then, you'll be able to find him. JEANNE But I find this man. He's you! You are that man! Paul doesn't like that comment. He needs to TEACH HER another LESSON. He bites a HANGNAIL. PAUL Get me the scissors. JEANNE What? PAUL Get me the fingernail scissors. She STOMPS past him to get them, hands them to him. PAUL (CONT'D) No. I want you to cut the fingernails on your right hand, these two. She DOES. JEANNE That's it. He stands FACING the wall and PULLS HIS pants down. PAUL I want you to put your fingers up my ass. JEANNE What? PAUL Put your fingers up my ass, are you deaf? Go on. I'm gonna get a pig... and I'm... I'm gonna have the pig fuck you. (MORE) 77. PAUL (CONT'D) I want the pig to vomit in your face and I want you to swallow the vomit. Are you gonna do that for me? JEANNE Yeah. PAUL Huh? JEANNE Yeah! PAUL I want the pig to die while... while you're fucking him. Then you'll have to go behind him. I want you to smell the dying farts of the pig. Are you gonna do all of that for me? JEANNE Yes, and more than that! And worse! And worse than before. CUT TO: INT. HOTEL - TEMPORARY VIEWING ROOM - DAY ROSA'S WAKE. Rosa's mother has set up a room in the Hotel as a VIEWING ROOM for her daughter. She is, as promised, surrounded by TONS OF FLOWERS. Paul comes in and pulls up a chair next to ROSA. He turns on the LIGHT. PAUL You look ridiculous in that make- up. Like the caricature of a whore. A little touch of Mommy in the night. Fake Ophelia drowned in the bathtub. I wish you could see yourself. You'd really laugh. You're your mother's masterpiece. He pulls the chair closer to her. PAUL (CONT'D) Oh Christ! There are too many fucking flowers in this place. I can't breathe. You know on the top of the closet? (MORE) 78. PAUL (CONT'D) The cardboard box, I found all your... I found all your little goodies. Pens, keychains, foreign money, French ticklers, the whole shot. Even a clergyman's collar. I didn't know you collected all those little knick-knacks left behind. Even if the husband lives fucking years, he's never going to be able to discover his wife's real nature. I mean, I... I might be able to comprehend the universe, but... 'll never discover the truth bout you. Never. I mean, who the hell were you? Remember that day, the first day I was there? I knew that I couldn't get into your pants unless I said... What did I say? Oh, yeah. "May I have my bill, please? I have to leave." Remember? Last night... I ripped off the lights on your mother. And the whole joint went bananas. All your... guests... as you used to call them... Well, I guess that includes me, doesn't it? It does include me, doesn't it? For five years, I was more a guest in this fucking flophouse than a husband. With privileges, of course. And then, to help me understand you, you let me inherit Marcel. The husband's double, whose room was the double of ours. And you know what? I didn't even have the guts to ask him. Didn't have the guts to ask him if the same numbers you and I did were the same numbers you did with him. Our marriage was nothing more than a foxhole for you. And all it took for you to get out was a -cent razor and a tub full of water. You cheap, goddamn, fucking, godforsaken whore. I hope you rot in hell. You're worse than the dirtiest street pig anybody could find, and you know why? You know why? Because you lied. You lied to me and I trusted you. You lied. You knew you were lying! Go on, tell me you didn't lie. Haven't you got anything to say about that? You can think up something, can't you? (MORE) 79. PAUL (CONT'D) Go on, tell me something! Smile, you cunt! He STARTS to WEEP. PAUL (CONT'D) Go on, tell me... Tell me something sweet. Smile at me and say I just misunderstood. Go on, tell me. You pig-fucker! You goddamn, fucking, pig-fucking liar. Rosa, I'm sorry... I just can't... I can't stand it... to see these goddamn things on your face. You never wore make-up. This fucking shit. I'm gonna take this off your mouth. This lipstick... Rosa... Oh, God! He COLLAPSES on her, SOBBING. PAUL (CONT'D) I'm sorry. I don't know why you did it. I'd do it too, if I knew how. I just don't know how. I have to... I have to find a way. [OC] We hear a voice. PROSTITUTE'S VOICE Is anyone there? PAUL What? PROSTITUTE'S VOICE There was a noise in there! PAUL All right, I'm... I'm coming. (back to ROSA) I have to go. I have to go, sweetheart, baby. Somebody's calling me. He starts to the door. PROSTITUTE'S VOICE Well? Is anyone there? PAUL Yeah. I'm coming. CUT TO: 80. INT. HOTEL - ENTRANCE - DAY Outside the FRONT DOOR, the source of the voice, a WORN OUT and OLD PROSTITUTE. She is with her JOHN. PROSTITUTE (TO JOHN) Here he is. (TO PAUL) Hurry up! Wake up! Open up! Open up! PAUL It's four in the morning. PROSTITUTE I need room four for a while. (TO JOHN) Half an hour? (TO PAUL) Yes, that'll do. Yes, half an hour. PAUL We're full. She knocks on the door, INCESANTLY. PROSTITUTE That's not true. When you're full, you put a sign outside. I know the hotel. I'm sick of arguing out on the street. Call the owner. What are you waiting for? The owner has never made a fuss. Rosa and I are old friends. Open up. Paul opens up. PROSTITUTE (CONT'D) Don't make any trouble or I'll tell your boss. (TO JOHN) Come in, it's all sorted... But the man has LEFT. PROSTITUTE (CONT'D) You've won. He's taken off. PAUL I'm very sorry. PROSTITUTE Hurry up! He can't be far away. 81. She PUSHES him out to the street. PROSTITUTE (CONT'D) Make him come back. Tell him he can't just walk off. She SHOVES HIM out the door and DOWN THE STREET. Paul CHASES the man on foot for BLOCKS and BLOCKS. He finally CATCHES UP to him in a --- CUT TO: EXT. PARIS STREET - ALLEY - MORNING The JOHN figures he has gotten away. He reverses his TRENCH COAT to the appropriate side. Paul comes around the corner. The John doesn't see any HOSTILITY coming. But it DOES. JOHN Oh,... please don't tell her you found me. I don't fancy it any more. Did you see her face? Once, my wife satisfied me. But now she's got a skin disease. It's like snakeskin. Put yourself in my place. Paul grabs him by the tie and drags him. PAUL Come. Come with me. The man FIGHTS BACK. JOHN But... Let go of me! Paul doesn't like that. He ROUGHS HIM UP, throwing him from WALL TO WALL. JOHN (CONT'D) You're crazy! Let go of me! Let go! He ends up on the ground MINUS HIS COAT. Paul KICKS HIM IN THE ASS like a dog. PAUL Get the fuck out of here! 82. The man RUNS OFF. PAUL (CONT'D) Faggot! Paul heads back up the ALLEY as the man CONTINUES OFF in the f.g. CUT TO: INT. HOTEL - PAUL AND ROSA'S ROOM - DAY Paul lays down on his TWIN BED with his ROBE on over his clothes. We see that his BAGS ARE PACKED. CUT TO: INT. APT. BUILDING - BEDROOM - DAY We see that the mattress is gone. Only a pile of sheets and pillows remain in the room. Jeanne is on the floor, on her knees, doubled over in SICK GRIEF. PAUL HAS MOVED OUT. JEANNE No! She WANDERS through the apt., GRIEF STRICKEN, from room to room. We see only a FEW BELONGINGS left around. Shoes, the CAT (where was it for the "rat problem"?) and phone. DINING ROOM - CONTINUOUS Jeanne RIPS THE SHEET OFF the piece of furniture that has been COVERED UP all along. We all wondered what was underneath that was so precious. It's nothing special. She COLLAPSES in grief again, the furniture falling on her, she KICKS IT OFF. CUT TO: INT. APT. BUILDING - FRONT DESK - DAY - MOMENTS LATER Jeanne talks to the CRAZY Concierge from BEFORE. Her head STUCK through the LITTLE WINDOW while the crazy woman PUFFS a cig. 83. JEANNE Try and remember! The man from the fourth floor. He moved in a few days ago. CONCIERGE I told you, I don't know anyone. They come and go. The man on the fourth, the woman on the first. What do I know? She gives a CRAZY CACKLE. JEANNE Where did they take the furniture too? It's empty. Where do you send his mail? Give me his address. CONCIERGE I don't have it. I don't know these people. JEANNE Not even his name? CONCIERGE Nothing! Jeanne STORMS OUT. CONCIERGE (CONT'D) Ma'zelle! CUT TO: INT. PAYPHONE BOOTH - DAY - MOMENTS LATER Jeanne is on the payphone in the bar from before. She speaks to Tom. Still DESPONDENT, tears stream down her face. JEANNE I've found a flat for us. 1 rue Jules Verne. Yes. In Passy. Come quickly! You'll come now? Do you know where it is? I'll wait for you. Come over. She struggles to HANG UP THE PHONE through her grief. She BREAKS DOWN, closing the door for privacy. 84. We can SEE HER through the door as she leans on it. CUT TO: INT. APT. BUILDING - LIVING ROOM - DAY The front DOORBELL RINGS. JEANNE Come in, it's open. Tom comes in. Jeanne stares out the window. She is BATHED in sunlight. Tom LOOKS AROUND in b.g. JEANNE (CONT'D) Do you like our flat? It's very light. There's a tiny room, too. It's too small for a double bed. It would be fine for a child. Fidel. That's a nice name for a boy. Fidel, as in Castro. TOM But I'd like a girl, too. Rosa. As in Rosa Luxemburg. Less famous, but I like it. You know, I wanted to film you every day. In the morning, when you wake up, in the evening, when you sleep. When you first smile, and I didn't film any of that. Here. He hands her FLOWERS. She REGARDS them. He circles to her front. TOM (CONT'D) Today is the last day of shooting. The film is finished. I don't like things that finish, things that end. You have to start something else right away. They EMBRACE and KISS. THAT ROOM - MOMENTS LATER Tom looks around the place. 85. TOM (CONT'D) This flat is huge! Jeanne has made her way to the DINING ROOM. TOM (CONT'D) Where are you? JEANNE I'm here! They continue shouting across the apt. TOM It's too big! We'll get lost! JEANNE Stop it! Don't start! TOM How did you find this flat? JEANNE By chance. TOM We'll change everything! Jeanne holds her ARMS OUT like a bird. JEANNE Everything! We'll change chance to destiny. TOM Go on, Jeanne. Take off! MUSIC RISES as Jeanne pretends to FLY AROUND the apt. from ROOM TO ROOM making AIRPLANE NOISES as Tom DIRECTS HER. TOM (CONT'D) Fly away, you're in heaven! You're soaring, you're in heaven! Come down, take a nose dive, come down! Make three turns, come down. Jeanne, what's happening? There's an air pocket. Tom gets SUDDENLY SERIOUS. JEANNE What's happening? 86. TOM The patches of turbulence are over. We can't play like children any more, Jeanne. This stops Jeanne in her TRACKS. They face each other. TOM (CONT'D) We're adults. JEANNE Adults? That's awful! TOM Yes. It's awful. JEANNE What do adults do? TOM I don't know. We'll have to invent the gestures and the words. For example, adults... He walks slowly toward her. They EMBRACE PASSIONATELY. They kiss. He breaks away again, SERIOUS. TOM (CONT'D) But there's one thing I do know. Adults are calm... He walks backward as Jeanne STALKS HIM. TOM (CONT'D) ...serious, logical, measured, level-headed... JEANNE Yes... TOM And... they face up to problems... JEANNE ...Yes, yes. Yes, yes. He STOPS ABRUPTLY. 87. TOM You see, Jeanne, this flat won't work for us. This flat, it won't work for us, Jeanne. JEANNE Where are you going? TOM To look for a flat. He walks out to a SHOCKED Jeanne. JEANNE What kind of flat? But he COMES BACK. TOM A flat we can live in. JEANNE We can live here. TOM It's squalid. It smells. It makes me sick. Are you coming with me? JEANNE No, no. I've got to close the windows and return the key. There's a lot to do. TOM OK. They meet in the middle of the room again. They share a LOVING HANDSHAKE. JEANNE Bye. TOM Bye. Tom leaves Jeanne to it. She opens the LARGE WINDOW. We can hear the TRAIN below. She says goodbye to the apt. emotionally, CLOSING THE SHUTTER, then finally, the window. CUT TO: 88. EXT. PONT DE BIR-HAKEIM - DAY We watch Jeanne come out of the APARTMENT BUILDING. She climbs the stairs to the RAISED WALKWAY. She is back where it all started. We watch her a bit. RAISED WALKWAY - MOMENTS LATER Jeanne walks, in her own world. A somewhat MORE CONTENT world now. Back to HERSELF. We suddenly see Paul. He watches her for a moment before TRAILING HER. He is more DRESSED UP then we have seen him previously. As she walks, he RUNS UP BEHIND her and playfully taps her on her SHOULDER. She turns, SURPRISED. DIALOGUE IS ENGLISH PAUL It's me again. She stops and stares at him, DISGUSTED by his GALL and over him. JEANNE It's over. It's over. He doesn't get the hint. He doesn't care what she says. He presses on PLAYFULLY. PAUL It's over, then it begins again. JEANNE What begins again? I don't understand anything any more. PAUL There's nothing to understand. We left the apartment. Now we begin again with love and all the rest of it. JEANNE The rest? PAUL Yeah, listen. He puts his arm around her as THEY STROLL. 89. PAUL (CONT'D) I'm 45. I'm a widower. I've got a little hotel, a kind of a dump. But it's not completely a flophouse. And... I used to live on my luck, and I got married. My wife killed herself. AND WE... CUT TO: INT. SALLE WAGRAM SALON - DAY As Paul WAXES ON, we watch a TANGO CONTEST in progress. He wanders RUDELY between the DANCERS on the DANCE FLOOR, invading their space and lighting a cigarette. PAUL'S VOICE But you know, what the hell. I'm... no prize. I picked up a nail when I was in Cuba in and now I got a prostate like an Idaho potato. But I'm still a good stick man, even if I can't have any children. Let's see. I don't have any stomping grounds. I don't have any friends. I suppose if I hadn't met you, I'd probably settle for a hard chair and a hemorrhoid. Anyway, to make a long, dull story even duller, I come from a time when a guy like me would drop into a joint like this and pick up a young chick like you and... and call her a bimbo. He reaches the other side of the dance floor where Jeanne waits for him. She is able to SMILE now at his SHENANIGANS. He has a real JOIE DE VIVRE about him now that he LACKED PREVIOUSLY. She sits down at a GUEST TABLE on the outskirts of the DANCE FLOOR. He approaches her table and FEIGNS a GENTLEMAN PERSONA. PAUL I'm awfully sorry to intrude but I was so struck with your beauty that I thought I could offer you a glass of champagne. Is this seat taken? 90. JEANNE No. PAUL May I? JEANNE If you'd like to. He sits down with her. He CLAPS his hands. PAUL Garcon! A WAITER comes over. PAUL (CONT'D) You know, the tango is a, is a rite. Do you understand "rite"? And you must watch the legs of the dancers. The waiter comes over, he turns to chat with him. DANCE FLOOR We watch one of the DANCE COUPLES DANCE THE TANGO. We focus on their LEGS and FEET. We make it back to Paul and Jeanne and Champagne. PAUL (CONT'D) Oh, no! You haven't drunk your champagne because it was warm. And then I ordered you a Scotch and you haven't drunk your Scotch. DANCE FLOOR We watch a DIFFERENT COUPLE DANCE. Paul tries to BUTTER UP (pardon the pun) Jeanne. PAUL (CONT'D) Come on. Just a sip for Daddy. She takes a sip from the glass he offers her. PAUL (CONT'D) Now, if you love me, you'll drink all of it. JEANNE OK, I love you. 91. She SLAMS IT BACK. PAUL Bravo! JEANNE Tell me about your wife. PAUL Let's talk about us. JEANNE OK. But this place is so pitiful. PAUL Yes, but I'm here, aren't I? He kisses her on the cheek. JEANNE Monsieur Maitre d'HÙtel. PAUL That's rather nasty. Anyway, you dummy, I love you. And I want to live with you. JEANNE In your flophouse? PAUL In my flophouse. What the hell does that mean? What the hell difference does it make if I have a flophouse or a hotel or a castle? I love you. What the fuck difference does it make?! She PEEKS OUT A SMILE. He may just be WINNING HER BACK OVER. DANCE FLOOR We watch a COUPLE as the MUSIC STOPS. All the PATRONS CLAP as the DANCE floor clears. The PRESIDENT OF THE TANGO CONTEST speaks at a microphone. PRESIDENT The jury has chosen the following ten best couples: Number 3! 7! 8,9 ...11, 12...13, 14 ... 15 and 19! (MORE) 92. PRESIDENT (CONT'D) And now, ladies and gentlemen, good luck for the last tango! More CLAPPING PATRONS. We get back to Paul and Jeanne. She sits 2 tables over, POUTING, while he struggles to light his CIG. She holds up her glass to him. JEANNE Give me some more whisky. PAUL Oh, I thought you weren't drinking. JEANNE But I'm thirsty now and I want some more drink. PAUL All right. I think that's a good idea. He starts to bring the bottle to her then stops, gets his drink and brings it too. PAUL (CONT'D) Wait a minute. Because you're really beautiful. Wait a minute. I'm sorry. I'm terribly sorry. I didn't mean to spill my drink. He POURS HER SOME. She holds her glass up. JEANNE Let's have a toast to our life in the hotel. PAUL No! Fuck all that! Come on. No. Hey, listen. Let's drink a toast to our life in the country. Huh? JEANNE You're a nature lover? You didn't tell me that. PAUL Oh, for Chr... I'm a nature boy. Can't you see me with the cows and the chicken shit all over me? JEANNE Oh, yeah. To the house of the cows. 93. She holds her glass up again. PAUL Cows. JEANNE I will be your cow, too. PAUL And listen... I get to milk you twice a day. How about that? She lays her head on the table. JEANNE I hate the country. PAUL What do you mean you hate the country? JEANNE I hate it! I prefer to go to the hotel. Come on, let's go... PAUL No. Let's dance. Come on. Don't you wanna dance? We can start again. He crouches down. She CLIMBS ON HIS BACK for a ride. He pulls her on her back onto the DANCE FLOOR, through the TANGO contest. The JURY IS in an UPROAR. The tango President FREAKS OUT. PRESIDENT That's the limit! What are you doing? They LIE ON THE FLOOR... They get back up and FEIGN some TANGO. The President comes out on the floor now to them. She GRABS Paul who had DIPPED Jeanne over the JURY TABLE. PRESIDENT (CONT'D) You'll have to leave, sir. She starts scurrying them off the dance floor. 94. PAUL Madame! 'Tis ever love. She continues to SHEW THEM AWAY. And she can hold her own against Paul's SMART ASS MOUTH. PRESIDENT Go to the circus if you want to see love! Go on! Get out of here! You'll have to leave. Paul now GRABS HER and starts spinning and DANCING WITH HER. He SWEEPS HER UP into his arms. She struggles and Paul puts her down. She continues to SHEW THEM AWAY. PAUL CONTINUES TO MOCK HER. PAUL Oh my god, I've never... He pulls his pants down and MOONS HER. PAUL (CONT'D) Kiss me, sweetheart! She is APPALLED and slaps him on the arm as he scoots to the door, Jeanne FOLLOWING. PAUL (CONT'D) Farewell, you sweet peach blossom. As they get to the door he spins one last time. PAUL (CONT'D) I could dance for ever. Oh, my hemorrhoid! He LOSES HIS BALANCE and slips. Jeanne has to catch him. PAUL (CONT'D) Beauty of mine, sit before me. Let me peruse you and remember you always like this. They sit in some tables in a closed, darkened section. Jeanne puts her head down on the table in EXHAUSTION. He CLAPS LOUDLY till she wakes up. He puts on his ENGLISH ACCENT AGAIN. 95. PAUL (CONT'D) Garcon! Champagne! If music be the food of love, play on. Jeanne looks OVER IT ALL. PAUL (CONT'D) What's the matter with you? JEANNE It's finished. She COLLAPSES on the table again. He kisses her head. PAUL What's the matter with you? JEANNE It's finished! He's OBLIVIOUS to her seriousness, AGAIN. PAUL What's finished? JEANNE We're never going to see each other again. Never! PAUL That's ridiculous. She shakes her head NO. PAUL (CONT'D) That's ridiculous! JEANNE It's not a joke. PAUL Oh, you dirty rat! JEANNE It's finished. PAUL Look, when something's finished, it begins again. JEANNE I'm getting married! I'm going away. It's finished. 96. She starts undoing his pants. She starts to PLEASURE HIM. PAUL Oh, Jesus. Listen, that's not a subway strap, that's me cock! She continues... JEANNE It's finished! PAUL Oh... Jesus... She MASTURBATES him to CLIMAX. She gets up, wiping her hands, then forehead and LEAVES. When he RECOVERS and sees her leaving... PAUL (CONT'D) Wait a minute... (TO HIMSELF) You dumb bimbo... She doesn't stop. PAUL (CONT'D) Shit! Wait a minute. Goddamn it! Hey! She LEAVES THE SALON. He FOLLOWS her out. PAUL (CONT'D) Hey, rube! Come here! Come here! He SLIDES DOWN THE BANISTER. PAUL (CONT'D) Come heeeeeeeeeerrrrrrrrreeeeee! She turns to see him coming. She starts RUNNING NOW. He still THINKS SHE'S JOKING... PAUL (CONT'D) I'm gonna get you! Bimbo! He SLIDES ACCROSS THE FLOOR. She continues RUNNING. She is FREAKED OUT NOW. CUT TO: 97. EXT. PARIS STREET - DAY She is RUNNING on the sidewalk past crowds of people, the OFFICE OF TOURISM and stores. He is in HOT PURSUIT. She stops and turns to have a EMPHATIC SILENT CHAT with him. He still finds this to be VERY HUMOROUS. She grows more and more SERIOUS and SCARED. She starts RUNNING again. But she TIRES OUT in a ... PARKING LOT She tries to GET THROUGH TO HIM. JEANNE Stop! Stop! PAUL Hold it! He still DOESN'T GET IT. JEANNE It's over! He tries to EMBRACE HER. PAUL Hey, cool it! She THROWS HIM OFF. JEANNE Stop it! We're finished. He still tries to GRAB HER PURSE. She is ADAMANT. JEANNE (CONT'D) Go away! Go away! Go away! He keeps trying to grab her purse. JEANNE (CONT'D) Let go! Go away! He FEIGNS GIVING UP as she walks on. PAUL I can't win. Give me a break! She JETS OFF AGAIN and we round a corner... SIDE STREET 98. He keeps his distance on the OPPOSITE SIDE OF THE STREET but still doesn't get that SHE IS SERIOUS. She tries to explain it to him. JEANNE I'll call the police! He BLOWS IT OFF. PAUL Aha! I smell the henhouse. She needs to GO WHERE HE IS. She starts toward him TIMIDLY. PAUL (CONT'D) Well, shit, I'm not in your way. He feigns a GRAND GESTURE ushering her free travel. PAUL (CONT'D) After you, mademoiselle! She TENTATIVELY walks on as he PRETENDS TO ALSO. PAUL (CONT'D) So long, sister. Besides, you're a crummy-looking broad. I don't give a damn if I never see you again. Shit. She MAKES A BEE - LINE to her MOTHERS APARTMENT BUILDING. He TAKES OFF after her. CUT TO: INT. JEANNE'S MOTHERS APT. - LOBBY He gets himself BUZZED IN somehow. She is SHOCKED, she backs up to the ELEVATOR. JEANNE It's over! It's over! PAUL Oh, fuck the police. She is becoming HYSTERICAL now. JEANNE It's over! 99. She makes her way to the PAUL Listen, I want to talk to you for Christ sake... She gets on the OLD FASHIONED LIFT and SLAMS the door in his face. She begins to ASCEND. He FOLLOWS every floor UP THE STAIRS. JEANNE Help! She is calling to anyone that can hear as he STALKS HER. JEANNE (CONT'D) Help! Help! One FLOOR AFTER ANOTHER... JEANNE (CONT'D) Please, help! He trips and STUMBLES up the STAIRS after her. JEANNE (CONT'D) Help! Help! Finally at the top, he has to REST against the wall. PAUL Oh, man! She MAKES A DASH FOR her moms apartment. But HE FOLLOWS. He grabs her as she tries to UNLOCK THE DOOR. She runs across to the NEIGHBORS DOOR and BANGS ON IT. JEANNE Help! Help me! Help! He tries to REASON with her. PAUL This is getting ridiculous. She sees her chance to get back in her moms. She dashes over and UNLOCKS THE DOOR and flies inside trying to slam the door shut. It's no use, he FORCES HIS WAY IN. 100. She HUSTLES to the DRAWER with her FATHERS GUN... Paul is still at the FRONT DOOR. PAUL (CONT'D) It's the title shot, baby. We're going all the way. Oh, Christ. He shuts the door and WANDERS IN... LIVING ROOM Jeanne stands with her back turned staring down into the GUN DRAWER. He LOOKS AROUND THE PLACE, assessing it... PAUL (CONT'D) It's a little old, but full of memories, huh? She stares down still, HITTING HER HEAD on the cabinets to help her make a decision... Paul finds her FATHERS MILITARY HAT. He puts it on. PAUL (CONT'D) Mademoiselle... He SALUTES HER and CLICKS HIS HEELS together, playing a role. She is incensed that he has dared touch her FATHERS PRECIOUS BELONGINGS. He PLAYS ON. PAUL (CONT'D) How do you like your hero? Over easy or sunny-side up? He REMOVES THE HAT and puts it down. PAUL (CONT'D) You ran through Africa and Asia and Indonesia. He walks LOVINGLY toward her. PAUL (CONT'D) And now I've found you. And I love you. He ROMANCES HER, runs his fingers through her hair... 101. PAUL (CONT'D) I wanna know your name. She STARES into his eyes... as she TELLS HIM HER NAME... JEANNE Jeanne... ...THE GUN FIRES... HE IS SHOCKED BY THE FORCE OF THE BULLET INTO HIS GUT. The color DRAINS FROM HIS FACE, his eyes get WOOZY... He can only MUTTER. PAUL Our children. He STAGGERS away from her... PAUL (CONT'D) Our children. He STAGGERS toward the PORCH DOOR as Jeanne watches... PAUL (CONT'D) Our children... will remember. He opens the FRENCH DOORS and STAGGERS onto the PORCH. PORCH - CONTINUOUS He LOOKS OUT upon the city, and UP TO THE SKY. He takes his gum out of his mouth and STICKS IT UNDER THE RAILING. His eyes register his BEWILDERMENT as he STARES out into the ROOF TOPS. We see that he is DEAD -- curled in a FETAL POSITION. SAD MUSIC RISES LIVING ROOM - CONTINUOUS Jeanne stands in SHOCK with PAUL'S CORPSE in the b.g. She mutters to herself the ALIBI FOR THE POLICE. DIALOGUE IS FRENCH 102. JEANNE I don't know who he is. He followed me in the street. He tried to rape me. He's a lunatic. I don't know what he's called. I don't know his name. I don't know who he is. He tried to rape me. I don't know. I don't know him. I don't know who he is. He's a lunatic. I don't know his name. MUSIC RISES AND SWELLS CREDITS ROLL THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Last of the Mohicans, The.txt b/unformated_scripts/Script_Last of the Mohicans, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..57aa68f50ccd4d55b7524f139dba2a53d1abbeb7 --- /dev/null +++ b/unformated_scripts/Script_Last of the Mohicans, The.txt @@ -0,0 +1 @@ + THE LAST OF THE MOHICANS Written by Michael Mann & Christopher Crowe FADE IN The screen is a microcosm of leaf, crystal drops of precipitation, a stone, emerald green moss. It's a landscape in miniature. We HEAR the forest. Some distant birds. Their sound seems to reverberate as if in a cavern. A piece of sunlight refracts within the drops of water, paints a patch of moss yellow. The whisper of wind is joined by another sound that mixes with it. A distant rustling. It gets closer and louder. It's shallow breathing. It gets ominous. We're interlopers on the floor of the forest and something is coming. SUDDENLY: A MOCCASINED FOOT rockets through the frame scaring us and ... EXTREMELY CLOSE: PART OF AN INDIAN FACE running hard. His head shaved bald except for a scalp-lock. Tattoos. He's twenty-five. He seems tall and muscled. Heavy, even breathing. We'll learn later this man is UNCAS, the last of the Mohicans. PROFILE: UNCAS' ARMS flash as he runs. One carries a flintlock musket. Sweat on the man's skin. A calico shirt is gathered at the waist with a wampum belt of small white beads over a breechcloth. He wears leggings to protect his legs. A long-handled tomahawk is stuffed in his belt. CUT TO ... ANOTHER PART OF THE FOREST - MASSIVE WAR CLUB - DAY in the hand of another running man. He's heavier, older ... CHEST A green bear claw is tattooed there. Silver armband. A snake is tattooed over his left eyebrow. Silver rings in his ear. He's forty to forty-five. His head is shaved into a scalp-lock. It says: "Come and lift this from me. Take it, if you can ..." That prospect strikes us as extremely unlikely. This man is CHINGACHGOOK. The French call him "Le Gros Serpent," the Great Snake, because "he knows the winding ways of men's nature and he can strike a sudden, deathly blow." WIDE ANGLE: CHINGACHGOOK runs, disturbing no leaves, no branches; making no sound. He's running parallel to Uncas through the cathedral of mature forest. It's heavily canopied. There's very little brush. The girth of the trees is huge. Shafts of light illuminate motes of dust and turn leaves emerald where the sun breaks through. Sometimes there's ferns; rhododendron, sometimes pale grass and outcroppings of rock. These men run the forest streams, over boulders, fallen trees and down into ravines as if they own them. They do. CUT TO ... ANOTHER PART OF THE FOREST - LONG BLACK HAIR - DAY rocketing through trees. His torn buckskin shirt is tied at the waist with a wampum belt holding a tomahawk and a large knife. A long rifle in which is carved the name "Killdeer" is in his right fist. Indian tattooing on his chest. His name is NATHANIEL POE. He's a few years older than Uncas. The French and the French-speaking tribes know him as La Longue Carabine (Long Rifle). Other frontiersmen in New York colony and the Iroquois and Delaware-speaking tribes know him as Hawkeye. Sweat stains his shirt. He flashes through the tree branches disturbing nothing. Making no sound. HAWKEYE'S POV: A PIECE OF TAN two hundred and fifty yards away, a few square inches buried in the foliage ... SUDDENLY HE STOPS Killdeer's at his shoulder ... HAWKEYE'S THUMB cocks the lock holding the piece of flint: click. UNCAS stops dead, holding out his hand ... no sound. CHINGACHGOOK slips through young trees and stops, shouldering his smoothbore musket. Is this an ambush? HAWKEYE'S POV: RACK FOCUS THROUGH THE GUN SIGHT Five feet and fourteen pounds of rifle is elevated a half inch and shifted left, off target. It's a precise, smooth movement. No human quiver. KILLDEER'S TRIGGER tighter ... THE COCK holding the flint hits the iron file of the frizzen, shooting sparks into the pan of priming powder which flashes and ... TAN is a huge elk that leaps at the sound. KILLDEER'S MUZZLE CRACKS like lightning. AN ELK leaps where the .59 caliber round was programmed to intercept him. On the moment of impact ... WIDE three men approach the fallen elk and each other. We realize they're hunting together. Hawkeye steps aside for Chingachgook. His massive war club is flat and angles to one side with a stabbing blade. Hawkeye is stepson and stepbrother. The two younger men treat Chingachgook with an easy deference and affection. Hawkeye's a dialectic of two cultures. In his coloration and worldliness he's more the Anglo-Saxon frontiersman. In his independent views and candid manner and in his combat skills and woodsmanship, he's more native American (Mohican). As Chingachgook takes out his long knife and they approach the fallen elk ...] CHINGACHGOOK (low Mohican; sub-titled) We're sorry to kill you, Brother. Forgive us. I do honor to your courage and speed, your strength ... CUT TO ... EXTERIOR - INTERIOR CAMERON CABIN - JOHN CAMERON - NIGHT roasts potatoes on a stick in the stone fireplace next to CAPTAIN JACK WINTHROP, an American in very worn quasi-military gear. On a rough table in the tiny cabin ALEXANDRIA, his wife, is kneading bread. Three children climb on their father. He grabs their wild seven year old son, JAMES, who shrieks laughter and dodges away. The cabin has two primitive rooms, waxed paper windows, log walls. O.S. a dog barks. Others pick it up. Cameron & Jack are suddenly alert, reaching for weapons ... CUT TO ... EXTERIOR CAMERON CABIN, DOORWAY - CAMERON - NIGHT appears warily, musket in hand. FENCE: CHINGACHGOOK CHINGACHGOOK Halloo! John Cameron! Doorway: Cameron towards the interior ... CAMERON Alexandria! Set three more places. (to the fence) How is Chingachgook, then? Behind him, emerging from the dark trees are Hawkeye, Uncas, cradling flint locks, blankets and packs over their shoulders, leading a mule laden with skins and the elk carcass. Crossing the splitrail fence ... CHINGACHGOOK The Master of Life is good. Another year pass ... How is it with you, John? CAMERON Gettin' along. Yes, it is. (warm) Nathaniel. HAWKEYE Hello John. Cleared another quarter, I see. CAMERON (shakes hands with Uncas) Yes, I did. JAMES CAMERON tears past his father & runs full bore. Just before he's going to collide into Uncas, he leaps into the air and Uncas snatches him with one hand and swings him up onto his shoulders. The kid screams with delight and rides back towards the cabin that way. Alexandria comes to the door. CUT TO ... INTERIOR CABIN - CHINGACHGOOK - EVENING (LATER) lights & smokes a clay pipe. The scene says: this is a rustic, frontier home and these people have known each other & live in dangerous circumstances. ALEXANDRIA If Uncas is with you, that means he has not found a woman and started a family yet. CHINGACHGOOK Your eyes are too sharp, Alexandria Cameron. They see into my heart. UNCAS Your farm good to you this year, John? CAMERON It was a good year for corn. UNCAS Mohawk field we saw was 5 mile long on the river. Chief Joseph Brandt's field. CAMERON You take much fur? HAWKEYE That we did. John. But the horicane (sic) is near trapped out. JACK Tradin' your skins in Castleton? UNCAS No, Schylerville. With the Dutch for silver. French & English want to buy with wampum & brandy. Pause, then ... HAWKEYE So what is it, Jack? What brings you up here? JACK A French & Indian army out of Fort Carillon's heading south to war against the English. I'm here to raise this county's militia to aid the British defense. HAWKEYE Folks here goin' to join in that fight? JACK We'll see in the morning ... CHINGACHGOOK Fathers of England & France, both, take more land, furs, than they need. They're cold & full of greed ... JACK Few'd deny that? Where you headin'? HAWKEYE Trap over the fall and winter among the Delawares in Can-tuck-ee. UNCAS So I can find a woman and make Mohican children so our father will leave my brother & me in peace. Alexandria laughs. So do Hawkeye & Chingachgook. JAMES A son like me? Uncas grabs James & suspends him upside down. UNCAS No. You are too strong. Turn me old too fast! Hawkeye grabs the kid from Uncas. The kid's laughing & can't stay still. Chingachgook watches, content, smoking his clay pipe. ALEXANDRIA That's what he's doin' to his mama ... She ruffles his hair and lifts the heavy iron pot off the tibbet. Uncas goes to help her, she shrugs his hand away and carries it to the table herself. The men gather around. There's pan-baked bread, a dish of salt, and the pot has venison and yellow cornmeal in a kind of stew. Everyone waits. CAMERON Dear Father, thank you for rewardin' the fruits of our labor with plenty. Amen. As they start to eat ... CUT TO ... CAMERON'S CABIN - (DAY) EXTERIOR CAMERON CABIN - MOHAWK BOY & JAMES CAMERON - MORNING slam into other kids as they battle through a Lacrosse game. In the background are sixty men, women and children. It's a community gathering held out of doors. We've entered mid-scene. Captain Jack is standing on a box. Some women and kids mill around some tables and boards laid over barrels. Cooking fires. Smoke. Most but not all around Captain Jack are men, nine settlers, 3 hunter/trappers, eight Mohawk farmers in mixed European and native clothing. Off to the side are an English Lieutenant on horseback and a ten-man escort from whatever regiment's in Albany. A man named HENRI speaks in French. His son, MARTIN, translates. HENRI (O.S. in French) MARTIN (translates) My father says he was driven out of France by the black robe priests and he would fight them now but he lost his arm and so I will go in his place. Meanwhile ... ONGEWASGONE is an unusually large Mohawk in a blue match coat with a little girl holding his hand. He says something to Chingachgook who nods. Hawkeye and Uncas are a little apart in an outer grouping of the men. Ongewasgone is a war chief and wears a white plume and is tattooed. As Martin finishes, he steps forward. ONGEWASGONE John Cameron, thank you for your hospitality ... Twin River Mohawk got no quarrel with Les Francais. Trade furs with Les Francais. Now Les Francais bring Huron onto Mohawk hunting grounds ... These people are English, Scots-Irish and Dutch farmers; some French Huguenot "mechanics" (craftsmen). They're in shirt-sleeves and Indian moccasins & leggings. The Mohawks' vast lands and corn agriculture border the settlement. They 've been acculturated for over a hundred years. Some wear European calico hunting shirts. Their heads are shaved to scalping locks and many are tattooed. They've politically and commercially played France & England against each other very adroitly for over a hundred years because of their military power and geographic position. Their relations with working farmers and settlers and their families has been mostly one of co-existence because there's always been more than enough for all. This is a WPA mural of ethnic diversity and plurality of frontier America. The Europeans are former indentured laborers, farmers exiled by economics or religious persecution, frontier hunters and trappers ... working people. ONGEWASGONE (continues) Now Mohawk will fight Huron and Les Francais. My brothers have asked me to lead them in this war so I speak for the Twin River Council. The importance of this commitment is apparent to the lieutenant. LIEUTENANT His Majesty King George II is very grateful for your support. IAN How far up the valley? LIEUTENANT To Fort William Henry. COLONIAL #1 ... two days from here. Some don't like this. LIEUTENANT It should be enough to remind you France is the enemy. HAWKEYE Your enemy ... Heads turn to Hawkeye at the periphery of the crowd. LIEUTENANT What did you say? HAWKEYE (loud) I said ... France is your enemy. Not ours. LIEUTENANT Really? Do you want them to overrun all New York colony? HAWKEYE First place, you started it with the French over fur-trapping claims to the head waters of the Ohio. (smiles) Now you're sayin' these people have a fight on their hands ... LIEUTENANT (ignoring Hawkeye) Will you men help us stop the French? HAWKEYE ... and while they are cooped up in your fort, what if the French send war parties to raid their homes? IAN What then, Lieutenant? LIEUTENANT For your own homes, for king, for country, that's why you men ought to join this fight! HAWKEYE You do what you want with your own scalp. Do not be tellin' us what to do with ours. LIEUTENANT (furious; to Hawkeye) You, sir! You call yourself a loyal subject? HAWKEYE ... No ... Do not call myself much of a subject at all. Light laughter. COLONIAL #2 Nathaniel's right. But if I got to fight, figure I'll try and do it fifty miles north of here instead of my bean field. AD LIBS Yes. Yeah. No ... CAMERON I am stayin' on my farm. And any man who goes, his family is welcome to fort-up with us 'til he comes back. JACK Boys. My sense of it is enough of us will join-up to fill the county's levy. But only if General Webb accepts a few terms I got in mind ... HAWKEYE & UNCAS cross through the people. A few men drift off to their women at the tables. It is apparent two-thirds of the men will join. A couple of jokes, light banter, no hostility. AD LIBS (O.S.) Webb? what's that, Jack ...? As they cross through they start removing their shirts and weapons. IAN You boys marchin' with us? What do you say? UNCAS We had our say, Ian. They approach the Lacrosse field. Chingachgook stands with Cameron in the background, watching. LACROSSE FIELD Uncas joins James. Hawkeye goes on the other side. A couple of young Mohawks and a young blonde farmer shout hallo's and as the bodies crash into each other ... CUT TO ... EXTERIOR BRITISH ENCAMPMENT, PARADE GROUND - SIX HUNDRED 62nd REGIMENT OF FOOT - DAY in two rows. At each command the crack troops respond en masse. Their hands slap the stocks of their brown bess muskets in unison. These men are drilling in preparation for war. We witness a state-of-the-art, 18th century, precision killing machine. REGIMENTAL SGT. MAJOR (shouts) Shoulder arms! (slam) Order arms! Handle cartridge! (men bite the paper) Prime! (powder dropped in pan) Load! Draw ramrods! Ram cartridge! Return ramrod! Make ready! (muskets at chest height) Pre-sent! (muskets shouldered) Make ready! (muskets returned to chests) Pre-sent! (muskets returned to shoulder) Fire! Like a single shot, two hundred fifty black powder muskets fire .65 caliber lead shot at chest height in a scythe of death. SERGEANT MAJOR Prime! Load! The Dutch roof lines of Albany are in the distance. Nearer, a coach races past. CUT TO ... EXTERIOR ROAD - HORSES GALLOP - DAY Six horses, wide with dumb, mute strain. Foam, manes fly, their hooves pound the yellow road into dust. Military outriders are on the three left side horses. CUT TO ... INTERIOR COACH - MAJOR DUNCAN HEYWARD - DAY sits erectly in the brilliant scarlet coat of the First Royal Regiment of Foot with gold braid, blue-black facing and blue-black breeches, cavalry boots, spurs, a tricorn, white wig (?) and a gorget (large medallion) around his neck. He's 28-30 and tough. He is self-sure, principled reactionary. He believes human society is static & layered into hierarchies of class and they are absolutely impermeable. He opens a simple gold- clasped case & contemplates its contents ... HEYWARD'S POV: CASE an enameled portrait of a dark-haired young woman. HEYWARD as a soldier is militarily first-rate in his milieu: the open battlefields of Europe. Right now, however, he is about to enter the forests of North America. He closes his clasp and glances out the window as we enter Albany and as a facade of buildings & people pass. CUT TO ... INTERIOR BRITISH HQ, ASSEMBLY ROOM - DOOR - DAY Four Grenadiers come to attention as Heyward enters mid-scene. JACK (O.S.) ... if they are not allowed leave to defend their families if the French or Hurons attack the settlements, no colonial militia is goin' to Fort William Henry. HEYWARD (low) You, there. Help my man outside with the baggage. GENERAL JEROME WEBB sees Heyward and nods. Three of Webb's Adjutants are on either side. Three remaining Grenadiers in bearskin-covered mitred caps are at the door. Facing Webb are a half dozen colonial representatives, including Captain Jack Winthrop. Heyward watches Jack ... LIEUTENANT They will report or be pressed into service! LARGE COLONIAL REP Any of the boys worth havin' can disappear into forest ... time it takes you to blink. Where's that leave ya, then? Heyward, preparing to hand over dispatches, is interrupted by the insubordinate tone. Equally wound tightly is the Lieutenant. LIEUTENANT They will be found! Arrested ... WEBB (cuts in) I cannot imagine his Majesty, in his benevolence, would ever object to his American subjects defending their hearth & home, their women & children, if threatened by the "scourge" of attack from savages, aroused to such excess by our enemy, the ever-perfidious French. JACK Does that mean they will be granted leave to defend their homes if the settlements are attacked? WEBB Of course. Heyward's more amazed by what he's just heard from Webb. These Americans, including Jack, are streaming past him on their way out. JACK You got yourself a colonial militia, General. HEYWARD Major Duncan Heyward reporting, Sir! Webb's pouring gin. WEBB Duncan. How was your journey? The door closes. Dispatches are passed. They are now alone except for the General's two Adjutants and a shadowy form waiting patiently in a corner. He's MAGUA. In the dim light, he's motionless. Webb slides a glass across to Heyward. HEYWARD I didn't experience anything so surprising from Bristol to Albany as what I witnessed here today. WEBB And what is that? HEYWARD The Crown "negotiating" the terms of service? WEBB I know. (assuming a co-commiserator) One has to give Americans "reasons" and make agreements to get them to do anything at all. Tiring, isn't it? (throws up his hands) But that's the way of it here. HEYWARD (tight) I thought British policy is 'Make the World ... England', sir. A chill. Majors don't upbraid Generals. WEBB You will take command of the 62nd Regiment of Foot. At Fort William Henry under Colonel Munro. I will march the 33rd to Fort Edward. HEYWARD Sir! ... Might I enquire if General Webb has heard from Colonel Munro's daughters? I was to rendezvous with them in Albany and escort them to the fort. WEBB Yes. You may. (to Magua, after a glance at Heyward) You there. What does Munro call you? (to Heyward) The "Scotsman" has sent one of his Indian allies to guide you. MAGUA rises and slowly walks into the light. He is reserved and over six feet tall. His head is shaved into a mohawk. Rings, beads & feathers pierce his ears. A blanket is worn as a shawl over his left shoulder exposing his right arm and heavy tattooing. A long tomahawk is in the belt of his breechcloth. WEBB The Scotsman's daughters are at the Poltroon's house. A company of the 33rd will accompany you and Magua will show you the way. HEYWARD By your leave, sir. Webb holds Heyward a moment WEBB (to Adjutants) Explain to the Major we care little about toying with colonial militia because we have little to fear from the French. They have not the nature for war. Their Latinate voluptuousness combines with their Gallic laziness and the result is: they would rather make love with their faces than fight. Webb's Adjutants laugh uproariously at his wit. Heyward's stiff, perfunctory smile. He's been made the butt of the joke. He does not share Webb's derisive view of the French. Webb doesn't like Heyward's manner. We don't like Webb. Then: WEBB (continuing) Dismissed. Heyward stiffly salutes. Webb casually, perfunctorily salutes the younger man in return. HEYWARD (to Magua) Dawn. At the encampment. Six a.m. sharp. See to it you're there. Beneath Magua's barely deferential manner we sense intelligence & menace. None of these Brits see it. We do. CUT TO ... EXTERIOR POLTROON'S HOUSE - DUNCAN HEYWARD - DAY brushed clean, his wig freshly powdered, his tricorn in his hand with a crimson sash and sword and his cavalry boots, walks through the gate after knocking. He enters a small courtyard. Suddenly he hears ... CORA (O.S.) Heyward! Duncan Heyward. Heyward looks to the side. An inner light turns on. In this mode, this is a man we could like. REVERSE: CORA MUNRO enters from the garden. She's vivacious, dark-haired, unconventional in that she's educated, but with conventional values and attitudes. She hugs Duncan to her and then pushes him away to look at him. HEYWARD My God it's good to see you. He takes her hand in both of his and kisses it. He is open and lit up. CUT TO ... EXTERIOR POLTROON'S HOUSE, BACK YARD - CORA & HEYWARD - DAY A vegetable plot behind the Poltroon's house is a provincial substitute for a formal garden setting. Heyward and Cora sit on rough wooden chairs. Wind blows. In the background a servant hangs laundry. The white sheets billow. A table holds a tea setting. They're sitting close to each other, talking seriously and quietly. Duncan's jacket is removed. Time's passed. Long pause. Then: CORA I'm embarrassed to be so indecisive ... after so long apart and after you've traveled so far ... HEYWARD And by sea! CORA You still have an aversion to the water? HEYWARD Aversion? No. ... "Hatred" ... "Loathing" ... Cora laughs. HEYWARD But it was worth it all to end in a garden by your side. She looks askance at him. Then the banter drops. CORA (difficult) Dear Duncan, my affection is as towards a closest friend. Alice and I depend on you and respect you immensely ... I wish they did, but my feelings don't go beyond that. Do you see? HEYWARD Isn't respect and friendship, a reasonable basis for a man and woman to be joined? And all else may grow in time ...? CORA Some say that's the way of it. HEYWARD "Some"? CORA Cousin Eugenie, my father, but ... HEYWARD (interrupts) Cora, in my heart, I know once we're joined, we'll be the happiest couple in England. Let those whom you trust, your father, help settle what's best for you. In view of your indecision, why not rely on their advice and judgment as well as mine? Cora stares directly at Heyward. Then she looks away. She has no answer. Something subterranean disturbs her about delegating judgment over the fate of her life. HEYWARD Will you consider that? CORA (pause; smiles) Yes. Yes, I will. She's still unsettled. ALICE (O.S.) Duncan! REVERSE: ALICE MUNRO eighteen years old, white-blonde hair, wide blue eyes. She's effervescent and runs to hug him. Heyward is taken aback by her enthusiasm and laughs. HEYWARD My God, you've grown up. ALICE We leave in the morning?! HEYWARD (rises) Yes, miss. ALICE I won't sleep tonight. What an adventure! I absolutely cannot wait to return to Portman Square, having laid eyes upon the full-blooded, red men in the wild! CORA My God, Alice. HEYWARD (smiles) It can be dangerous ... ALICE Nonsense. Papa wouldn't have sent for us if it were dangerous. Alice takes Hewyward's hand. Cora pours Heyward more tea. The white sheets billow. AMBROSE (O.S. - barks) Atten-shun! CUT TO ... EXTERIOR BRITISH ARMY HQ - TWENTY BRITISH REGULARS - DAY jolt upright as if electrified. AMBROSE (entering) Shoulder arms! AMBROSE a sergeant major of forty-one is wide and deep and built like a fullback. You do not mess with Sgt. Major Ambrose. AMBROSE (barks) Form two companies of nine ... MARCH!! THE MEN march in perfect drill into two groups, each three across and three deep. MILITARY HQ, ENTRANCE - MAJOR DUNCAN HEYWARD steps out. Rigid salutes. HEYWARD climbs onto his white military charger. It's spirited. Cora & Alice are in riding dresses and veils. The veil doesn't completely cover Alice's golden hair and blue eyes and the flush of her complexion. They're riding two sidesaddled Narragansetts. The tight traveling dress reveals that Cora, two or three years older than Alice, is fuller and more mature. All three ride to the front of the column. The baggage horses and mule are in the gap between the two companies. MAGUA cradling his musket. REAR SHOT: THE COLUMN down the path that leads into the wall of forest looks impressive. WIDER: THE COLUMN marching. Now they look brave but smaller. The forest - with all its mysteries and dangers - now impresses us as a towering dark, sinister, and it's immensity swallows up the living mass which slowly enters its bosom. CUT TO ... INTERIOR FOREST TRACKING the Redcoats, their faces now filmed with dust, cut with lines of perspiration. They march in perfect formation. We TRACK PAST the pack horses, the first company, Sgt. Major Ambrose and on to Cora & Alice. Alice seems fatigued. Cora's turned, looking up into the forest canopy, astonished at the deep beauty of the place. CORA'S POV: FOREST CANOPY of trees is dark, except for spots where leaves are sparse, and there the light is golden. It's the forest of childhood. In a ravine a buck disappears into a deeper stand of trees. CORA (O.S.) Alice, did you see that ...? CORA'S reverie's broken by Heyward entering the frame. CORA Alice? Alice rouses from fatigue. HEYWARD Are you alright? ALICE Can we rest soon? HEYWARD Absolutely. Heyward rides to the front of the column to Magua, who's twenty to thirty yards ahead of everybody else. HEYWARD You there, Scout! Magua slowly turns towards Heyward. HEYWARD (overly articulated) We must ... stop ... soon. Women are ... tired. You ... understand? MAGUA (perfect English) I understand. This is not good place to stop. Two leagues from here. No water 'til then. That where we stop. Better place. HEYWARD No. Stop in the glade just ahead! When the ladies are rested, we will proceed. Do you understand? MAGUA (in Huron: English subtitle) "Magua understand paleface is a dog to his women. When his women want to eat, he lay aside his tomahawk to feed their laziness." HEYWARD Excuse me. What did you say? MAGUA Magua say: "Yes. Good idea." As they begin to stop ... CUT TO ... EXTERIOR MOUNTAINS & FOREST - WIDE - DAY Silently entering on either side of us come Chingachgook, followed by Hawkeye and Uncas. Even relaxed, they carry themselves with a degree of alertness. They're eighteenth century Viet Cong moving through the rain forest. The Maxfield Parrish/Hudson Valley of tall trees, ravines and streams is idyllic in front of them. All three cradle their long guns and move silently on moccasined feet. FRONTAL: CHINGACHGOOK - in a stream - relaxed but attentive, abruptly stops. The others freeze in their tracks. Chingachgook sees and then stoops to examine ... ROCK under the water in the stream. It's been turned from its bed. Chingachgook finds another. Uncas, moving up on his flank, climbs the bank and moves off into the trees, searches and then he gestures ... he's found another sign of something. CHINGACHGOOK has headed off further down the stream and discovers nothing. Rapidly he rejoins Uncas and Hawkeye who've become extremely alert. They move up the bank into the forest ninety degrees from their previous path. TRACKING: HAWKEYE, UNCAS & CHINGACHGOOK moving. Fast. Nearly soundless. They hardly disturb a blade of grass. The impression: expertise, deadliness and an impression something's wrong. CUT TO ... EXTERIOR FOREST, TRAIL - MAGUA - DAY on point. The trail cuts the side of a hill. The ground on one side rises into a forest acclivity and on the other falls off into a forested ravine. Magua walking towards camera. CLOSER - MAGUA'S slid his tomahawk out from the front of his belt that girdles his waist. He lets the shaft drop into his hand. He shrugs off his blanket. There is a solidity to his dark, tall figure we didn't see before. Magua turns about face and advances on the column. TRACK WITH Magua. Heyward and the Munro girls pass the camera as does Sgt. Major Ambrose, marching in advance of the men. Magua is approaching the soldier on the left in the first row. We see Magua has caught the Redcoat's eye. REDCOAT is curious, starts to smile. What does the Huron want to say to him? When Magua is two steps away he caves in the side of the infantryman's head at the temple with the spike end of his tomahawk and, backhanded, hacks the blade through the side of the neck of the center man in the first row. SIMULTANEOUSLY thirteen muskets EXPLODE from the wooded rise. FIVE REDCOATS are blown off the path, two others are wounded ... AMBROSE AMBROSE Form company! Left face! March! ALICE shrieks. Cora grabs Alice's reins and her own. HEYWARD pulling his fusil (short musket), seeing, firing, reaching for the women ... CORA'S HORSE bucking. ALICE'S HORSE bolting, dodging sideways, spilling Alice to the earth. AMBROSE AMBROSE Company make ready! The regulars slam into a firing line, stepping over the bodies of their comrades. All thirteen face the incline. FORESTED RISE - HURONS flash downhill through the trees. Partnered in two-man teams, one loads and prepares and fires while the other advances to the next cover. He, then, prepares and fires covering his partner's advance. Leaping fallen trees and boulders, they're athletic, fast and rapidly closing. Even though the disciplined English regulars are a killing machine, we now see their tactics in the dense forest are grossly inferior to the Hurons' ... AMBROSE Present!! CORA covers Alice with her body, holding the reins of their bolting horses. HEYWARD from horseback aims his horse pistol, FIRES ... AN ATTACKING HURON leaping at him past Alice & Cora drops. MULE with baggage crashes off, down the ravine. Another two Redcoats drop. Nine left. Then eight. AMBROSE AMBROSE Fire!! A musket volley as eight muskets go off as one shot, sending a lead scythe through leaves. But ... REVERSE: Hurons were behind cover. Only one was exposed and hit. AMBROSE (continuing) Load! Prime! The English rush to complete the reload. Will they do it in time? AMBROSE (continuing) Present! Present! Suddenly, Hurons - en masse - CRASH down onto the Redcoats line with tomahawks, war clubs and point-blank musket fire. ALICE on the ground, screaming insanely, covered by Cora who's protecting her little sister, and ... HEYWARD'S horse shot from beneath him, the animal folding, falling straight to the earth, and ... MAGUA shoots Ambrose in the chest, and ... HEYWARD by the Munro daughters spins, swinging his fusil like a ball-bat, upending one Huron and lunges with his bayonet in his left towards another. But this Huron easily slips the thrust and slams Heyward with his rifle butt. BRITISH dead and dying. AMBROSE blood gushing from his chest wound, fires his pistol, dropping a Huron; slashes a second with his sword. Then he's chopped down. Hurons begin scalping the British while four race towards Heyward and the two women. HEYWARD & CORA & ALICE ready to die. Heyward has only his fusil as a bludgeon. He readies ... THREE LOUD SHOTS BLOW three of the Hurons sideways, head over heels down the rise. REVERSE: THREE MEN barely seen, running diagonally across the fall line of the ravine. In parts, we recognize Nathaniel, recharging Killdeer on full run, and Uncas. HURON'S not sure where the shots came from. Suddenly Chingachgook slams him, head first into the ravine with the war club. He didn't even slow down. HURON warrior spins. Uncas tomahawks his shoulder. The Huron swings downwards. Uncas ducks beneath the swing and slashes his throat, sending him downhill into CAMERA as ... HAWKEYE'S momentum and thrown tomahawk spread-eagles one Huron, near a couple of wounded Redcoats who fight on ... MAGUA calmly sees the odds have changed. His attention becomes focused. He commits a very revealing act seen through the blurred foreground action of struggling bodies. We will remember it. He raises his musket and aims at ... CORA MUNRO who's unaware she's a target. Why is he singling out a Munro girl to kill? HAWKEYE sees. Killdeer's at his shoulder ... TIME SLOWS: MAGUA senses Hawkeye. Moving through liquid, his eyes drift left. The moment is frozen. Their eyes lock, each to the other's. Then ... TIME UNFREEZES Magua swings at Hawkeye and FIRES ... HAWKEYE shifts. The .65 caliber musket ball rockets past his ear and he's already squeezing Killdeer's trigger as ... HAWKEYE'S POV OVER BARREL: SMOKE from Magua's musket blast clears. Magua's gone. He almost shape-shifted, it happened so quickly. It's nearly mystical. HAWKEYE lowers Killdeer, impressed. CORA glances back at Hawkeye. She doesn't know why he's looking at her. CHINGACHGOOK pursues two fleeing Hurons up the incline. Two strides gain him the first man, who he hamstrings and runs over to pursue the second up the hill ... as ... HEYWARD in the confused melee, grabs a found musket and aims it at an Indian. We recognize that he's aiming at Chingachgook pursuing the second Huron up the hill ... CORA No, Duncan! Duncan ignores her. HEYWARD'S MUSKET is jerked from his hands. HAWKEYE ... case your aim is any better'n your judgment. He's drawn his sword, reflexively. Hawkeye flips the musket around one-handed. It's pointed at Heyward's chest. And Hawkeye FIRES, killing an attacking Huron behind Heyward. As Heyward spins ... CHINGACHGOOK'S WAR CLUB flashes up the hill. It cleaves the second man's back and bowls him over. Chingachgook retrieves his club as his scalping knife slashes down ... UNCAS scalps the man he killed. Chingachgook dispatches the Huron he hamstrung. WIDE Sudden silence. Heyward's motionless. The women are frozen, as terrified of the savages and apparent half-breed rescuers as they were of those who attacked them. ALICE Cora, holding her, is stunned but functioning. Moments ago both women were clean and demure. Now their riding dresses are torn, mud-stained, blood-spattered and their baggage is gone. HEYWARD'S crossed to his slaughtered soldiers. Moments ago they were a testament to British military power. Now they're dead meat. Ambrose's body is against a tree. In the B.G. two of the wounded start to rise ... ALICE (O.S.) Stop it! Heyward spins. UNCAS just cut the throat of the second Narraganset. It drops into the brush. Alice attacks him. ALICE We need them to get out of here! Uncas gently restrains her. Cora reaches Alice and grabs her away from the "savage". Heyward runs in to protect the women ... HEYWARD (to Nathaniel) ... why the bloody hell he do that to the horses?! Uncas, all business, is now reloading, lifting powder horns, scanning the trees. UNCAS (matter of fact) ... too easy to track ... they can be heard for miles ... find yourself a musket ... Cora's surprised by Uncas' easy English. Hawkeye's scanning the forest. HAWKEYE (to Heyward) Your wounded should try walkin' back to Albany. They'll never make a passage north. HEYWARD (breathless) We were headed ... HAWKEYE (appropriating a knife) ... Fort William Henry. CHINGACHGOOK to Hawkeye: let's go ... Then a fast exchange of Delaware. Cora's surprised to see it's Chingachgook's decision. Chingachgook looks at the survivors, gives his assent, starts off. HAWKEYE ... take you as far as the fort. Hawkeye throws Heyward a musket. Cora & Alice look towards Heyward. He looks at them: the women are totally terrified and do not move. HAWKEYE If we are goin' to take you, we need to move. Fast ... And the fort is well off our course. So if you all rather wait for the next Huron war party to come by, we'll be on our way. Heyward quickly decides to go. The women follow. Hawkeye starts off after Uncas and Chingachgook. CUT TO ... EXTERIOR FOREST - HAWKEYE - DAY moves through the trackless forest. Uncas is far out on the left flank. Cora, Alice & Duncan Heyward follow in Hawkeye's and Chingachgook's steps ... HAWKEYE'S FEET walking through a creek, stepping in the stream bed instead of on stones. The others follow. Hawkeye looks at Heyward. HEYWARD conforms. He's ill at ease not being in command, following the lead of some half-Indian frontiersman through a foreign wilderness.] HEYWARD How far is it, scout? HAWKEYE Day and a half (pause) Where did you get ... the guide? HEYWARD Colonel Munro sent him. He was one of our Mohawk allies. HAWKEYE He is Huron and nothing else. (checking the Munro girls are not too close) Why would he want to murder the girl? HEYWARD What?! HAWKEYE Dark haired ... HEYWARD Miss Cora Munro. He never set eyes on her before today. HAWKEYE No blood vengeance? No re-proach or insult? HEYWARD Of course not! (pause) And how is it you were nearby? HAWKEYE Came across the war party, tracked 'em. HEYWARD Then you're assigned to Fort William Henry? HAWKEYE No. HEYWARD Fort Edward, then? HAWKEYE No. Headin' west. To Can-tuck-ee. HEYWARD I thought all our colonial scouts were in the militia? Off to the side, Uncas smiles at the idea. HAWKEYE I ain't your "scout". And I am in no damn militia. HEYWARD (stops) Then you are one of those who would allow England to fight alone while she protects you from France? HAWKEYE England does not protect me and does not war against France on our account. She uses us to war against France on her own account ... of greed for land and furs. CORA'S appalled. HAWKEYE (turns) Clear it up any? HEYWARD (loud) I owe you gratitude or I'd call you out! HAWKEYE (low) Do not let gratitude get in the way ... Cora's hand holds back Heyward's sword arm because suddenly Chingachgook looms over him. CHINGACHGOOK (to Hawkeye) Yengeese no good in woods. Make more noise, I kill him. Heyward spins. Hawkeye coolly watches Cora. Her attitude is hostile; aligned with Heyward. He turns away. Meanwhile ... UNCAS stops, alarmed. Something in the air bothers him. Hawkeye smells it, too. CHINGACHGOOK is already moving out front, low and fast ... CUT TO ... EXTERIOR FOREST, TREE LINE - GREEN BRANCHES - DAY After we HOLD, we realize Chingachgook's been there all along. Hawkeye and Uncas join him where the branches meet the ground. Smoke drifts through the trees. Hawkeye sees and dips his head, then looks again ... EXTERIOR CAMERON CABIN - WIDE - DAY Burned, smoldering, having fallen in on itself. TRACK LEFT past what was the doorway. A dead child's hand protruding from the ruin. A fragment of a dress. Charred and smoldering wood. John Cameron's body in the wreckage. And then, through the collapsed posts and timbers, Hawkeye, Chingachgook and Uncas have advanced and are seeing what we've just seen; and then Cora and Alice. ALICE approaches and is frozen in horror. Cora shields her from the sight. Cora is affected but confronts it directly. HEYWARD (O.S.) Anything to be done? UNCAS returns from under one part of the wreckage, ashen, stoic, as they all are. We know the degree of their inner pain. UNCAS All dead ... HAWKEYE bends over a moccasin print that Chingachgook's examining. They look at each other grimly. Heyward joins them. HEYWARD Who were these people? HAWKEYE (re: print) Ottawa! HEYWARD Excuse me ... CHINGACHGOOK (to Hawkeye) Ottawa. UNCAS enters, very careful where he places his feet ... Hawkeye gestures to Heyward to stay where he is: on the periphery with the women. UNCAS Mirrors ... tools ... clothes ... all inside. HAWKEYE (to Chingachgook) Movin' fast, not able to carry much ... this was a war party? Chingachgook nods confirmation and indicates a direction in Mohican. The significance is very ominous to them. We don't know why yet. Chingachgook starts away ... HEYWARD Let us look after them ... He starts approaching the bodies. CHINGACHGOOK Leave them. Heyward stops. Hawkeye and Uncas follow Chingachgook, leaving the cabin. CORA (hasn't moved) Though they are strangers, they are at least entitled to a Christian burial! HAWKEYE (shaking his head) Let us go, miss. CORA I will not. I have seen the face of war before, Mr. Poe, but never war made on women and children. And almost as cruel is your indifference. Hawkeye turns back and rapidly approaches her. She takes a step back, fearful. HAWKEYE (contained) Miss Munro. (pause) They are not strangers .... And they stay as they lay ...! CORA realizes Hawkeye knew these people and is deeply affected. She also realizes for the first time this is a whole new world with dynamics and complexities, behavior and rhythms she doesn't understand. He turns away from her and walks on. She hesitates a moment. WIDE ON THE SMALL CLEARING IN FRONT OF THE FARMHOUSE as Chingachgook and Hawkeye, extremely alert and cradling their cocked flintlocks, walk to camera, eyes sweeping the forest perimeter; they're followed by Cora, Heyward helping Alice and Uncas as rearguard. The ruined cabin and the dead dream of a family smolders behind them. CUT TO ... EXTERIOR GLADE - PROFILE: HAWKEYE - NIGHT moves through to where the trees seem sparse and are unnaturally white birch and some thin grass grows. The land rises into a mound. Chingachgook and the others avoid stepping on the grass and cross to the other side of it. CHINGACHGOOK mutters something to Uncas. He nods and disappears amongst the white birch, soundlessly. HAWKEYE throws Heyward a blanket. Heyward spreads the blanket below the top of the mound and - maintaining silence - he gestures for Cora & Alice to rest there. ALICE'S HEAD hits the blanket. She curls into a fetal position and she's out. Heyward is nearby on watch. Hawkeye has taken a position two-thirds of the way around the crescent shaped mound. Cora has sought him out. HAWKEYE doesn't react as Cora enters. He's scanning the trees; not looking at her. They whisper ... CORA Why didn't you bury those people? HAWKEYE Anyone lookin' to pick up our trail, would see it as a sign of our passing ... CORA You knew them. Hawkeye looks at her and nods. CORA (stiffly) You were acting for our benefit. And I apologize. I misunderstood you. HAWKEYE Well that is to be expected. My father ... CORA Your "father"? HAWKEYE Chingachgook. He warned me about people like you. CORA He did? HAWKEYE Yes. He said ... "do not try to make them understand you." CORA What?! HAWKEYE Yes. And "do not try to understand them. That is because they are a breed apart and they make no sense ..." Cora's indignation is cut off because ... UNCAS moving fast. He gestures back the way he came and it means they're in jeopardy. Uncas disappears around the mound. CUT TO ... EXTERIOR BIRCH FOREST - TREES - NIGHT Nothing. Imperceptibly we move closer and start to see shapes blocking out part of the white birch. RED-PAINTED FACE white eyes. A ruff of red hair stands straight up at the back of the large man's head. Slit and monstrously elongated earlobes are weighted with silver. He's followed by others. Wary, silently, they hunt. DEEPER: MORE OTTAWA Towards the rear are two French Rangers ("Coureurs des Bois") from Le Regiment de la Sarre. They're bearded, dirty, dressed Indian-style in moccasins, leggings and breechcloths with hooded hunting shirts. There's nothing clumsy about them. They're the 18th century version of Special Forces who've gone indigenous. If they and the Ottawa find our people, it's all over. ALICE seeing the red-painted Ottawa approach, starts to panic. Her hyperventilating and involuntary small sounds of fear will reveal their position. A hand covers her mouth and silences her struggling. WIDEN. It's Uncas. His other arm is around her, holding her, looking towards the advancing Ottawa. HAWKEYE on his back, his tomahawk within reach on the ground. OTTAWA & FRENCH are fifty yards away from the crescent mound behind which lie our people. Mist envelops them ... CHINGACHGOOK His massive arms spread revealing his war club in his left fist; his fusil in his right hand. HAWKEYE waiting for the attack. Cora's eyes are anxious, but there's no terror there. Nathaniel's impressed with her cool. He hands her a pistol. She takes it. He listens for the soft drop of moccasined feet ... OTTAWA through the grass. Thirty feet away they stop. They're motionless. Then their leader gestures and they start backing out. The French Rangers continue towards the crescent. The Ottawa chief takes one's arm and stops him. The French Ranger whispers something inaudible. The Ottawa chief shakes his head, "Non. Pas possible ..." And means it. They retreat. SEPERATE SHOTS: HAWKEYE, UNCAS, CHINGACHGOOK, CORA tensely monitor the Ottawa retreat. UNCAS & ALICE He slowly removes his hand from her mouth. She's a little shy, then she looks up, catches his eyes. Then she averts her face. CHINGACHGOOK sees all of it; doesn't like it. HAWKEYE The Ottawa are gone. CORA (quietly) Why did they turn back? In answer Hawkeye looks behind & above her head. CORA turns and makes out stilt platforms of skeletons and torn strips of buckskin silhouetted against the night sky in the distance. They have camped on sanctified ground, a burial place. CORA & HAWKEYE She thinks it would be a mistake to ever underestimate the skill of these men or the danger & complexity of this place. She hands the pistol back to him. Their hands almost touch. CORA (still pissed off) "We're a breed apart and we make no sense" ...? HAWKEYE (smiles) In your particular case, miss, I would make some allowance ... CORA (sarcastic) Thank you so much. Cora is angry. Hawkeye, staring at the trees, glances at her. She settles, looking at him. Her mood changes. Then ... CORA You called Chingachgook your "father"? Where is your real family? Hawkeye's surprised by her question. HAWKEYE They buried my ma & pa and my sisters. And Chingachgook - who found me with two French trappers - raised me up as his own. CORA I'm sorry. HAWKEYE I do not remember them. I was one or two. CORA How did you learn English? HAWKEYE My father sent Uncas & I to Reverend Wheelock's school when I was ten. So we would know both worlds ... though we were told only bother learning readin' & arithmetic from yous. CORA And what were the consequentialities of European culture you didn't bother with? HAWKEYE The Bible. Monarchy. Many wrong ideas about the government of men. My father's people already know each man is his own nation. And only he can have dominion over himself. Not kings. No man is better than any other man. CORA In London those radical ideas could land you in Newgate prison. (changing the subject) Why were those people living in this defenseless place ...? HAWKEYE 'Cos frontier land's the only land affordable to poor people. So after seven years indentured service in Virginia, they headed out here where they are beholden to none and not livin' by another's leave ... Their name was Cameron. John & Alexandria. Cora sees the slate grey clouds and, in between, the fields of stars. She looks at Hawkeye; then again up at the night sky. HAWKEYE (continuing; looking up) My father's people say ... at the birth of the sun and of his brother, the moon, their mother died ... so the sun gave to the earth her body, from which was to spring all life. And he drew forth from her breast the stars. The stars he threw into the night sky to remind him of her soul. (the sky) So there is the Camerons' monument ... my folks', too, I guess. CORA'S pensive. Hawkeye's watching her. Her reaction is enigmatic. After a pause ... CORA (low) You are right, Mr. Poe. We do not understand what is happening here. And it is not as I imagined it would be, thinking of it in Boston and London ... HAWKEYE Sorry to disappoint you ... CORA (eyes downcast) On the contrary. It is more deeply stirring ... to my blood ... (then up into his eyes) ... than any imagining could possibly have been ... She closes her eyes, turns slightly and prepares to sleep. Hawkeye is the one left staring into the birch forest, a little surprised. Some of his assumptions about her were wrong ... CUT TO ... EXTERIOR FOREST - WIDE - LATE AFTERNOON Deep fog has set in. A hand entering the frame scares the hell out of us. It moves a branch aside. It's Uncas. Spread to the right is Chingachgook, far to the left is Hawkeye. They hike up a steep forested slope in the heart of the Adirondacks. CORA Much further? HAWKEYE Top of this ridge. Fort and Lake George are downhill of it. ALICE Re-energized, her spirits pick up. ALICE Will we be able to bathe? Before Cora can answer they hear a deep, rolling roar. Alice is alarmed. CORA Thunder ... Papa will arrange something. UNCAS looks over his shoulder, sees something in the far distance, gestures to Hawkeye and Chingachgook. HAWKEYE'S POV: DISTANT HILLS and the band of red-painted Ottawa and Coureurs des Bois, who have now split into two groups, are still on their trail. Meanwhile, oblivious ... HEYWARD The men of the regiment will fetch water from the lake, build fires and provide every comfort you desire, Alice ... ALICE Duncan, you are absolutely gallant. If Cora doesn't marry you, I shall. CORA Alice! Heyward laughs. Hawkeye sees them. It bothers us: will these Europeans, including Cora, shed their frontier experience? ALICE I can't wait to see Papa ... CORA And you, Duncan? What are you looking forward to? HEYWARD Posting to a different continent. He and Alice laugh. Cora does not. CORA I think it's very important and exciting. Heyward looks at her. She's not kidding. ANOTHER ANGLE: HEYWARD helps Alice. As he does, he stares at Cora's seperation and now her proximity to Hawkeye, who's walking on ahead, is something Heyward doesn't like. His dark thoughts are distracted by a FLASH of light and more ROLLING THUNDER. WIDE FROM THE FRONT - HAWKEYE drops and pulls Cora to the ground. CORA Lightning? Hawkeye doesn't answer as he, Chingachgook, Uncas and Heyward make their way to the top of the ridge. CLOSER ANGLES: CORA & ALICE join them and look down upon their expectation of a secure piece of England in the wilderness, a safe harbor, a father's warm welcome. THEIR POV: FORT WILLIAM HENRY is none of those things. The thunder is the roar of French siege cannon clouded in dense smoke. The flashes of light are mortar bombs exploding and illumination rockets' red glare. Fort William Henry is under a massive siege by a French and Huron army. UNCAS looks over his shoulder. HIS POV: OTTAWA pursuing them. There's no way back. They're propelled forward. DISSOLVE TO ... EXTERIOR BATTLEFIELD, FRENCH BATTERY #1 - CLOSE SHOTS - DUSK French cannons roar black smoke and gouts of red flame. TRENCH dug by sappeurs behind the cover of a huge gambio pushed toward the fort by two poles and fascis on the sides. ENGLISH GUN CREW searching the night. POV: BATTLEFIELD is black. ENGLISH ROCKETS light the battlefield revealing the French trenches. ENGLISH GUN CREW excited. Colonial militia and Mohawk snipers fire their rifles. The British gun crew scrambles to adjust their 18 pounders. FRENCH BATTERY #1 FIRES. FRENCH BATTERY #2 FIRES. EXTERIOR FORT, WEST BATTERY TRACKING. French cannon FIRE rips into the fortifications, exploding wood and earth, shredding the English gun crew with cannister. The English fight stubbornly, but we feel they're outgunned. Meanwhile ... WIDE ANGLE FROM THE WATER A new artillery duel erupts. The action is to the west side of the fort. On the north, the fire fight is reflected on the black water of Lake George in our foreground. Then a dark shape wiping to the right cuts off those reflections. We see in silhouette the outline of a birch canoe moving silently, barely rippling the mirrored surface of the lake. EXTERIOR LAKE GEORGE BANK - DEBRIS Behind it, two Canadiens and a Huron alternately snipe at the ramparts. LOW & WIDE: SNIPERS Behind them is black water. Its surface is broken by the rising mass of Chingachgook, followed by Uncas and Hawkeye. Muzzle flashes from the cannon reveal the canoe and the forms of the girls further out. Chingachgook's war club is held low. The Huron senses and turns and Hawkeye's thrown tomahawk knocks him back. Hawkeye's knife flashes in the night. Chingachgook drives the war club up, smashing a Canadien onto the debris. The second Canadien jabs bayonet at Uncas, slashing his side. Uncas jerks him forward by the musket, folds him over and tomahawks him. CUT TO ... EXTERIOR FORT WILLIAM HENRY, NORTH WALL - SALLY-PORT TUNNEL - NIGHT Amidst the cannonade roar, ad-libbed shouts from Hawkeye and Heyward convince battle begrimed soldiers to open the sally-port. Our people rush in. TORCH LIGHT the group moves through the long, dank, tunnel. Enlisted men escorting them. Another torch from the other direction: CAPTAIN BEAMS is revealed. HEYWARD I'm Major Duncan Heyward! BEAMS Captain Jeffrey Beams. We didn't think you'd make it through! HEYWARD Where's Colonel Munro? His daughters are here, too. Beams raises his torch, sees the muddied, soaked women. He is shocked that they traveled with Heyward. CUT TO ... INTERIOR FORT WILLIAM HENRY, PARADE GROUND - GROUP - NIGHT emerges from a sally-port tunnel. It's smokey. NOISE is deafening. The group has traveled through a nightmare, only to arrive in hell. HEYWARD WITH BEAMS, CORA & HAWKEYE, ALICE, UNCAS & CHINGACHGOOK run diagonally past pyramidal stacks of cannon ball, smoldering beams and shrapnel, wounded men. Just then a mortar is fired and explodes, killing the gun crew. On the ramparts Mohawks and Colonial Militia, sniping at the French. Women huddle in corners next to the sick and dying. UNDER RAMPARTS: MILITIA AD LIBS (shouts over roar) Uncas! Nathaniel ... HAWKEYE waves. One wounded man, IAN, intercepts Uncas. IAN Thought you and Nathaniel weren't joinin'-up. UNCAS (on the run) Didn't! HAWKEYE Dropped in to see how you boys is doin'. COLONEL MUNRO running from his quarters is shocked to see them. ALICE (hysterical) Papa, Papa!! MUNRO (enraged) Why are you here?! Cora is stunned. Alice is decimated by her father's anger. Munro sees and whips off his coat to cover them and takes Alice under his arm. Bombardment resumes. Alice clings while they race for the cover of his quarters:] MUNRO (to Heyward; re: Alice & Cora) Why did you allow them to come? ... And where the bloody hell are my reinforcements!! They race into the yellow lantern light of Munro's quarters and slam and bolt the heavy door. Heyward's confused ... CUT TO ... INTERIOR MUNRO'S QUARTERS - NIGHT MUNRO (embracing his daughters; softer) Told you to stay away from this hell hole! Why did you disobey me? CORA When? How? MUNRO My letter ... CORA There was none! MUNRO What? CORA There was no letter. MUNRO I sent three men to Webb! HEYWARD One called Magua arrived. CORA He delivered no such message. Munro's stunned. MUNRO Does Webb not even know we are besieged? HEYWARD Sir. Webb has no idea. And he certainly does not know to send reinforcements! Munro has nowhere for his rage to go. Meanwhile, Alice clings to her father. At 45-55, the British Army has been his life. He blindly believes in its institutions, though officers like Webb would disdain his Scots origins. From under his fury: MUNRO (flat) What happened to you? HEYWARD (suddenly tired) Ambush ... on the George Road. This Magua led us into it. (pause) ... eighteen killed. It's these men who saved us. They guided us here ... MUNRO Thank you. How can I reward you? No answer. Then ... HAWKEYE Help ourselves to a few horns from your powder stores. MUNRO What else? UNCAS Some food. MUNRO (to Uncas) I'm indebted to you. And get your side sewn up, young man. MUNRO sees his exhausted and bloodstained surgeon in the doorway that leads to the next rooms. MUNRO (bellows) Mr. Phelps! PHELPS' face lights up when he sees Cora Munro. PHELPS Miss Cora! How are you? CORA (smiles) Fine, Mr. Phelps. Have you cat gut and a suturing needle? (for Uncas) And we could use some rum, clothes, and a place to wash ... Cora tries to remove Alice from her father, but she clings to him. Munro holds her tighter. Then he whispers something to her. She nods her head. And Cora takes her. They exit. MUNRO is moved beyond words by his daughters' presence. There's a break, a pause ... MUNRO (to Heyward over table map) What a place for them ... HEYWARD Might I enquire after the situation, sir, given that I've seen of the French engineering from the ridge above? MUNRO (perfunctory) Logistics are his guns are bigger than mine and he has more of them. They keep our heads down while his sappers make thirty yards of trench a day. His thirteen inch mortars have a two hundred yard range, so when they're close enough, they'll move them in, lob explosive rounds over our walls and pound us to dust. HEYWARD They look to be three hundred yards out. You have three days. MUNRO Bloody murderers. HAWKEYE A man, here, can make a run straight through to Webb. MUNRO ... not enough time to get to Albany and back with reinforcements ... A Sergeant enters, snaps to attention, says something to Beams, exits. HEYWARD Webb's not in Albany. He marched the 33rd to Fort Edward two days ago. MUNRO Webb's at Edward? HEYWARD Yes, sir. MUNRO Only twelve miles away! He could be here day after tomorrow. (to Hawkeye) Find your man, sir! Captain Beams will give you the message. Beams nods. Munro turns back to the map. Hawkeye has something else to say. HAWKEYE John Cameron's cabin. We come upon it last night. Burned out. Everyone murdered. And it was Ottawa. They're allied to the French. Munro looks at him. MUNRO Yes, Mr. Poe? So? HAWKEYE It was a war party. It means they're on the attack up and down the frontier. Munro turns to look at him for a long beat. Munro doesn't like what his response must be to this news. He turns to Heyward and the map. MUNRO (cold) Thank you. Hawkeye's dismissed, frozen out. HAWKEYE Many men here, their homes are in the path. MUNRO That's all, sir. Hawkeye is furious. Chingachgook gestures Hawkeye out. He leaves Munro's quarters almost knocking over an entering Adjutant who backs way up to let Chingachgook pass. HEYWARD Things were done. Nobody was spared ... MUNRO Terrible feature of war in the Americas. (beat; a mantra) Best to keep your sight fixed on our duty. Our duty is to defeat France. That hangs on a courier to Webb. CUT TO ... INTERIOR MONTCALM'S MARQUEE - CHORAL GROUP - NIGHT of three Seneca women and five boys, led by a Jesuit, sing the Te Deum in the Iroquois language. This is a large tent that could sleep twenty. Montcalm's four personal guards are at the entrance as well as COMTE DE LEVIS in dirty lace, a facial wound and a braceful of pistols on a sash. Inside is simple campaign furniture and a six by eight foot battle standard and flag of France. MONTCALM stands with a huge and fearsome elaborately tattooed and robed Seneca chief in a silk turban ... SENECA CHIEF (low) ... and the Black Robes of Michilimackinac left us no time to put our cabins in order before telling us our French father had need of our aid. We rolled our blankets and were the first to be here. Yet we are not the first and closest to my father's campfire. The Marquis de Montcalm is forty-five, wears a large wampum belt as a sash over his waistcoat. He has an acute intellect, an elegant manner. He is more aristocratic than Munro, but a consummate professional soldier. Over the Seneca's shoulder, Montcalm sees and nods to ... MAGUA entering with four Huron braves. This is not the Magua we saw on the trail. In his scalp lock, now red-stained and cut to a Huron roach, are three blacl plumes. A match-coat blanket drapes his left shoulder. MONTCALM (to Seneca Chief) For my children and the children of the true faith, my friendship and esteem is boundless ... I will give you three oxen for a feast and tomorrow I, myself, will sing the war song with you in the great council house. The Seneca Chief is satisfied and his people, plus the Jesuit, exit. The look on Magua's face and the wry expression on Montcalm's allows us to understand their relationship is based on realpolitik. MONTCALM Le Renard Subtil, how are things with your English friends? Magua exhales in derision as he brings a chair to face Montcalm and sits, European style ... MONTCALM (over his shoulder) Louis Antoine, join us. LOUIS ANTOINE DE BOUGAINVILLE enters. He wears a functional melange of Indian moccasins over white linen breeches and an officer's waistcoat. MONTCALM Hear what le Subtil has to tell us ... Bougainville published a book on integral calculus at twenty-five, at twenty-six was a secretary to the French Ambassador in London, in January 1756 at twenty-seven he was elected a member of the British Royal Academy of Science and at age twenty-eight he's aide de camp to the Marquis de Montcalm with the rank of captain. Later in life, he brought "bougainvillea" from Tahiti to Europe to America. MAGUA English war chief, Webb goes to Fort Edward with 33rd Regiment. He does not know my father's army attacks Fort William Henry. BOUGAINVILLE But by now Munro knows his couriers didn't get through. He'll send another. MAGUA The Grey Hair will try. BOUGAINVILLE Four or five, including two women entered the fort ... MAGUA The Grey Hair's children were under Magua's knife but escaped. They'll be under it again. MONTCALM Why do hate the Grey Hair, Magua? MAGUA When the Grey Hair is dead, Magua will eat his heart. Before he dies Magua will put his children under the knife so the Grey Hair will see his seed is wiped out forever. Montcalm won't get a direct answer. MONTCALM My sappeurs are advancing the trenches through the night, now. You may have your opportunity soon. CUT TO ... INTERIOR SURGERY, ENTRANCE - PHELPS - NIGHT exhausted, sitting on a low stool, taking a breath. HAWKEYE (O.S.) She know what she's doin'? Phelps looks up, then he looks over his shoulder at Cora. She's in a borrowed launderess dress/blouse ... She looks different. He's a little indignant. PHELPS First assisted me in Austria when she was fourteen. I would say she does ... Her apron is stained. Hawkeye sees this may be her first time in the New World, but it's not her first military campaign. Still angered at Munro's dismissive response, he's nevertheless falling for Cora. HAWKEYE She does not shy away from much ... PHELPS (elsewhere) What's that? HAWKEYE Nothin'. Alice Munro has caught Hawkeye's attention. Outside the surgery where a casement meets a wall, she sits, withdrawn. A catatonic older woman in a fine dress sits next to her. PHELPS (O.S.) Miss Cora? Gentleman looking for you. HAWKEYE enters. Cora's sewing up Uncas. CORA (looks up) Mr Poe? HAWKEYE Miss. (re: cotton) May I? Cora, curious, nods. Hawkeye cuts some pieces from her ruined and discarded dress that she now uses to bandage Uncas. We don't know why; neither does Cora. HAWKEYE (to Uncas) You 'bout done holdin' hands with Miss Munro? Uncas laughs, looking from her to Hawkeye. Then he's up and he hurts. Cora starts to tend another wounded man. As they start out, Hawkeye hesitates. Sensing it, Cora turns. CORA What are you looking at, Mr. Poe? HAWKEYE Why, I am looking at you, Miss. Cora measures the directness of Hawkeye's manner. It's not insolent, only unsettling. Feeling foolish; she turns. He leaves. CUT TO ... EXTERIOR FRENCH TRENCHES - SAPPEURS & ENGINEERS - NIGHT having worked through the night, are still digging the diagonally-advancing trench. We note it's closer than it was. EXTERIOR FRENCH TRENCHES - FRENCH PICKETTS at their posts guard the sappeurs. Meanwhile ... CUT TO ... EXTERIOR FORT WILLIAM HENRY, WEST SIDE - SALLY-PORT - NIGHT opens. Ten Mohawks and Rangers crawl towards the French lines. Meanwhile ... CUT TO ... EXTERIOR FORT WILLIAM HENRY, PARAPET - HAWKEYE & UNCAS - NIGHT are low and out of French sight in the northeast battery. Four others are with them, including Captain Jack. Stacked rifles are against the casement. We don't know why. Each rifle is within reach of Hawkeye's hand. Hawkeye is taking extra care loading Killdeer. He charges it once, then overloads the powder by a quarter charge. UNCAS You told him about the raid? HAWKEYE (nods) He does not want to hear it. (pause) But he is gonna have to. JACK (to one man) Get together by the West Battery James & Ian, Sharitarish & William. Hawkeye uses the fine cotton he took from Cora. Uncas sees it. UNCAS Tight weave. HAWKEYE Another forty yards? Uncas nods. Hawkeye wets it to make a tighter gas seal and rams it home. The tighter fit requires more effort. HAWKEYE looks below to ground level ... A FRONTIERSMAN - COURIER Two pistols are holstered in a sash around his chest. He wears no hat and carries no pack. He waits by the sally-port door. CUT TO ... EXTERIOR FRENCH TRENCH - THREE PICKETS - NIGHT are suddenly tomahawked and knifed by stripped down 42nd Highlanders and Mohawks. Alarm is raised. French and some Huron run to advance. Shots are fired. The Rangers & Mohawks fall back. FRENCH emboldened, pursue ... TRENCH IN FRONT OF WEST WALL suddenly Heyward and three companies of the 62nd regiment of Foot (60 men) are over the top in perfect formation ... HEYWARD Sergeant! Form three ranks! SERGEANT MAJOR Sir! (bellows to troops) Upon the center, wheel to the left-about! March! (three motions; drums) Rear ranks, proper distance! (the rear ranks back up six paces) Front ranks, take your distance! March! (everybody moves) Halt! (in unison they slam to a stop) Make ready! (muskets snap to port arms) MOHAWKS & HIGHLANDERS dodge right & left of the 62nd's line of fire. FRENCH are coming forward. Their sergeants trying to stop and form their men in ad-libbed French. 62ND REGIMENT OF FOOT SERGEANT MAJOR (dead cool) First rank! Second rank! Present arms! (muskets shouldered) HEYWARD Fire!!! Like one shot, lightening, smoke and .65 caliber death screams from the first two ranks like a scythe, cutting down ... REVERSE: FRENCH Fourteen wounded or killed ... 62ND REGIMENT OF FOOT - HEYWARD exposed. He's oblivious to incoming rounds. A piece of hat is blown off, epaulet is shot off. The man next to him is killed and bloodies Heyward's coat. HEYWARD Advance, Sergeant Major! SERGEANT MAJOR Sir!!! (to soldiers) Third rank! Twelve paces! Forward march! Drums. The rear rank walks through the first two ranks, who are priming and loading in perfect order to their Sergeant Major's commands. As the third rank becomes the first rank ... SERGEANT MAJOR Shoulder arms! (slam) Present! (slam) HEYWARD Fire!!! CUT TO ... EXTERIOR FORT WILLIAM HENRY - COURIER - NIGHT sprints for the trees during the diversion of Heyward's sally. TWO HURONS materialize from nowhere and charge at him ... both are BLOWN off their feet by ... EXTERIOR FORT WILLIAM HENRY, CASEMENT - UNCAS & HAWKEYE now handed already-loaded, primed and cocked rifles while the four men behind them reload the two just fired. Hawkeye gestures ... EXTERIOR HILLSIDE - THREE HALF-SAVAGE CANADIENS are running down the hill to intercept the courier. One fires ... COURIER a near miss. EXTERIOR FORT WILLIAM HENRY - HAWKEYE FIRES. A half second later, Uncas FIRES. EXTERIOR HILLSIDE One Canadien's falling through the trees as the second one's hit by Uncas' shot. HAWKEYE reaches out his hand. Killdeer with the heavier load is slapped into it. Hawkeye aims. Looks away a second and comes back to the sight in deep concentration. The world goes silent ... HAWKEYE'S POV: COURIER & CANADIEN pursuer are barely visible. Only patches appear momentarily between the trees. They're three hundred yards away: an impossible shot in 1757. EXTERIOR FOREST - THE CANADIEN will intersect the courier. His arm is back with his tomahawk to throw ... EXTERIOR FORT WILLIAM HENRY - HAWKEYE judges wind, elevates the long rifle ... and FIRES at us. JUMP CUT BACK: TREES Hawkeye's heavy round rips through. We HEAR the ball cut air. A few leaves flutter ... EXTERIOR FOREST - CANADIEN whacked head over heels by the impact. COURIER looks over his shoulder. He didn't know the Canadien was there. He stumbles in the half light. Then he runs on ... CUT TO ... EXTERIOR FORT WILLIAM HENRY - WEST SALLY-PORT The three companies of the 62nd Regiment of Foot file back into the fort in perfect order. The sally-port is closed. Three men are wounded. The diversion worked perfectly. HEYWARD Sergeant Major! SERGEANT MAJOR Sir! HEYWARD Thank you, Sergeant Major. Thank the men. SERGEANT MAJOR Atten-hut! TROOPERS & MILITIA have seen no action for three days & nights. Heyward got their blood running and won their respect. They step aside and nod to him. Heyward keeps walking. He is home. CUT TO ... INTERIOR MUNRO'S BEDCHAMBER - DOOR - NIGHT a knock and Heyward enters. CORA & ALICE Alice is in her father's bed. Cora is collecting and tearing linen into strips for bandaging. HEYWARD Cora ... I wanted to talk to you, but I'll come back another time ... Alice looks at the two of them and rises out of the bed. CORA Alice ... ALICE Talk to Duncan, Cora ... I must manage ... I cannot be an invalid schoolgirl. (starts for door) I'll see if Mr. Phelps needs anything ... She leaves. HEYWARD I'm sorry, I didn't mean to ... CORA Her nerves are shattered. She's trying to be brave. There's a lot going on under Cora's surface. We don't know what it is, but it's disconcerting. HEYWARD Cora, I adore you and, when we come together, we will be the happiest couple in England ... I am certain of that. More than ever before. (softens) I believe you must trust the judgment of others who hold your welfare so close to their hearts ... CORA Duncan ... (pause) Duncan, I promised you an answer. You have complimented me with your persistence and patience ... But the decision I've come to is I'd rather make the gravest of mistakes than surrender my own judgment. Heyward is stunned. CORA And it's been unfair to you, while I search myself for feelings, which, if they were there and as strong as they ought to be, would've made themselves known long ago ... (pause) Take my admiration and friendship, Duncan. And please take this as my final answer. It must be no. Heyward' shattered inside. HEYWARD I see ... CORA I am sorry, Duncan ... Heyward nods. He's speechless. He's errect as he leaves the room. CLOSE: CORA The tension rushes out of her and she shudders and leans against the quarter-timbered walls for support. Then she collects the linen and starts out. CUT TO ... INTERIOR FORT, INNER CORRIDOR - CORA moving through the corridor past wounded. Two French mortar bombs explode above one of the casements. We hear shrill screams in the distance and ... HAWKEYE (O.S.) ... it was no raidin' party out for pillage. The cabin was attacked by a war party. They are sweeping south down the frontier spreading terror among farms and Mohawk villages 'cos all the men are here. IAN (O.S.) And my cabin's not thirteen miles south of Cameron's! Cora, passing the open door to Munro's crowded office, now hesitates. CORA'S POV: THE ROOM Hawkeye, Captain Jack Winthrop, Ian, seven or eight other militia spokesmen, Munro, Heyward, two adjutants, one lieutenant of Rangers. MUNRO (to Jack) I must receive proof more conclusive than Mr. Poe's opinion before I weaken our defenses by allowing militia to withdraw. JACK Chingachgook's of the same opinion. Taken together, that's gospel. Your fort will stand or fall depending on Webb and reinforcements, not these colonials' presence. MUNRO I judge military matters, Captain Winthrop, not you. HAWKEYE That judgment is not more important than their right under agreement with Webb to defend their farms & families ... Major Heyward was at John Cameron's. He saw what it was. MUNRO (looking to Heyward for confirmation of his point of view) What did you see, Major? Heyward looks around the room. And he catches the doorway ... CORA beyond the periphery of men, staring at him. HEYWARD Munro is expecting him to be the good soldier in defense of British military interests. At the same time ... CORA examines him with a cool, level stare. HEYWARD looks at Munro. More French rounds detonate O.S. What if Webb gets here and they need to launch a counter-attack? They need every man they have. It's his moment of decision ... HEYWARD (to Munro) I saw nothing that would lead me to the conclusion it was other than a raid by savages bent on thievery. Jack Winthrop grabs Nathaniel. HAWKEYE You're a liar! CORA'S saddened. Heyward's stature has fallen irrevocably in her eyes. HEYWARD can't help it. He turns to look at Cora ... HEYWARD'S POV: DOORWAY She's gone. HEYWARD suffused with an inner sadness, turns to Hawkeye. HAWKEYE And the blood is on your hands! Heyward reaches for his sword. MUNRO (to Heyward) I'll have none of that! (to colonials) Montcalm is a soldier and a gentleman. Not a butcher. HAWKEYE Easy for you to suppose. While it is their women and children, not yours, alone in their farms! MUNRO (exploding) You forget yourself! JACK We are not forgettin' Webb's promise! MUNRO British promises are honored. And the militia will not be released. Because I need more definite proof than this man's word! JACK Nathaniel's word been good on the frontier a long time before you got here! MUNRO This interview's over! The militia stays! JACK (to Munro) Does the rule of English law no longer govern? Has it been replaced by absolutism? This is very dangerous talk. HAWKEYE And if English law cannot be trusted, maybe these people would do better makin' a peace with the French! HEYWARD That is sedition! Treason! HAWKEYE That is the truth! HEYWARD (restaining himself) I ought to have you whipped from this fort! HAWKEYE Major! (changes down) Some day I think you and I are gonna have a serious disagreement. MUNRO (steel) Anyone fomenting or advocating leaving Fort William Henry will be hung for sedition. Anyone leaving will be shot for desertion. (pause) My decision is final. Get out. Hawkeye and the others are not intimidated. Their rage smolders. The look on Hawkeye's face says this is not over. CUT TO ... EXTERIOR FORT, PARADE GROUND - BONFIRE - NIGHT Sparks shower skyward. Impromptu music. Some Celtic proto-bluegrass played on fiddle & drums. It's stirring. ANOTHER ANGLE: SOME WOMEN laundresses, dance from soldier to soldier - English foot and American Rangers. A few people lit by the firelight are solemn. Most are stirred to lift their morale for a while. THEIR FACES underlit by the red firelight. They are a disposable people, a diverse plurality stuck in a postage stamp-size fort in an ocean of forest, locked into mortal deadly conflict because of the policies of cold and distant European monarchs. A PLACE A LITTLE DISTANT FROM THE FIRE We can barely make out the eyes and faces of a number of men behind logs, crates and new wreckage from the day's bombardment. HAWKEYE (low) ... got no kin in the settlements. If I did, I'd be long gone. IAN You didn't think it right to be here in the first place. HAWKEYE By my light that's how I saw it then and I see it that way now ... IAN (low) But we are under English military authority. JACK (low) I believe if they set aside their law as and when they wish, their law no longer has rightful authority over us. All they have over us is tyranny, then. And I'll stay here no longer. No force on earth will keep me here ... Anyone caught leavin' the fort could be shot. So each man make your own decision ... Those who are goin', be back here in an hour. HAWKEYE Out the northern sally-port. Strike for the east side of the swamp until you clear the French picket line. Head north over the ridge, then come about southeast and fork left in Little Meadow and you're free of the outpost and skirmishers ... A COLONIAL (grumbles) Should've skinned outta this long ago. COLONIAL #2 Got no families, Captain. Figured we'd stay and give 'em a hand even though ... HAWKEYE (to Colonial #2) I'll cover them from the top of the casement. JACK (in amazement) You're not coming with us? Hawkeye shakes his head. HAWKEYE Got a reason to stay. JACK That reason wear a blue dress and work in the surgery? Low laughter HAWKEYE (dry) It does and it is a better lookin' reason than you, Jack Winthrop. (more laughs) Push hard, 'cos you got to clear the French outpost by dawn. (sticks out his hand and grasps Winthrop's) Good luck, Jack. The men split up ... CUT TO ... FIRE - HAWKEYE wanders among the dancers and musicians clustered in groups, lit by the firelight. Someone catches his eye and he moves in that direction ... HAWKEYE'S POV: CORA in the shadows, leaning against the wall, searching ... we sense she's been looking for him. He comes up to her. She turns in surprise. CLOSER Somehow she breathes easier because he's there. She's in a white shirt with the sleeves rolled up. Hawkeye leads her away from some of the people. CORA & HAWKEYE Hawkeye takes Cora's hand. Cora is awakening to a new spirit, a new wind blowing through a new land, a new self-determination ... She's drawn to this rough yet graceful man with his direct manner. Hawkeye settles against a wall. She leans next to him. Their shoulders touch. CORA To her everything about him seems to be somehow right. She's discovered that the passions and outrage that move him, move her ... And her readiness to give herself to what stirs the deepest resonances of her soul is the same as his. HAWKEYE looks at her. She's beautiful in the firelight. Cora's eyes find his and she folds into his arms. His lips find hers and tears stream down her face. She's suffused with an elation she can't explain. In the night before doomsday a romance is born in rebellion amid the huddled people in this small stockade ripped from the black earth of the forests of a wild continent. CUT TO ... INTERIOR BARRACKS - LOW & WIDE - DAY door CRASHES inwards. Twelve British sentries storm in. Four bear torches. REVERSE: HAWKEYE, UNCAS, CHINGACHGOOK, TWO COLONIALS & SOME MOHAWKS are out of the bunks and moving with them with tomahawks, knives, a flintlock ... SERGEANT (O.S.) You! Halt! BRITISH SENTRIES their muskets aimed mostly at Hawkeye. SERGEANT As you were!! Hawkeye freezes. The others slow down, indecisive ... Hawkeye drops his tomahawk and says something in Mohican to restrain Chingachgook and Uncas. The British in the torchlight with the long muskets and bayonets are an image out of Goya. SERGEANT Take him! Hawkeye's spun around and while his hands are bound. CHINGACHGOOK (Mohican; subtitled) Why do they make my son prisoner? HAWKEYE (Mohican; subtitled) I helped Winthrop and the others leave ... This fight is not yours, father. I love you and my brother. And you should leave this place now and go to Can-tuck-ee ... CHINGACHGOOK (Mohican; subtitled) What will they do with my white son? One of the guards - scared to death by Chingachgook - nervously fingers his musket. GUARD Get back from him! HEYWARD enters. HAWKEYE shrugs in answer to Chingachgook's question. HAWKEYE'S moved out. As he passes Heyward, his eyes lock on his. CUT TO ... INTERIOR MUNRO'S QUARTERS - CORA - DAY CORA He saved us! We are alive only because of him ... WIDEN: Heyward, Munro, Cora. We've entered mid-argument. An adjutant comes and goes. Heyward and Munro are sensitive to appearances in front of the adjutant. Cora couldn't give a damn. MUNRO The man encouraged the colonials to desert in this very room, in my presence. He is guilty of sedition and must be tried and hanged like any other criminal, regardless of what he did for my children. CORA He knew the consequences. And he stayed. Are those the actions of a criminal? ... Duncan, do something. HEYWARD He knew the penalty for breaking regulations. He ought to pay without sending you to beg. CORA You know he wouldn't send me ...! You misrepresented what you saw and caused this. (frustrated) I, too, was at that farm. It was as he said ... MUNRO Not with enough certainty to outweigh British interests in this fort. HEYWARD And who empowered these provincials to pass judgment upon England's policies in her own colonies? To come and go without so much as a "by your leave." CORA They do not live their lives "by your leave." ... They hack it out of the wilderness with their own two hands, burying their dead and their children along the way. HEYWARD (distant) You are defending him because you've become infatuated with him. Cora is having her intelligence written off as a hormone attack. She contains her fury. CORA Duncan, you are a man with a few admirable qualities. But taken as a whole, I was wrong to have thought so highly of you. Heyward's shot through the heart. MUNRO But the man is guilty of sedition and subject to military justice and beyond pardon. CORA "Justice"? If that's "justice" ..., then the sooner French guns blow the English army out of America, the better it will be for these people. MUNRO You do not know what you are saying! CORA (explodes) Yes I do! I know exactly what I am saying. And if it is sedition, then I am guilty of sedition, too! She exits, leaving them there. CUT TO ... INTERIOR FORT, STOCKADE - NIGHT Heavy timbered door. A sentry. They stand at attention when Cora passes as opposed to barring her entry. INTERIOR CELL - HAWKEYE comes to the door, grips the bars with his hands and looks at Cora. THROUGH THE BARS TO CORA They are silent for a moment, then ... HAWKEYE Sorry ... can't ask you in. Cora's pale smile. CORA They're going to hang you. (pause; soft) Why didn't you leave when you had the chance? HAWKEYE Because what I am interested in is right here ... CORA What would you have me do? He touches her hand. HAWKEYE Webb's reinforcements will arrive or not. If they do not arrive, the fort will fall. If that happens, stay close to your father. The French will protect the officer class among the English. CORA No. I will find you. HAWKEYE Do not. (pause) Promise me. Cora drops her forehead to Hawkeye's hands wrapped around the bars. She acquiesces, nods. Then HEAVY SHELLING commences. Cora & Hawkeye look up. Mortar bombs begin striking the fortress. Still dark. The final French bombardment has started. CORA The whole world's on fire, isn't it? A pause. HAWKEYE This part of it sure is ... Reaching through the bars set in the thick door, their hands clasp each others. On that image ... CUT TO ... EXTERIOR FORT WILLIAM HENRY - VARIOUS CUTS - DAWN (2ND UNIT) French cannoneers in Batteries #1 and #2 fire again and again. They work like precision drill teams. FRENCH TRENCH ending in Battery #3 is complete and surprisingly close to William Henry's walls. Crews reload the squat and massive newly arrived thirteen inch mortars. MORTAR ONE The flash-hole is primed. The burning fuse is jammed into the bomb. The primer charge is lit off and the crew ducks as the crude iron belches red flame and black smoke into the lightening sky. The second mortar ROARS. Then a THIRD. CUT TO ... INTERIOR FORT WILLIAM HENRY - ENGLISH CANNON CREW - NIGHT tries to return fire but can't under the heavy French bombardment. The French mortar bomb arcs in and EXPLODES smoke, flame and shrapnel, wiping out most of the crew. The fortress is under the heaviest attack we've seen. Wounded are in shock or terrorized. Another mortar bomb arcs in and explodes part of a building and casement, starting a fire. Another lands in the grounds. People scatter. It doesn't explode. One soldier dashes to rip out the fuse. As his hand is inches away ... EXPLOSION. CUT TO ... INTERIOR STOCKADE - HAWKEYE - DAWN - LATER protects Cora through the bars as she half sleeps through the muffled roar. Then the thundering stops. Hawkeye seperates himself from her and crosses to the window. EXTERIOR FORT, MAIN GATE - HAWKEYES POV: CHEVALIER DE LEVIS bows deeply to Major Beams. A French honor guard of five men is behind him. A white scarf is on his sword tip. The fresh destruction of the fort is apparent. Debris smolders. INTERIOR FORT - STOCKADE - HAWKEYE crosses to an awakened Cora. He touches her face. He's desperate to drill these next words into her brain. CORA What is it? HAWKEYE I don't know. Whatever happens you stay with your father. You stay among the officers. Cora looks up at Hawkeye. We feel forboding. O.S. are heard drums ... CUT TO ... EXTERIOR FRENCH LINES - MUNRO, HEYWARD, BEAMS - DAY The drums are from Munro's honor guard. They stop. REVERSE: FRENCH SOLDIERS Marquis de Montcalm, immaculate, backed by his guard of honor in white, grey and medium blue with six foot by eight foot regimental colors and the French flag (gold fleur-de-lis on a field of blue). FACES They carried two hundred and forty-five bateaux across a ten mile portage, all their supplies and artillery, and then rowed down the length of Lake George to get here. To them, assaulting this fort is the easy part. The drummers of the honor guard play a tattoo behind them. INDIAN FACES Huron, Ottawa, Osage, Choctaw, Fox ... hear the drum of the honor guard and wait. They're in war paint. Many tattoos. Split ears. The Osage scalping locks are hennaed red. Canadiens among them are bearded, dirty, half savage ... At their head ... MAGUA in full war paint, with a coterie of Huron warriors, silent, waiting. Drums. INTERIOR FORT - ENGLISH TROOPS (TABLEAUX) grim, silent, watchful. COLONIAL MILITIA & MOHAWK INDIANS IN WAR PAINT (TABLEAUX) watching the parlay from a blown apart battery. Silent. WIDE: FRENCH & ENGLISH and their honor guards. Montcalm steps forward and sweeps his plumed hat to the ground in a courtly bow. Munro bows coldly. MONTCALM Colonel Munro, I have known you as a gallant antagonist. I am happy to make your acquaintance as a friend. MUNRO And I to make yours, Monsieur le Marquis. MONTCALM Please accept my compliments for the strong and skillful defense of your fortress. Under the command of a lesser man it would have fallen long ago given the superior numbers and material ... mere chance has allowed me to array against you ... MUNRO Monsieur le Marquis, I am a soldier, not a diplomat. You called this parlay for a reason. MONTCALM You have already done everything which is necessary for the honor of your Prince. I will forever bear testimony that your resistance has been gallant and was continued as long as there was hope. But now, I beg you to listen to the admonitions of humanity. I beg you to consider my terms for your surrender. MUNRO However I may apprise such testimony from Monsieur Montcalm, Fort William Henry is strong and stands. MONTCALM Honor that is freely accorded to courage, may be refused obstinacy ... These hills afford to us every opportunity to reconnoiter your works and I am possibly as well acquainted with your weak condition as you are yourselves. Is Webb really en route and Montcalm hopes to take the fort by duplicity before British reinforcements arrive? MUNRO Perhaps the General's glasses can reach to the Hudson and he knows the size and imminence of the army of Webb ...? Montcalm takes a moment to reply and appears genuinely sympathetic to Munro. MONTCALM (quietly) My scouts intercepted this dispatch intended for you. Munro is puzzled, suspicious. MONTCALM (to Bougainville) Read the dispatch. HEYWARD & MUNRO] BOUGAINVILLE (O.S. - reading) "Colonel Munro - Fort William Henry. I have no men available to send to your rescue. It is impossible. I advise you to seek terms for surrender. Signed Webb." Munro is rocked, as if struck by a blow. Bougainville hands Heyward the letter. HEYWARD (confirming) This is the signature of Webb. (to Munro) And I know the temper of our men. Rather than spend the war in a French prison hulk in Hudson Bay, they'd fight to the end. MUNRO (to Montcalm) You have heard your answer, Monsieur le Marquis. (salutes) Munro starts off. Montcalm stops him. MONTCALM Sir. (challengingly) I am incapable of mistreating brave men. I beg you not to sign the death warrant of so many until you have listened to my terms. Munro turns. MUNRO Such as ...? MONTCALM My master requires the fort be destroyed. But, for you and your comrades, there is no privilege that will be denied. None of your men will see the inside of a prison barge. They're free to go so long as they return to England and fight no more on this continent, and the civilian militia return to their farms. MUNRO Their arms? MONTCALM They may leave the fortress fully armed, but with no ammunition ... Other than that, ask what you wish. Munro's impressed with Montcalm's generosity. MUNRO The honors of war? MONTCALM Granted. MUNRO My colors? MONTCALM Carry them to England to your King with pride. MUNRO Allow me to consult with my officers. As he turns away something's been disconnected inside Munro that can never get put back together. As the men move away from the French ... MUNRO I have lived to see two things I never expected. An Englishman afraid to support a friend. And a Frenchman too honest to profit by that advantage. HEYWARD General Webb can burn in hell. We'll go back and dig our graves behind the ramparts! Our mission is to fight. MUNRO (flares) Death and honor are sometimes thought to be the same. Today I have learned that they are not. Munro looks at the fortress behind him. HEYWARD Sir! MUNRO (stops him with his eyes) The decision is final. A beat. Then Munro turns toward Montcalm. Their eyes meet across the churned, scarred earth of the battlefield. MUNRO I am deeply touched by such unusual and unexpected generosity ... The fort is yours under the condition that we be given until dawn to bury our dead, prepare our men and women for their march and turn our wounded over to your surgeon. MONTCALM Granted, Monsieur. And Montcalm bows deeply and as he does so ... CUT TO ... EXTERIOR FRENCH LINES - CLOAKED MAN - NIGHT passes away from the little city of tents in the direction of the beach and towards William Henry. He seems to head towards a vantage point from which to observe the fort. As he approaches a sentry: SENTRY Qui vive? MONTCALM France. SENTRY Le mot d'ordre? MONTCALM La victoire. SENTRY C'est bien, vous vous promenez bien matin, monsieur! MONTCALM Il est necessaire d'etre vigilant, mon enfant. The cloak parts. By the light of the moon the man's face is dimly perceived by us and the soldier as General Montcalm. The soldier snaps erect as Montcalm continues walking out beyond the line to a small stand of trees. ANOTHER ANGLE: MONTCALM The moon is broken into pieces of light on the water and behind Montcalm; from the front of the stand of trees emerges a tall figure. MAGUA Is the hatchet buried between the English and my French father? MONTCALM Yes. MAGUA Not a warrior has a scalp and the white men become friends. MONTCALM My master owns these lands and your father has been ordered to drive off the English squatters. They have consented to go. So now he calls them enemies no longer. MAGUA Magua took the hatchet to color it with blood. It is still bright. Only when it is red, then it will be buried. MONTCALM But so many suns have set since Le Renard struck the war post. Is he not tired? MAGUA Where is that sun?! It has gone behind the hill. It is dark and cold. It has set on his people, they are fooled and kill all the animals and sell all of their lands to enrich the European masters who are always greedy for more than they need. (threatening) And Le Subtil is the son of his tribe. There have been many clouds and many mountains. But now he has come to lead his nation. MONTCALM That Le Renard has the power to lead his people into the light, I know well. Magua grabs the hand of the French commander. Imperceptible surprise in Montcalm's eyes. Magua jams Montcalm's fingers to his chest. MAGUA Does my father know that? MAGUA'S CHEST A deep indentation and scar. MONTCALM That's where a lead bullet has torn you. MAGUA And this? Magua turns his naked back to Montcalm and puts Montcalm's hand on his back ... deep ridges of a scar a half inch wide.] MONTCALM My son has been sadly injured. Who did this? MAGUA (laughs; sardonic) Magua slept hard in the English wigwams. And the sticks left their mark ... (pause; for real) Magua's village and lodges were burnt. Magua's children were killed by the English. Magua was taken as a slave by the Mohawks who fought for the Grey Hair. Magua's wife believed he was dead and became the wife of another. The Grey Hair was the father of all this. (pause) In time Magua became blood-brother to Mohawk to become free. In his heart he always was Huron. And his heart will be whole again on the day when the Grey Hair and all his seed are dead! MONTCALM My son Magua's pain is my pain. MAGUA Does the chief of the Canadas believe the English will keep the terms? MONTCALM Munro would. But General Webb will not send their soldiers across the salt lake. Having let them go, I fear I will only fight the same men again when I move south. (pause; shrugs) And yet, I cannot break the terms of the capitulation and sully the lilies of France ... Long pause, wheels turn. Then: MAGUA Many things my French father cannot do, Magua can. Montcalm reacts as if he hadn't thought of that. MONTCALM As the English march away, our soldiers and the Canadiens will be drawn to the looting of the fort ... except for a small guard ... Magua abruptly leaves Montcalm. CUT TO ... EXTERIOR WOODS - MAGUA - NIGHT walking back to the Huron camp. Reveal a Huron sub-chief has been in the woods, waiting for Magua. Now he joins him. They walk in silence. Then ... MAGUA (in Iroquois; re: Montcalm) I wonder at the blindness and pride of the white man. He believes only he knows how to speak falsely to make other men do his bidding. Magua exhales in derision. CUT TO ... EXTERIOR FORT, MAIN GATE - MUNRO - DAY at the end of the column, rides out on his horse. Both sides of the gate are jammed with armed French troops standing at attention. The French colors and honor guard are just outside the gate along with Bougainville, Chevalier de Levis, both on horseback as is - at the head - Montcalm. CLOSER: MUNRO trots past his walking column out the gate. He does not look at the French. MONTCALM salutes Munro and bows gravely from the saddle. CLOSER: MUNRO salutes Montcalm. MUNRO (eyes forward) Monsieur, the fort is yours. MID-COLUMN - ON HEYWARD marching with his 33rd Regiment of Foot well beyond the fort. The French troops have thinned out. Repressing shame, his backbone is rigid, his face is straight ahead. The 33rd marches in perfect cadence to the drum. In the B.G. Munro on his horse passes Heyward as he rides towards the front of his column. Heyward does not look at him. FRONT OF COLUMN - CORA WITH ALICE on the back of a mare. Alice, living through a wide-awake nightmare, is huddled under the arm of her sister. They ride behind the standard bearers. In the B.G. her father is seen approaching and takes his position at their side. Cora looks down the column, sheilding her eyes against the sun. We know who she's looking for ... Hawkeye. CORA'S POV: THE COLUMN The 62nd and 42nd Highlanders including Heyward ... thirty to forty women and a number of children - for safety - in the middle, some frontiersmen, Ongewasgone and many Mohawk, walking wounded. The column is still snaking its way out of the fort. No Hawkeye. CORA straining to see. EXTERIOR FORT - PRISONERS being assembled, their hands shackled. Hawkeye is among twelve or thirteen. He stands erect, walking out of the gate. The French are starting to pour in to loot the interior. Hawkeye looks to his left about twenty paces in front of him and sees ... UNCAS & CHINGACHGOOK on the other side of the column. Chingachgook cradles Killdeer as well as his own musket. They fall back to walk beside the prisoners on the other side of Hawkeye. Their eyes connect... We don't expect Hawkeye to stay shackled for the duration. RANK AND FILE FRENCH A few insults. The British soldiers answer. Nobody breaks rank. It's just talk. EXTERIOR ROAD - HAWKEYE His eyes sweep the column snaking its way into the v-shaped valley. The path cuts through the forested hills ahead. He sees ... HAWKEYE'S DISTANT POV: CORA riding near the front where there are no more French soldiers. Only a few scattered and curious Huron and Ottawa. She does not see him. PROFILE OF COLUMN - HIGH & WIDE as it passes left to right below like a long snake through the narrow valley. We're shooting from inside the dark woods. Lower, in the light, we see a scattering on both slopes of a couple of hundred Ottawa and Huron. They are in no order, are spread out and don't constitute a threat. They watch the column. SLOWLY THE CAMERA ... slides across the shoulders and back of a large man wearing black plumes in his scalp-lock and other than a breechcloth is almost naked. He is heavily war-painted ... FRONTAL - MAGUA and the left two-thirds of his face is painted red. The right third is painted black. Much silver is in his ears. His tomahawk is in his left hand. His cut-down musket in his right fist. Magua's attention is all focused to one point. MAGUA'S LONG & TIGHT POV: MUNRO & CORA & ALICE at the head of the column. This is the focus of Magua's attention. WIDE FRONTAL: COLUMN, STANDARD BEARERS & MUNROS Cora turns again to look for Hawkeye. CLOSER: CORA doesn't see him, but something else has caught her eye. YOUNG HURON running toward the column. Just one man. No musket. He's running and whooping like a dog charging from his master's front yard. Why? CLOSER the Huron arrives at the column, his tomahawk swings into his hand and he brains a British trooper who falls dead. The single Huron never breaks stride. He simply runs off again ... CORA horrified, holds Alice tighter. MUNRO has seen it too. And now he sees ... 62ND REGIMENT OF FOOT fixing bayonets. A large sergeant unsheathes a two-handed claymore, facing the Hurons and other Indians ... TROOPERS of the 33rd present arms. Did they violate the surrender by carrying ammunition? Locks are cocked. There's the answer. MUNRO Steady! No one fires! EXTERIOR FORESTED HILLSIDES - OTHER TRIBES are watching what happens. HEYWARD scanning them. HEYWARD (to Sergeant Major) Men are to stay in file, Sergeant Major! SERGEANT MAJOR Yes sir! Drums beat the cadence. TROOPERS step over the fallen soldier. Heads turn, they're on edge ... END OF COLUMN - HAWKEYE, UNCAS & CHINGACHGOOK watching. They exchange looks. This is not good. Chingachgook cocks both Killdeer and his own musket. HAWKEYE'S POV: FORESTED SLOPES Hold. We start to make out details in the shadow. Tree trunks. We become accustomed to the dimness. Now in the lower light we see deeper in the forest. CLOSER Many Huron and Ottawa are hidden in the shadows. They're moving along parallel to the column, stalking it. Waiting ... ANOTHER BRAVE racing down the hill from the opposite flank towards the 62nd. TWO SOLDIERS look at their sergeant. He nods. They wait until he's within ten feet of the column. Both bayonet the Indian. He's dead. EXTERIOR HILLSIDES - HURON & OTTAWA saw what happened. But, they hold their ranks. MOHAWKS among the British are slipping tomahawks into their hands, surreptitiously. Some are cocking flintlocks. MUNRO gallops his horse away from Cora and Alice towards the scene of the last attack. We hear him from the distance ordering ... MUNRO Do not break ranks! I want these ranks to hold ...! Cora's frightened. HAWKEYE'S frustrated. He saw Munro leave Cora. He knows events have a momentum and it's accelerating. CHINGACHGOOK & UNCAS move next to the sergeant with the shackle keys who looks at them curiously as ... WOMEN with children nervously search the threatening trees, hoping against hope these are isolated incidents. HEYWARD draws his sword and is passing orders to his sergeant major, scanning the hills ... EXTERIOR FORESTED SLOPE - MAGUA His eyes see Munro. WIDER & LOWER: MAGUA raises his musket in his fist and emits a war whoop. WE NOW SEE ... hundreds have been stalking the column, hidden in the trees, maybe thousands. Then ... WIDE: ALL HELL BREAKS LOOSE FIRE from the trees crescendos within seconds revealing a spontaneous and massive ambush of mostly Hurons. They appear from behind every tree and it turns to a ROAR of musket fire, war whoops and screams as ... SOLDIERS & CIVILIANS dropping like flies and seemingly thousands of Hurons attack down both slopes. HAWKEYE is being unshackled by Uncas. The sergeant is rising from the ground where Chingachgook knocked him. Chingachgook throws Hawkeye Killdeer and Hawkeye shrugs into his pouch and powder horn as he races with Uncas for the head of the column ... EXTERIOR FORESTED SLOPE - MAGUA charging down the hill ... with his coterie of twenty Huron warriors, heading for the area in which he saw Munro. CORA & ALICE at the head of the disintegrating column. Cora's holding Alice's head to her bosom, covering her ears as if to protect her from the sounds. HEYWARD shouting orders. SERGEANT MAJOR Right - about face! March! First rank present! HEYWARD Fire! REVERSE: The volley knocks down fifteen of a horde of attacking Hurons. SERGEANT MAJOR Prime! Load! Second rank six paces forward! Present! Hurons are twenty yards away and closing. HEYWARD Fire! As the line of muskets belch smoke and fire ... WIDE: THE HILLS & PATH We're shooting into the "v" of the valley with Hurons and other tribes pouring down from both sides. (IMPORTANT: the combined musket fire of Hurons, English and Mohawks generates tremendous clouds of smoke which obscure action, close off views, isolate pockets of combat into surreal tableaux that we'll move in and out of. BRITISH TROOPERS using their useless muskets as clubs or with fixed bayonets - as the smoke and fog swirls among the men - fighting for their lives ... MAGUA glides through the scenes, striking and hunting. Some of his coterie of braves near him. He sees ... BLONDE WOMAN hugging the ground in fear. Magua throws her over. It's not Alice Munro. It's a woman protecting her baby. Magua walks on. One of the braves behind Magua raise his tomahawk. On his downswing ... HAWKEYE running through surreal patches, thinks he glimpses Cora two hundred yards away. HAWKEYE Cora! Chingachgook, on Hawkeye's left, slams down two Hurons with his war club. CORA & ALICE running through the chaos and murder and British troopers and Mohawks locked in struggle with Hurons. Cora's dress is torn. She holds Alice to her. There's a pistol in Cora's hand. ONE HURON scalping a prone soldier, rips the trophy from his head, turns and faces us. CORA shoots him in the face. EXTREMELY CLOSE: ALICE and her eyes take it all in. And her affect starts to flatten. A blankness suffuses her expression and the girl withdraws from this reality into a deep dark cave inside her head. HAWKEYE locked in combat. He tomahawks one Huron's arm with a slashing downstroke and comes right back into the face of the second with his backswing while his right hand fires Killdeer at ... HURON six feet from Uncas and about to shoot him in the back. HAWKEYE free for a moment, spins. He has no idea of direction any more. Everything is death in strange tableaux. Meanwhile: MUNRO hollering MUNRO Cora! Alice! He cuts down a Huron with his sword who is trying to leap at him from the right. An Osage warrior with red scalp-lock leaps on the back of Munro's horse, reaching over to stab down into Munro's neck. The old man's left hand grabs the warrior's knife hand in an iron grip. His right hand pulls his horse pistol and under his upraised arm fires backward, point blank, blowing the Osage off the back of his horse. WIDER Just then Munro's mount is shot. His horse rears up, throws Munro and falls on him. HEYWARD shouting orders over the deafening noise. HEYWARD Second rank fire! Six paces back! Prime! Load! Third rank! Present! A well-oiled, well-drilled fighting machine, but there are fewer of them. They're getting cut off. They close ranks automatically as a man drops. They're retreating in perfect order. HURON WARRIOR about to strike a downwards blow is pushed aside by Magua. CLOSER: MAGUA His eyes drop to what's in front of him. The field goes quiet. OVER MAGUA'S SHOULDER: MUNRO his lower body is trapped under his dead horse. Magua leans in towards him. MAGUA Grey Hair. I will cut your heart from your living chest in front of your eyes. As you die, know that I will put under the knife your children and wipe your seed from this earth forever ... Magua pulls his knife and as he leans down towards Munro ... MOHAWK & HURON spin and flail furiously at each other with tomahawks and knives. The Huron goes down and then the Mohawk is shot. The Huron who shot him is cut down by a Ranger with tomahawk in one hand and bayonet in the other. Two Mohawks and three Rangers fighting back to back. They become an island swamped by Huron and Ottawa: amidst bodies and ground slippery with blood. As smoke obscures their image. CORA & ALICE in a group of civilian militia. Two of the militiamen are shot down. The third engages a Fox warrior. Cora & Alice run. MUNRO'S FACE frozen in agony by shock. MAGUA reaching down and up into something, emerges and jams an object we barely see into the air. But his arm and shoulder and half his chest are splashed red with blood. LONG SHOT: MAGUA seen from far away, holding aloft the heart of Munro. REVERSE: HAWKEYE saw him and fights his way to attack when ... WHITE HORSE crazed, CRASHES through men, knocking Hawkeye over ... CHINGACHGOOK protecting Hawkeye, slams his war club into one Huron, breaking his attack, his arm and his skull and swings the other way burying the bladed end into the chest of an Ottawa who's behind him. Then ... HAWKEYE'S up, looking wildly ... CAMERA JAMS INTO CLEARING SMOKE: 33rd Regiment of Foot and Heyward. They FIRE into our face. CLOSER: HEYWARD HEYWARD Six paces back! Prime! Load! Rank two, present! Rank two, hold! He grabs a partially loaded musket, the ramrod still in the barrel. They're taking fire. Men are dying. They're being pushed back. AN ABNAKI wearing a large cross, attacks Heyward from the side. One-handed, Heyward fires the musket into the man's chest, sending the ramrod through him. Then Heyward's shot in the thigh and a thrown tomahawk hits him in the head and knocks him sideways. Dazed. Barely able to stand. He uses the musket as a cane and ... HEYWARD Rank two, six paces back! Rank one, present! Rank two did not retreat six paces. They stand in confusion. Heyward looks to see what's wrong. HEYWARD'S POV: THE REMNANTS OF THE 33RD REGIMENT OF FOOT are standing in water. They're up against Lake George. Their backs are to the wall. Last stand. Heyward straightens. TWO FRENCH OFFICERS on horseback try to intercede in the slaughter of five women. One French officer is shot by a Huron. The other French officer runs through that Huron and shoots the second. Then his horse is shot out from under him and he goes down ... JESUIT pleads with an Abnaki to give up a child he's holding by the legs in one hand. He offers his cross. The Abnaki throws the baby to the Jesuit, Pere Roubaud. UNCAS sees a flash of something yellow. So does Hawkeye. They charge into the swirling chaos of attacking bodies. As we lose sight of them ... ALICE on her hands and knees. A massive Ottawa pulls her upright by her hair about to take her life and her scalp. He's struck by a rock in the hands of Cora which barely phases him. He bats her aside and returns to Alice, when suddenly ... OTTAWA WARRIOR is spun, punched and tomahawked into the ground by Hawkeye. Uncas has Alice and Cora ... TWO RANGERS AND A MOHAWK WARRIOR from the earlier group are nearby. They combine with Hawkeye to fight their way out with bayonets and tomahawks. HAWKEYE, UNCAS, CHINGACHGOOK, TWO RANGERS, A MOHAWK & MUNRO'S DAUGHTERS back through the swirling smoke. There seems to be a lull. Then they're hit from the side by musket fire. One of the Rangers is shot, the other wounded. Hurons attack. The Mohawk supports the wounded Ranger. HAWKEYE shields Cora as they back up. CHINGACHGOOK smashing his war club straight down on a Huron, reaches for the man's musket and shoots another. Then he sees ... SMOKE DRIFTING OVER WATER It's glass-smooth. And the bows are barely visible of three or four Huron war canoes. THE SHALLOWS - HAWKEYE, CHINGACHGOOK, UNCAS, CORA, ALICE, THE RANGER & THE MOHAWK back into the water. They're pursued by Ottawa and Hurons as they fight their way to the canoes. CORA held up by Hawkeye, suddenly screams. ANGLE something underwater is pulling her down. An Ottawa brave rockets out of the shallows. Before he's erect, Hawkeye slams him back into the water and FIRES. WOUNDED RANGER has shoved a large birch canoe at them. HAWKEYE Suddenly, the Mohawk fighting with them is shot and spins to face Hawkeye. His hands rest on Hawkeye's shoulders. Hawkeye looks into his face. Tries to hold him up, tries to rescue him. A frozen moment. Hawkeye's staring into his eyes and the man is staring into Hawkeye's as the light goes out ... Hawkeye lets him slide into the water and float away. He moves Cora and Alice towards the canoe ... CUT TO ... EXTERIOR LAKE GEORGE - WATER & SWIRLING SMOKE - DAY The bottom of the frame is water like glass. Smoke obscures the background. Fingers tendril towards us. Out of the mist we HEAR small splashing and then the high bow of a war canoe defines itself. It's paddled towards us. HAWKEYE, CHINGACHGOOK & UNCAS Cora's behind Hawkeye. Alice and the wounded Ranger are near Uncas. CLOSER: HAWKEYE & CORA Cora looks left. Her eyes go wide. CORA No! HAWKEYE spins. HEYWARD & TWO TROOPERS OF THE 33RD IN A SECOND CANOE have emerged from the smoke ten feet from them. Heyward's aiming a horse pistol at Hawkeye. HAWKEYE is non-plussed. He doesn't stop paddling. HAWKEYE You got nothin' better to do today on Lake George than shoot me, Major, then go ahead ... Heyward's a hair's breadth from firing. Suddenly they hear the boom of muskets and rounds come in. WIDE They're being pursued by three boatloads - and then a fourth and fifth - of Huron. HEYWARD is indifferent to Huron musket balls. Hawkeye hasn't stopped paddling and pays Heyward no heed. CORA Stop it!! Heyward comes to his senses. His head is gashed. A scarf, as a tourniquet, is tied around his leg. He lowers the gun. HEYWARD When you fall into British hands again, Nathaniel Poe, I will have you hanged. HURON CANOES paddle hard and deep and the canoes power across the lake. HAWKEYE & HEYWARD'S CANOES with less paddlers, plus wounded, are slower and will be overtaken. HAWKEYE looks to Uncas. They both realize the same thing. Hawkeye nods and he, Uncas & Chingachgook begin to paddle furiously. The others match the doubled pace. They're sprinting ahead but the effort is exhausting. HURON CANOES maintain their steady pace. Three or four Hurons fire. HAWKEYE'S CANOE Musket balls ricochet on the water's surface. One rips a hole through the bow. Hawkeye sees one of the Redcoats in Heyward's canoe is giving out ... REDCOAT #1 Can't ... keep it up ... HAWKEYE Pull! He renews the attack on the water with the paddle. HEYWARD (shouts) How long? HAWKEYE (shouts) Only chance we got is ... (breathless) ... to get more distance on 'em and go to ground! Heyward digs in. Like firecrackers in the distance, Huron muskets sound. A new hail of musket balls cut the fabric of the canoes. One Redcoat is shot in the back. He falls overboard. HAWKEYE (shouts) Pull!! HAWKEYE CANOE sprints forward. CLOSE: HAWKEYE looks over his shoulder. THE HURON CANOES They're pulling away from them. HAWKEYE Pull ...! More Huron musket balls hit water nearby. REDCOAT in Heyward's boat is shot. BUT ... the .65 caliber ball didn't penetrate his skin. The Redcoat - amazed - picks it off the floor of the canoe. REDCOAT #2 Spent. Distance caught up with eighteenth century ballistics. They're out of smoothbore musket range. HAWKEYE CANOE] HAWKEYE (to Heyward) Head for ... for the white water. HEYWARD Do you hear me, sir! (exhausted) If you ever fall ... into British hands ... (breathes) What white water? HEYWARD & REDCOAT'S POV: LAKE divided by a spit of land. The right fork becomes a river with white water rapids. HAWKEYE CANOE - HAWKEYE paddling now, too, as they furiously jam for the white water that will shoot them way ahead of the Hurons. UNCAS leaps off the stern of Hawkeye's canoe and climbs up the stern of Heyward's and takes control. He roughly gestures to the Redcoat and the Major to stop paddling. He and Hawkeye will pilot the two canoes. EXTERIOR WHITE WATER - WIDE - DAY The canoes enter the white water and they're so light, they're jet-propelled. CANOE POV: EIGHT FOOT WAVE racing in the same direction they are. They hit it straight on and it shoots over them and they're drenched by two waves coming from the sides. HAWKEYE & CHINGACHGOOK paddle like fiends to get momentum and control. UNCAS' CANOE Same thing. When they crested the wave Uncas hollers at them to "pull" and they do. As soon as they're through it, Uncas slams the paddle in the water and makes the canoe revolve a hundred and eighty degrees in a vortex so that now it's going through stern-first or the stern becomes the bow, so that Uncas could pilot it a different way through a hazard of ... EXPOSED ROCKS jutting out of the water. WIDE - BOTH CANOES Hawkeye didn't have to turn because Chingachgook, at the bow, uses his paddle to shove the canoe away from jutting rocks. Uncas does the same. Past the jutting rocks, Uncas swings it back around while ... WHITE WATER smashes into the camera. ALICE & CORA as the canoe roller-coasters and water bursts the bow. Then suddenly it's through and the water is miraculously smooth. CANOES The Ranger, the Redcoats and even Heyward feel the exhilaration of the ride. That's because they think they're home free. HAWKEYE Here's where it gets tricky ... Heyward turns to look in front of him. He doesn't know what the hell Hawkeye's talking about. HEYWARD'S POV: THE RIVER AHEAD looks glass-smoth. Although there is a distant ROAR of sorts. Then Heyward realizes: something's wrong with this picture. CLOSER: HEYWARD The look on his face starts to change. HEYWARD'S POV: TIGHTER The glass surface of the river continues to a line then falls off the end of the world. The river just ends ... BOTH CANOES: HEYWARD, REDCOATS, THE RANGER realize they're heading for the lip of a waterfall. There's a couple of outcroppings of rock in the center at the very edge. We are at Glen Falls. HAWKEYE Don't move ... AERIAL SHOT from the other side of the falls. It's a two hundred foot high, death-defying cataract. The canoes - slightly above us - will go right over. TWO CANOES At the last moment, Hawkeye & Uncas land both on either side of the larger rock outcropping. It is literally at the lip of the falls. HEYWARD grabs a rock to anchor the bow of the canoe. He loses his grip. The canoe rockets for the edge. UNCAS lurches sideways, grabs a tree root. He is the only link of the canoe to earth. The bow, with Heyward, is literally hanging over the edge. Uncas strains and pulls the canoe to the rock. He gestures to Heyward. HEYWARD crawls forward and makes the island. Then the two Redcoats. Finally Uncas. The canoe rockets over the falls. Meanwhile ... THE OTHER SIDE OF THE ISLAND Hawkeye has beached his canoe and is camouflaging it with driftwood and brush. As they clamber over the high pieces of broken limestone, we see Hawkeye is slipping into a crevice. He motions to Cora. Uncas carries the wounded Ranger. Heyward helps Alice ... CUT TO ... INTERIOR GLEN FALLS CAVES - FISSURE - TWILIGHT The irregular opening of medium blue sky is obscured by the black silhouetted forms of Hawkeye, Cora and then the others entering. HEYWARD Where do we go from here? HAWKEYE We don't. HEYWARD I don't understand! HAWKEYE This is it, as far as we can go ... If we're lucky, they'll be figurin' we can't have come this way and must've beached our canoes and headed cross land. If we're very lucky, they'll figure we went over the falls. HEYWARD Then what? HAWKEYE Then we take the south rim down the mountain and it's 12 miles cross country to Fort Edward. HEYWARD And if we're unlucky? HAWKEYE You will have to forego the pleasure of hangin' me. REVERSE: WIDE Hawkeye helps Cora; Heyward, the Ranger. Chingachgook carries Alice, down the rockface into a cave. We hear a distant ROAR reverberating off the walls. ANOTHER ANGLE: THE WALLS are scooped out, bone-like hollows eroded by tumbling water. At an earlier time the formation was part of the falls. HAWKEYE & CORA reach the irregular floor of the chamber. The ROAR is louder. WIDEN TO REVEAL a curtain of falling water. They're behind the cataract, probably a third of the way down its height. Light through the water stikes them with a silver luminescence. They're exhausted. The others join them. They almost have to shout to be heard. CHINGACHGOOK followed by Uncas, takes stock of their supplies. They check their powder. They have almost none. Uncas shares his with Hawkeye. The Redcoat's cartridge case is soaked, the paper cartridges a soggy mess. Heyward has none. The Ranger has two left. In Mohican, Chingachgook decides some things. Hawkeye and Uncas nod. Heyward approaches Hawkeye. HEYWARD Any powder? HAWKEYE: (crossing to Cora) Only one or two loads. CORA is soaked to the bones. Hawkeye strips off his buckskin hunting shirt and wrings it out. Cora turns her back, strips off her white blouse and puts on the faster-drying chamois. CORA Are we safe? HAWKEYE Maybe ... CORA Our father? Did you see my father? EXTREME CLOSE UP: HAWKEYE The look on his face tells it all CORA Tell me! TWO SHOT Hawkeye takes Cora away from the group and turns her by her shoulders and whispers to her. We don't hear what he says. Cora drops to her knees and places her hands over her eyes and face like a little girl trying to make something bad go away. HAWKEYE Leads her to a depression, his arm around her shoulders, her face covered and she cries softly into his shoulder. EXTREME CLOSE UP: CORA says into Hawkeye's ear, after she looks O.S. ... CORA Say nothing to Alice ...! Hawkeye nods. ALICE stands in the chamber not far from the wall of water, fascinated with its shimmer. She's oblivious to all the events and everything going on around her ... HEYWARD sees Cora & Hawkeye together and turns away. GROUP Uncas watches Alice. The wounded Ranger has fallen asleep. The Redcoat is exhausted. Hawkeye & Cora against the wall. CUT TO ... EXTERIOR RIVER BANK - RIVER FALLS ARE IN MIST & RED SKY - TWILIGHT A landscape with mist rearlit by the red light of the sun that's already behind the mountains. The blues are turning purple and the greens are turning black and the white highlights of the foaming water are going rose. Reflecting the darkening sky, where the surface isn't broken, the water is fast-moving metal ... SUDDENLY: a shaved head and muscled back stands into the foreground. It moves down the shore away from camera. He's followed by other Huron warriors. They're two hundred yards away from Glen Falls island. HURON looks at the island of rock & trees and tilts his head curiously ... CUT TO ... EXTERIOR FOREST ABOVE CANYON & FALLS - GREY WOLF - TWILIGHT watches the Hurons below make their way towards the edge of the falls. OVER HIS SHOULDER: THREE MORE WOLVES join him, moving frenetically, uneasily ... The leader of the pack looks up & howls as his eyes go white reflecting the new moon. INTERIOR GLEN FALLS CAVE - HAWKEYE -NIGHT hears the distant howl. He's now lit silver blue by the moonlight through the falling water. Hawkeye knows it means Hurons are out there. He exchanges worried glances with Uncas & Chingachgook. UNCAS immediately starts up the right acclivity to one fissure, and Chingachgook moves carefully to the first fissure. Hawkeye follows. HAWKEYE His countenance gives way momentarily. All his experience seems of no avail. He touches the side of Cora's face. Grabs Killdeer and follows Chingachgook. ALICE sensing new danger, slips away on her own. CORA crosses to the Ranger who's semi-conscious, feverish and getting delirious. She can't do a thing except hold his hand and think of her father. CUT TO ... INTERIOR SOUTH FISSURE - HAWKEYE & CHINGACHGOOK below the edge, listen & wait, testing the environment with all their senses ... NORTH FISSURE - UNCAS against one wall, has his ear cocked, monitoring, facing away from the sky ... ALICE looks at the sky through the fissure. She sees the starfields and feels silver moonlight pull her forward. She starts out onto the island, oblivious, unaware she'll expose them. Suddenly ... UNCAS yanks her down next to him. He pulls her head into his chest, looking out over the edge, his tomahawk in front of him, his musket near his right hand. There is no sign she was seen. UNCAS & ALICE He relaxes, looks at her and puts his finger to his lips telling her to be silent. Languorously, she lies back, closes her eyes and lays a hand on his shoulder, palm up, as if he were a prince in a romantic fantasy. Uncas tries to restrain her. ALICE'S eyes slowly open. Oblivion disappears. It's replaced with escalating fear. She holds onto Uncas with desperation. Her fingers claw his shoulders. She buries her face in his chest. ALICE Uncas ... Her body shudders. Her terror's total. He tries to restrain and calm her. She won't let him. Then her mouth seeks his and in the passion of despair and fear and wanting life, she holds him between her thighs. And Uncas is confused, but Alice whispers his name and he responds. He loves her in the half-light. UNCAS his hand buried in her hair irradiated by the moon, then she seems to reach some emotional climax and begins to cry softly, and Uncas stops making love to her and holds her. Then she's flooded with shame. He reaches for her. She jerks away. He reaches for her again and clutches her to him. And she breaks down. Then he turns her face to him, but her expression has completely flattened. WIDER ANGLE She's not a lover to Uncas now. She's pitiful & stricken and he comforts her. CUT TO ... EXTERIOR RIVER - MAGUA - NIGHT beaches a canoe on the bank. He and eight braves ease out. His war paint is fresh: green handprints on his chest and black and green on his face. Black plumes are affixed to his scalp-lock and his shawl is over his left shoulder. The right arm carrying his musket is exposed. Many scalps are tied to his tomahawk. He walks towards us approaching the island, two hundred yards away ... CUT TO ... INTERIOR SOUTH FISSURE - HAWKEYE - NIGHT checks his powder horn. Nearly empty. He looks at Chingachgook. CUT TO ... INTERIOR GLEN FALLS ISLAND, CAVE - CORA - NIGHT with the Ranger, looks up. Hawkeye enters. The look on his face. Then hers. They've been discovered. Now they're backed into a hole in the ground with no powder and no way out. CUT TO ... INTERIOR GLEN FALLS, CAVE - HAWKEYE & CHINGACHGOOK - NIGHT Chingachgook talks to him in Mohican. Momentarily the anger and frustration is seen on Hawkeye's face. All his experience & craft has been to no avail. He looks at Cora. Back to Chingachgook. Chingachgook states something terse in Mohican. Hawkeye agrees. Heyward's confused. He doesn't know what they're talking about. Cora has understood Chingachgook's intent perfectly. CORA Yes. Go ahead. HEYWARD (explodes) What the bloody hell plan is this? HAWKEYE (to Cora) In this there is a chance. If I live, I can try to free you. If we don't go, there is no powder, there's too many of them. Though my heart would keep me here, in that there is no chance. None. I can do nothing. Do you understand? CORA Yes. I want you to go. HEYWARD Coward! Coward back at the fort. Coward here. Hawkeye uses discipline not to kill the man. CORA You try. With all you have. To save yourself. If the worst happens, and only one of us survives, something of the other does, too ... CUT TO ... INTERIOR NORTH FISSURE - UNCAS - NIGHT Listens. Hears. Then he inches above cover to see ... UNCAS' POV: THE RIVER & SIX WAR CANOES of Hurons approach to assault the island carrying torches. CUT TO ... INTERIOR GLEN FALLS CAVE - CORA & HAWKEYE - NIGHT She's holding him. In the rigid language of her body is the struggle to contain her fear. HAWKEYE (very close) If they don't kill you, they may take you north up into Canada. A warrior may take you for a wife. CORA turns aside. Hawkeye insists. HAWKEYE (continues) Listen. Submit. You hear me? You're strong. You stay alive. I will find you ... no matter how far, how long it takes ... CORA (nods, low) ... never doubt what you are doing. RANGER conscious now, arranges his crushed body to face the direction from which will come the attack as ... HEYWARD puts Alice, who's entered, behind him as ... Uncas hits the floor of the cave. Now the first glow from Huron torches starts to light the walls. They're coming ... CHINGACHGOOK has their weapons slung over his back. He says something in Mohican. Uncas spins looks at Alice: her expression's vacant. HAWKEYE'S KNIFE cuts a lock of Cora's hair. He folds it into his shirt. The orange light from Huron torches, now closer, plays on the wall behind her. We hear many Huron approach. CHINGACHGOOK & UNCAS now run out of the cave and throw themselves into the curtain of water. This is their exit. HAWKEYE engraves her image in his memory one last time and then sprints across the floor towards the water ... WHAT HAWKEYE SEES: JAMMING AT THE WATERFALL and then through it into ... SUBJECTIVE CAMERA: UP An awful crushing roar. We explode out the front of a white cataract a third of the way from the top and we fall down away from the world. EXTERIOR GLEN FALLS - HAWKEYE - NIGHT tumbles down the falls; rolling, tumbling through the white water; then through air; then back into cascading white water again, disappearing ... THE RIVER BELOW - UNCAS & CHINGACHGOOK'S bodies hit, disappear and don't surface. It looks unsurviveable. HAWKEYE'S POV: FALLING Sheets of water fall with us. The bottom races towards us at a hundred miles an hour ... Just before we hit ... CUT TO ... INTERIOR GLEN FALLS, CAVE - FLAMING TORCH - NIGHT WIDEN. The cave is filled with Hurons. The Redcoat is dead in the corner. A group of braves moves away from the body of the Ranger. HEYWARD'S surrounded. The women are behind him. He slashes at one Huron with his sword and is clubbed down by a giant. MAGUA enters. His blanket, like a shawl, over his left shoulder, black plumes in his hair. He's imperturbable. MAGUA'S HAND reaches out and touches Cora's hair. Cora is frozen to the spot. His hand drops away from the hated Munros and as Magua turns to go, he says something low in Huron and the two women are jerked towards the fissures. Heyward is dragged by the arms. CUT TO ... EXTERIOR RIVER - WHITE WATER - NIGHT miles from the falls. We see a figure. It's Chingachgook, nearly spent, rolling and tumbling through the fast-moving white water. He submerges, then surfaces again. He appears exhausted by the fall and ride. CHINGACHGOOK'S POV: WATER rocketing at us, battering and drowning us. We glimpse something downstream ... CHINGACHGOOK tries to focus, slammed against rocks, he's striking out towards the right, swimming against the current. He's grabbing for something. KILLDEER'S MUZZLE and leather shoulder-strap. Chingachgook's hand grabs it. The current rushing past tries to steal him from Uncas and Hawkeye, who're also beaten, bloodied, exhausted. They pull the older, larger man from the water and ... ON THE ROCK all three lie there, almost devoid of energy. Then Hawkeye rises, looks at the others. Chingachgook nods. He's up. Then Uncas, and they're moving off into the calm eddy between the rock they landed on and the shoreline. CUT TO ... EXTERIOR FOREST - HURONS - DAY move along animal paths. CORA & ALICE struggle through the branches of trees. No one helps them. When they fall behind, they are pushed forward. HEYWARD badly beaten, bound, staggers ahead to get behind Maqua. Then: HEYWARD If Magua give women to Yengeese soldiers ... will receive many gifts. MAGUA (as if considering) Gifts? HEYWARD Three, four oxen ... much wampum. MAGUA Wampum? HEYWARD Yes. MAGUA Does Yengeese Major have property across salt sea? HEYWARD Yes. MAGUA Yengeese Major give all property to Magua. Magua give Yengeese Major much wampum, many gifts, maybe three, four oxen. Magua looks at Heyward derisively. Does this white man think he's an idiot? HEYWARD Gold could be arranged. MAGUA For Munro children? HEYWARD Yes. MAGUA How much gold has the master of the Yengeese? HEYWARD The King? The King has mountains of gold! Long pause as if Magua and King George II were seriously considering this transaction. MAGUA Not enough. Heyward is first realizing with whom he's playing. HEYWARD What is enough? MAGUA Heart. Give Magua new heart. Magua totally disdains the Englishman and walks away from him, starting up a steeper forested hill. CUT TO ... EXTERIOR FOREST - HAWKEYE, UNCAS & CHINGACHGOOK - TWILIGHT running cross-country after the Huron column. They leap over fallen logs and keep going. FRONTAL: HAWKEYE breathing hard, his lips are drawn back, sweat stains his buckskins. PROFILE: UNCAS runs. Then sees something. BENT BRANCH where Cora & Alice were struggling up the animal path. REAR SHOT as they race across a stream away from us after the war party and into the night ... CUT TO ... EXTERIOR FOREST - CORA - NIGHT supporting Alice, is dragged forward by a Huron warrior by a woven rawhide thong tied to her neck. MAGUA is imperturbable. HURONS move quickly down into a ravine. HEYWARD is shoved forward. CUT TO ... EXTERIOR FOREST - RUNNING FEET - DAY Long, loping strides. HAWKEYE & UNCAS cover ground like long-distance runners. No noise except their hard, even breathing. They're moving down a clear trail. CHINGACHGOOK out on the flank. Running hard. CLOSER: HAWKEYE lips are drawn back, determined, flashing through the hard verticals of the forest, now leaps down an embankment into the soft loam and keeps going. CUT TO ... EXT. HURON VILLAGE - ORNATE CHAIR - DAY on a rude platform. The entire village is crowded in a large circle. They all wait for someone. They've been waiting a long time. In the perimeter warriors keep Huron at bay for some reason. We see Magua. He stands apart. They wait. Then ... ANCIENT SACHEM is led to the dais by three women down the main street between the neat rows of birch bark lodges. Many scalps and trophies from the massacre are in evidence. He sits on the raised platform. He looks to be in his nineties. His dark wrinkled face is contrasted by his long white hair. His robe is painted in hieroglyphical representation of combat. He wears numerous silver & gold medals, gifts of French, English and Dutch governors. Most startling is his face. His dark & lined skin is enhanced by delicate lines of tatooing. He looks up to Magua. SACHEM (in Huron; subtitled) The tomahawks of your young men have been very red. MAGUA (in Huron; subtitled) Many of the Yengeese are dead, great Sachem. (sound dissolve to English) I have brought three of my prisoners, to honor you. Two are the children of Munro. Whose scalp hangs on my lodge pole. And whose heart I cut from his chest. Now we see Cora on the ground. Defeat & fear are held in place by her determination. Alice looks around, in another place. Heyward's hands are bound between his back with a piece of wood wedged through his elbows. CUT TO ... EXTERIOR DIFFERENT FOREST - WIDE FRONTAL: UNCAS, HAWKEYE & CHINGACHGOOK - DAY running. Then Uncas drops and the other two follow. WIDE OVER THEIR SHOULDERS: THE HURON "CASTLE" seen in the distance through the sparse trees. They have dropped at the very periphery of the forest where the woods end. (The lay of the land is important for action that follows: the village is built in a meadow. To the left is a cliff face that rises to a rocky promontory. On the right is a path that winds up to the promontory and beyond, across the mountains.) Hawkeye sees ... HAWKEYE'S POV: THE VILLAGE, CAPTIVES & HURON CROWD in the center, outside the largest lodge. HAWKEYE slams the earth with his fists. They didn't intercept them in time. Difficult odds just became impossible. CUT TO ... EXTERIOR HURON VILLAGE - MAGUA - DAY MAGUA ... the earth was pale. Our tomahawks were bright. Now they are dull from war. And the Huron rich with the trophies of honor ... Magua will sell the English officer to Les Francais and the reward is my gift to you, wise one ... The women - children of the white war chief - will burn in our fires so all can share in this. The sachem considers this. Then he looks up and sees something beyond Magua. MAGUA senses the sachem's eye line ... HAWKEYE unarmed, walking through the Hurons. A young boy rushes at him. Hawkeye, at the last possible second, dodges. Others catch and restrain the boy. The Hurons are astounded a European would simply walk into their camp. CORA sees him enter, doesn't believe he's there. CORA Nathaniel! Hawkeye glances at her, doesn't respond. The situation is a stick of dynamite ready to go off. HAWKEYE (to Heyward; low) Translate for me, Major. Into French. Every word ... as I say it. Magua starts towards Hawkeye, his tomahawk slipping into his hand. HAWKEYE (to Sachem) I come to you unarmed and in peace to unstop your ears, wise one. Because the Hurons are mislead by the words of the wolf who's never spoken the truth. Sachem gestures with his hand to Magua. Magua reluctantly stops advancing on Hawkeye. Heyward's French translation has faded to a murmur. We hear Hawkeye's English. HAWKEYE Let the children of the dead Colonel Munro go free and take the fire out of the English anger over the murder of their helpless ones. MAGUA (to Sachem) Our father, Montcalm, is greater than the Yengeese in the arts of war. The Huron do not fear English anger. HAWKEYE (to Sachem) Wise one, the French fathers made peace and swore to their honor not to break the friendship. Magua broke it. It is false that the French would not be friends, still, to the Huron. Sachem reacts. MAGUA (laughs) It made our French father happy to never have to fight the same Yengeese again. He told me this without telling me this. Hawkeye realizes this is true. HAWKEYE So the Huron are the servants of the French? To do what the French are shamed to do? MAGUA No. (to Sachem) Huron serve no one. The French father believes he fooled Magua because he is so proud of his cleverness, he is blind. But it is the Huron path that Magua walks down, not the French one ... Now, Les Francais, also, fear Huron. That is good. When the Huron is strong from their fear, we will make the terms of trade with Les Francais. And we will trade as the white man trades. Take land from the Abnakes; fur from the Osage, Sauk & Fox. And make the Huron great. Over other tribes. No less than the whites, as strong as the whites. Hawkeye appears to be losing his debate with Magua. HAWKEYE (to Sachem) Magua would use the ways of Les Francais and the Yengeese ... MAGUA (to Sachem) The red man put down the bow, picked up the fire stick and became the best warrior in the forest. Yes. It is the only way. HAWKEYE Would the Huron make his Algonquin brothers foolish with brandy and steal his lands to sell them for gold to the white man? Would the Huron have greed for more land than a man can use? Like Francais Black Robes do? Would Huron kill tribes with disease? Would the Huron fool Seneca into taking all the animals in the forest for beads & brandy? But sell the fur to the white man for gold? ... (to Sachem) Those are the ways of Yengeese and Les Francais masters. Are they the ways of Huron men who hunt & work the land? Or of dogs? ... Magua's heart is twisted. He would make himself into what twisted him. A Dog, become Master of Dogs. But are Hurons dogs? ... Magua's way is false. It is like the white sickness. Magua's way will bring only sadness and shame. Is there another way? I don't know. (pauses) I am Nathaniel of the Yengeese; Hawkeye, adopted son of Chingachgook, of the Mohican people ... Let the children of the dead Munro go free ... I speak the truth. Magua starts to rebut. Sachem holds up his hand and stops him. Nobody talks. Sachem whispers to the older men on either side of him. MAGUA waits for the decision. CORA looks to Alice, then to Hawkeye. HAWKEYE exchanges a desperate look with Cora and then senses the Sachem is staring at him from the perspective of nearly a century of laws & judgments. Then ... to every word. SACHEM The white man comes like a day that has passed. And night enters our future with him ... (pause) Our council talks since I was a boy: What is the Huron to do? (pause) But Magua would lead Huron down paths that make us not Hurons. (the judgment) Dark girl burn in fire to heal the twisted heart of Magua. Cora, hearing the sentence ... Hawkeye's losing her. SACHEM (continuing) Munro daughter with moon in her hair must be Magua's wife so Munro's seed doesn't die. Alice is gone, living in some dark recess of her mind. SACHEM (continuing; dissolves back to French) ... and Yengeese officer not go to Les Francais, but back to Yengeese so their hatred burns less bright. La Longue Carabine, go in peace. People move, start to implement the sentence. Hawkeye's panicked. Cora is jerked upright. She looks at Hawkeye in terror: Sachem is starting to depart. HAWKEYE No! listen. (to Heyward) Tell him I'll trade him! Me for her! Tell him!! Heyward translates into rapid-fire French. HAWKEYE (shouts) I am La Longue Carabine! My death is a great honor to the Huron. Take me! Cora is jerked forward by three Hurons. Magua grabs Alice. Cora strikes at Magua. He knocks her aside. Chaos & confusion. Meanwhile: MAGUA (French; subtitled) This is not the voice of wisdom. I go to the Hurons of the Lakes! You are women. Send your arrows and guns to the Seneca, beg from them venison to eat, corn to grind. Slaves, dogs, rabbits, thieves ... I spit on you! Those Hurons who hear, do so in deadly, boding silence. Magua and his fourteen hard core braves start out as ... SACHEM heard Heyward's translation. He looks at Heyward, then looks at Hawkeye and he nods his head. HAWKEYE sees this. His eyes go to Cora. They've stopped dragging her towards the fire pit. Hawkeye steps forward to surrender. Cora is thrown at him. Cora looks around wildly. Instead of taking Hawkeye, two warriors grab Heyward. HEYWARD is immediately hamstrung and his legs collapse. He gasps. He's caught under the arms and dragged forward. HAWKEYE I said to trade me! Hawkeye's holding Cora. Heyward struggles to be seen. HEYWARD ... compliments, Mr. Poe. (pause) Take her and get out. CORA (standing) What are they doing to Duncan? Duncan! He's gone. They start to ease away from the mass of Hurons. HAWKEYE (low to himself) And my compliments to you ... CORA Alice? Hawkeye's concentration is on backing out of the Huron mob. Will the Sachem's judgment be honored? Will some warriors hack down Hawkeye & Cora? As they go ... CORA moves towards her sister. But Hawkeye holds her tightly as they retreat. CORA'S POV: ALICE with Magua's group crosses the path. He drags Alice behind him like baggage. She regains her feet. Magua is oblivious to her. He's heading towards the plateau. CUT TO ... EXTERIOR FOREST, TREE LINE - CHINGACHGOOK & UNCAS - DAY Uncas sees Magua's direction. Uncas touches his father, grabs his musket and races off. Chingachgook reaches to stop him, but he's too late. Chingachgook's hand in the air ... TWO-SHOT: HAWKEYE & CORA near the tree line. Hawkeye has eyes only for ... HAWKEYE'S POV: HURONS moving towards fire pit. One turns to watch Hawkeye & Cora depart. Will he arouse others to attack? Behind him, others are doing something to Heyward and flames leap up. CORA'S EYES are on Alice, off to the right in the meadow. HAWKEYE tense. They're almost there. CHINGACHGOOK holding Killdeer. CHINGACHGOOK'S POV: MASSED HURON Sky & flames. Suddenly, Heyward's stood upright into the fire, bound to a bracket by his arms. As the flames start devouring him ... HAWKEYE & CORA close to Chingachgook and the tree line ... CHINGACHGOOK tosses Hawkeye Killdeer. As fast as he jams it into his shoulder he FIRES. HEYWARD among the hollering Hurons, is shot dead. It goes unnoticed. CUT TO ... EXTERIOR PROMONTORY - UNCAS - DAY half-way up the rock face. He's approaching an overhang. He climbs with a reckless desperation ... EXTERIOR STREAM - HAWKEYE & CHINGACHGOOK pound across the (sic) to the meadow towards Magua's path ... CORA trying to stay with them, scrambles up ... EXTERIOR PROMONTORY - UNCAS reaches the overhang. It juts away from the face six feet. THE CEILING OF THE OVERHANG Uncas' hand jams into a crack in the granite, forms a fist and twists, making a wedge. He swings out, dangling in space by the hand wedged into the rock. His right hand reaches out and up, searching the vertical face for ... UNCAS' HAND ... a rock flake. An indentation. Anything ... His fingers find a diagonal crevice and ... UNCAS swings out, now hanging by the vertical face above the overhang. His features are distorted with determination. Nothing will stop him. His right hand grabs another rock. His arms snap him up. Then push. He's on the ledge. Moving fast ... CUT TO ... EXTERIOR PROMONTORY - HURONS - DAY on point are approaching the path above the promontory. Five warriors are ahead of Magua. One behind him drags Alice. FIRST Huron starts up the narrow path. Suddenly ... UNCAS slams him off the rock with the butt of his musket. WIDE ANGLE Two's musket coming up. Uncas swings. FIRES. Before he's fallen, Uncas bayonets Three. FOURTH FIRES, misses, swings. Uncas slips the swung musket, but it catches his elbow. Uncas' musket falls. Before it hits the ground his tomahawk is out and hacks Four over the edge ... MAGUA running forward past Five, confronts Uncas head on. It's incredibly fast. UNCAS' three tomahawk swings are dodged by Magua whose own knife streaks like silver flashes. Uncas, gashed on arms and chest, feints right and slams Magua with an open hand, closes and the men are intertwined steel and muscle ... and Magua throws Uncas. Going with him and rolling off Uncas, Magua's knife flashes into his armpit. Uncas' right arm is useless. He scrambles up. Next to the expertise of a mature warrior like Magua, Uncas' raw, young determination may not be enough. EXTERIOR - MEADOW - CHINGACHGOOK freezes. EXTERIOR PROMONTORY - UNCAS closing, swings. Magua moves inside, stabs Uncas twice, turns him to face the edge, ripping his head left to expose the right underside of his throat. CLOSE: MAGUA'S knife arm punches forward. WIDE: PROMONTORY Uncas falls down the face onto to the rocks. CHINGACHGOOK seeing his boy killed, CRIES out and is charging up the path, Hawkeye following. EXTERIOR PROMONTORY - ALICE backs to the edge. MAGUA moves on Alice. His knife is low, about to strike. She stares at him. Her eyes are like pools of deep water, calm, open, almost beatific. It stops Magua ... MAGUA inexplicably, drops his knife hand. He's riveted by her. About him, there's a glimmer of something else. He wears a human face for this one moment. He reaches out with his other hand to offer her safety. To bring her back from the edge ... ALICE looks down at Uncas, her lover, dead on the rocks below. She turns to Magua with enigmatic calm. Her eyes seem to see into him. She steps off the edge. She falls to her death next to Uncas ... EXTERIOR MEADOW - CORA collapses to her knees on the ground and her face falls forward into her hands ... HURON WARRIORS are running down the path to intercept Chingachgook, charging uphill, fueled by a father's rage, and Hawkeye. One Huron aims at the center of Chingachgook's chest ... HAWKEYE FIRES past his father's side. The Huron's blown off the path. Hawkeye races to reload on the run ... EXTERIOR PROMONTORY - MAGUA sees the approach of Chingachgook. TO CHINGACHGOOK Huron warriors are an irrelevance. He slams one aside with his musket. HAWKEYE FIRES. HURON with tomahawk, about to blindside Chingachgook, is SHOT DOWN. MAGUA charging Chingachgook. VERY WIDE Two men, like dots, race to collide at the center of the promontory. Now the others fall back... It's one-on-one. Hawkeye slows ... COMBATANTS Magua - confident, pumped up - feints with his left, his tomahawk appearing in his right, sweeping backhand, while his left, magically holding his blade, is jamming up to gut Chingachgook. Chingachgook's dead. Except ... CHINGACHGOOK isn't there. He rolled and, on one knee with his back to Magua, his arm slams rearward. The massive war club crashes into Magua's back. MAGUA stunned, turns to hatchet Chingachgook ... CHINGACHGOOK now up and towering - slams his club right into Magua's assault ... destroying it, breaking Magua's right arm. And ... CHINGACHGOOK ... with his momentum, spins like a shot-putter and the next blow cripples Magua's left side and crushes part of his chest. ANOTHER BLOW destroys Magua's collar and shoulder. MAGUA amazed. His body is broken and crippled, but he still stands. He looks into the eyes of the last warrior of the Mohicans. CHINGACHGOOK UNCAS!!! And he spins and swings. The blade side of the war club punches into Magua's chest, caving him in two. WIDE Magua dies in the dust. HAWKEYE watching Chingachgook's heaving back. It's over. CORA alone, kneeling in the meadow. Her eyes downcast ... FADE OUT ... FADE IN EXTERIOR - MOUNTAIN TOP - WIDE REAR SHOT - NEXT DAY Chingachgook's at the edge, facing the endless rolling forests to the west. A haze of sunlight illuminates silver and lead clouds. Hawkeye is a little apart, watching his father. HAWKEYE'S POV: CHINGACHGOOK speaks to the sky. CHINGACHGOOK (Mohican) Great Spirit and the Maker of all Life ... ON HAWKEYE & CHINGACHGOOK We HEAR Hawkeye's English translation in VOICE OVER: CHINGACHGOOK/ HAWKEYE (V.O.): (in English) ... a warrior goes to you swift and straight as an arrow shot into the sun. Welcome him and let him take his place at the council fire of my people. (pause) He is Uncas, my son. (pause) Bid them patience and ask death for speed; for they are all there but one - I, Chingachgook - Last of the Mohicans. Chingachgook's hands drop to his sides. He lets out his breath with a weariness. His eyes seek Hawkeye's. They hold ... CORA is standing, her back to us, in front of a rock-covered grave with a wooden cross. Next to it is Uncas' burial platform. Cora [says a] silent prayer. Then she pauses, crosses herself. Her emotions are spent. She moves next to Hawkeye. He takes her hand. HAWKEYE & CORA] HAWKEYE Will you go back to England? CORA I have nothing to go back for. Long pause. HAWKEYE Then will you stay in America? She turns to face him. HAWKEYE And will you be my wife? Pause. CORA Yes. They hold each other's eyes. She searches his face. CORA Where will we go? HAWKEYE Winter with the Delaware, my father's cousins. And in the spring, cross the Ohio and look for land to settle with my father in a new place called Can-tuck-ee. They move next to Chingachgook. He senses they're beside him. Hawkeye's arm is around her shoulders. CHINGACHGOOK The frontier moves with the sun and pushes the red man of the wilderness forests in front of it. Until one day there will be nowhere left. Then our race will be no more, or be not us ... The frontier place is for people like my white son and his woman and their children. HAWKEYE That's my father's sadness talking. Hawkeye puts a hand on his shoulder. CHINGACHGOOK No. It is true ... One day ... there will be no more frontier. Then men like you will go, too. Like the Mohicans. (pause) And new people will come. Work. Struggle to make their light ... One mystery remains. HAWKEYE What is that? Cora, listening to Chingachgook, takes Hawkeye's hand. CHINGACHGOOK Will there be anything left to show the world that we ever did exist? REAR SHOT Cora stands next to her man. Hawkeye puts his arm around his father. They stare out over the wilderness. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Law Abiding Citizen.txt b/unformated_scripts/Script_Law Abiding Citizen.txt new file mode 100644 index 0000000000000000000000000000000000000000..06a330b4875fb24c12e4b26b2b0a0464712e08a6 --- /dev/null +++ b/unformated_scripts/Script_Law Abiding Citizen.txt @@ -0,0 +1 @@ + LAW-ABIDING CITIZEN Written by Frank Darabont & Kurt Wimmer WHITE - 9-7-8 1. FADE IN:1 OPENING CREDIT SEQUENCE. Images and sounds are surreal, 1 dreamlike, disturbing: A HAND is trying to dial three simple numbers. Trembling fingers miss, try again...we hear boop-boop-boop. 911 OPERATOR (filtered) 911 operator, what is your emergency? The phone rises, gripped tightly. Knuckles white. We're TIGHT, it's dark, we see no face -- just slack, trembling lips. Whoever it is, he can't talk. All we hear is breathing, all we sense is grief and panic and deep shock. OPERATOR (V.O.) (filtered) Hello? Can you hear me? Can you speak? CLYDE ...eyes... OPERATOR (V.O.) What? Can you speak up? CLYDE ...her...eyes...2 EXT. ROAD - NIGHT 2 Lights appear like phantoms over blacktop, flashing. Police cars coming our way. OPERATOR (V.O.) Sir, what is the nature of your emergency? The man can't speak. OPERATOR (V.O.) Sir? Are you injured? Do you need medical attention? The cars blast by us...3 INT. HOUSE - NIGHT 3 TIGHT ON PHONE AND MOUTH: CLYDE ...her eyes...she can't... WHITE - 9-7-8 2.4 EXT. HOUSE - NIGHT 4 POLICE VEHICLES converge in SLOW-MOTION, dreamlike. Doors fly open, COPS jump out, weapons drawn as WE MOVE with them to: Front door. RAMP TO NORMAL CAMERA SPEED as it opens, revealing: BENSON CLYDE, phone still gripped. He barely registers the weapons aimed at his face. CAMERA CLOSES IN ON HIM, as: CLYDE She can't...close her eyes. He's pulled from frame. CAMERA KEEPS MOVING, following COPS into the house... Dark as hell inside. And tense. Arms training weapons. Moving up a tight hallway, emerging into... THE LIVING ROOM ...where the flashlight beams find blood-spatter patterns. Furniture shattered and overturned. A kid's sneaker. The flashlights play across TWO BODIES in the wreckage -- a woman's pale hand, a child's motionless leg. CAMERA DRIFTS AROUND to the cops' faces, as: COP #1 (unsnaps shoulder radio) Dispatch, we have multiple 10-55s, need full response, 11-41.5 EXT. HOUSE (SLO-MO) - NIGHT 5 Chaotic now, vehicles and lights. The eye of the storm is Clyde on the lawn, hugging his knees, fetal with horror and grief. He's screaming at the sky, but no sound is coming out. EMS TECHS enter shot, steal the frame, race toward the door...6 INT. HOUSE (SLO-MO) - NIGHT 6 TRACKING SHOT at floor level, photos being taken. FLASHES bathe the foreground wreckage. FORENSIC TECHS step gingerly. Uniformed cops hang grimly back, hugging the walls... CAMERA BRINGS US TO CLOSEUP: A PROFILE IN DEEP SHADOW in the foreground, face tilted obliquely in the wreckage. A CAMERA FLASH reveals the face with shocking glare and the IMAGE FREEZES. A TEN YEAR-OLD GIRL, eyes open, staring at us. CLYDE (V.O.) (prelap) Her eyes. That's how they were. Open like that. You see? WHITE - 9-7-8 3.7 INT. CITY HALL - CONFERENCE ROOM - DAY 7 Clyde is seated, speaking slowly and precisely. ANGLE WIDENS, revealing the room, light filtering through blinds, as: CLYDE When I found my wife and child dead, my little girl's eyes were open. (pause) The last thing she saw of this earth were the faces of the men who took her life. Can you understand that? NICK (O.S.) Yes. Yes, I can. CLYDE Can you? Really? (looks to somebody else) You? CANTRELL (O.S.) Mr. Clyde. I don't see this helping. CLYDE No? You married? Children? ANGLE HAS NOW WIDENED/DRIFTED to include D.A. JONAS CANTRELL, Senior Attorney for the State. He wears thick glasses and is suffering the early stages of macular degeneration. CANTRELL Divorced. I have a son and daughter. Both in college. CLYDE My daughter was ten. I married late in life. Clyde spreads the crime scene photos further on the table. ANGLE COMES AROUND to reveal the third man in the room: NICK PRICE The D.A. under Cantrell -- focused, exceptional at what he does, the man you'd want on your side. CLYDE You, Mr. Price? Married? Kids? Nick doesn't answer, stays focused on the task: NICK I've seen the crime scene photos, Mr. Clyde. Many times. They're horrifying. But they don't alter the facts of the case. BLUE - 9-19-08 4. CLYDE Facts? Those men are guilty. Both of them. You know they are. NICK This isn't about what we know. It's about what we can prove in court. CANTRELL Things have gone against us. Tainted crime scene, evidence thrown out... CLYDE Maybe you just haven't tried hard * enough. NICK Look. We've had only one real break in this case. The fact that one asshole has decided to testify against the other asshole. CLYDE In return for immunity. So he gets away with it. CANTRELL The other man doesn't. He'll go down for the crime. That has to count for something. CLYDE Yes. It counts for half. (pause, quietly) Don't reward one of the men who murdered my family. Please. NICK Mr. Clyde. I can't claim to know what it's like to be in your position. Losing your wife and child. But please try to grasp how limited our options are. This is how the justice system works. Clyde sits for a long moment, numb, absorbing this. CLYDE Ah. I see my mistake. I came for justice. Instead I got a system.8 INT. CITY HALL - HALLWAY - DAY 8 SARAH LOWELL, fresh out of law school, is waiting anxiously for the meeting to end, arms full of file folders. *BLUE - 9-19-08 4A.With her is BILL REYNOLDS, the defense attorney in this case, *glancing impatiently at his watch. *Clyde exits the room fast, not watching where he's going, *accidentally plowing into Sarah as he passes. * BLUE - 9-19-08 5. CLYDE Sorry. My fault. SARAH It's okay. On he goes. Nick and Cantrell exit the room. SARAH You're due upstairs in three minutes! You're gonna be late! NICK Thank you, voice of doom. They move toward the elevators with Reynolds. Sarah's at their * heels, sensing the tension and keeping her mouth shut. NICK (to Cantrell) * We doing the right thing? REYNOLDS * (jumps in) * You even doubt it? C'mon, you didn't just tumble off the fucking truck. Do the math... Cantrell has trouble seeing the elevator button, misses. Nick presses it for him. (This is thrown away without comment; both men are used to Cantrell's bad eyes by now.) They elevator opens, they get on... *9 INT. ELEVATOR - DAY 9 ...and ride up: NICK It's your office. CANTRELL It's your decision. Nick shoots him a withering look, glances back at Sarah. NICK What do you think? REYNOLDS * What are you asking her for? She's * just an intern. * SARAH (deer in the headlights) * I am just an intern. * BLUE - 9-19-08 6. NICK You were top of your class at Yale, don't give me that shit. CANTRELL Young lady. Someday you might have our jobs. You know the issues of * the case before the court. Speak. SARAH Okay. Um. You can take both men to trial, spend a year and millions of taxpayer dollars, and probably lose. Or you can cut a deal and at least put one of the men who did the crime on death row. It's a no-brainer. * You make the deal. * REYNOLDS * (smug, to the men) * Duh. * They trade a look. Cantrell glances to Sarah. * CANTRELL When the day comes that you argue a real case in court, you might refrain from summing up with "duh." SARAH * I'll avoid that. *10 INT. JUDGE'S CHAMBERS - DAY 10 JUDGE LAURA BURCH presides. Nick, Cantrell, Sarah are present. * CLARENCE DARBY is the focus, Bill Reynolds at his side. * JUDGE BURCH * The agreement has been vetted by both sides? Satisfactory to all? REYNOLDS Yes, your Honor. Defense approves. CANTRELL State also approves, your Honor. Nick places a document before DARBY, along with a pen. NICK Clarence Darby. This document guarantees that you will provide testimony against Rupert Ames in the matter of which you were both accused. In return, you will be (MORE) BLUE - 9-19-08 7. NICK (CONT'D) shielded from further prosecution for those capital crimes. But you will plead guilty to the lesser charge of breaking and entering. REYNOLDS You'll do a maximum of five years. With good behavior, you could be out in three. JUDGE BURCH That also depends on your testimony and the level of your cooperation. DARBY Your Honor need not worry on my account. I assure the court that I am aware of the opportunity I've been given. And I am deeply grateful to all concerned. Nick gives Cantrell a glance, both stoically enduring this proceeding. Darby pulls the document closer. DARBY If I may. It has come to my attention that Rupert Ames has been spreading * lies about me to the tabloid press. * About certain alleged activities of * which I have no knowledge. Sexual and otherwise. Libel and slander...yes? NICK (dryly) You can always sue him. DARBY Well, no matter. My tongue will wag in court, under oath. His tongue will wag in hell. He puts pen to paper, looks to Nick. DARBY He'll get the chair? NICK We don't do chair. We do needle.11 INT. CITY HALL - GRAND INTERIOR STAIRCASE - DAY 11 Cathedral-like, pigeons fluttering. The door from the hallway opens and BETSY, a months-old GERMAN SHEPHERD PUPPY, bounds toward us on a leash pulling Cantrell toward the top of the vast marble staircase. Nick trails them, nervous as hell: BLUE - 9-19-08 8. NICK Whoa, Jonas, take my elbow. * CANTRELL I'm not blind. Yet. I'll do it. NICK You're shitty on stairs. At least let me take the leash so the dog doesn't pull you down. CANTRELL No. She needs to imprint on me. Not you, not somebody else. Cantrell starts down. Nick's at his side, hovering and ready to grab him, jumping at every little lurch Cantrell makes. CANTRELL That's the whole point of this phase. She needs to get the idea that she and I are partners. Then the real training can begin. Unless you wanna lead me around the rest of my life. NICK I'll pass.12 EXT. COURTHOUSE STEPS - DAY 12 Nick and Cantrell emerge into daylight and find Darby in the protective custody of a FEDERAL MARSHAL on the courthouse steps, surrounded by a crush of REPORTERS: DARBY ...it was a burglary gone wrong. We thought the house was empty. Rupert found the woman and child at home and went crazy. I was stoned and in fear of my own life, so I fled... They catch sight of Bill Reynolds, the defense attorney. CANTRELL Bill! You let all your clients give testimony on the courthouse steps? REYNOLDS Hellooo, kettle to pot. Since when do you shy away from publicity? NICK Since everything in this case has gone sideways so far. Tell your boy to save it for the courtroom.BLUE - 9-19-08 9. REYNOLDS He's your boy too now. You tell him.Reynolds proceeds down the steps... NICK Asshole. REYNOLDS Dickwad. CANTRELL Fuckface....and vanishes in the crowd. Nick glances sourly toward Darby. DARBY ...and may I say for the record how very sorry I am that I failed to prevent Rupert Ames from committing those terrible crimes... NICK You good here? CANTRELL Long as nobody bumps into me.CAMERA FOLLOWS Nick through the crowd toward Darby... DARBY ...been given a chance to put the drugs and foul living behind me. To atone for my past failings and weakness of character. It is a gift given me by God's grace...Darby sees Nick, grabs his hand, shaking it for the cameras. DARBY ...and the grace and wisdom of this court. I cannot thank you enough, sir. I cannot.A BARRAGE OF CAMERA FLASHES. Nick caught off guard before the *press, Darby not letting go. Then Nick sees: *NICK'S POVClyde, a tiny defeated figure far below, waits at the busstop. He's gazing up, seeing this photo op happen.NICKbreaks the handshake with a flush of discomfort, signals thefederal marshal: WHITE - 9-7-8 10. NICK Marshal, escort your man, please! (to the reporters) Mr. Darby is done here! Darby is hustled down the steps. The reporters surge to Nick, surrounding him, shouting questions. Nick looks over their heads and glimpses Clyde getting on a bus. The door closes, the bus pulls away...13 INT. NICK'S HOUSE - NIGHT 13 Nick enters. Dark. He drops his briefcase by the door.14 INT. BATHROOM - NIGHT 14 REFLECTED IN THE MIRROR: KELL, Nick's wife, is just out of the bath, wearing a robe and toweling her hair. Nick enters behind her. She cranes back for a kiss, keeps toweling her hair in the mirror. He hugs her from behind, buries his face in her neck. Drained. KELL Shit day? NICK Shit day. Better now. (pause) How's she doing? KELL Fine. She drove me a little crazy today. NICK She was busy? KELL In overdrive. Here. Feel. He reaches around, slowly unties her robe, pulls it open... ...revealing her pregnant belly. (Our angles have avoided this till now.) He places his hand, feeling for movement. KELL Of course she stops kicking the moment you get home.15 INT. BEDROOM - NIGHT 15 SLOW TRACKING SHOT finds them in bed, Nick with his head on Kell's chest. Pensive.WHITE - 9-7-8 11. NICK I had to say some things to a man today I didn't want to say. And I did something I didn't want to do. KELL You didn't lie to him. Or bullshit him. Or shine him on. NICK None of those things. KELL So you had your reasons. You did what you had to. It's not your fault the world sucks.Nick smiles, eases his face to her belly. NICK You in there. Listen up. Your mother just said the world sucks. You may wanna rethink this whole thing. My advice? If you're asking? Just stay in there. I promise you, nothing will ever make as much sense as it does right now... KELL What is wrong with you? NICK ...plus there's shit you don't need to know about. Rap. Internet porn. Madonna's entire back catalog. KELL Did someone drop you on your head? Seriously. I have swollen ankles and all I do is pee. That baby's coming out. NICK (weighs that) Okay. I'm sure you heard that. Then again there are the Beatles. 70's funk. Louie. Ella. Be a shame to miss those. (beat, getting serious) All right, kid. Bring it on. But when you're old enough for the world to disappoint you, I hope you won't blame your old man for bringing you into this mess. Give me that at least. FADE TO BLACK WHITE - 9-7-8 12.16 INT. BEDROOM - DAWN 16 Nick and Kell asleep. She's no longer pregnant -- it's now ten years later. A long beat of quiet... A small face peers in from the hallway. EMMA, their 10 year- old daughter. She darts in, puts her face to Nick's. EMMA (whispering) Dad? NICK Huh? Wha--? EMMA You know what it is? NICK What? EMMA (hollering) IT'S MY BIRTHDAAAAAY! She jumps up on the bed, bouncing up and down and dancing around, hollering at the top of her lungs: EMMA IT'S MY BIRTHDAY, IT'S MY BIRTHDAY, IT'S MY BIRTHDAY! Nick and Kell are too groggy to do anything but ride it out. Emma sails off the bed and vanishes out the door, hollering all the way up the hallway: EMMA I'M SO COOL IT'S MY BIRTHDAAAY! Nick and Kell are left groping with blankets, heart rates, and consciousness: KELL Glad it's once a year.17 INT. KITCHEN/BREAKFAST AREA - MORNING 17 Nick and Emma finishing breakfast, getting ready to leave, Kell packing Emma's lunch at the counter: EMMA Why can't you be here? NICK It's a work thing. Grownup stuff. You know that happens sometimes. BLUE - 9-19-08 13. EMMA But it's... (draws sneakily close) ...MY BIRTHDAAAAAY! He claps his hand over her mouth. NICK I believe we've established that. I let go, you'll stop reminding me? (she nods, he lets go) We'll celebrate this weekend. Tonight is all about your friends. Knock * yourselves out, don't give mom any * grief. I'll try to be home in time to tuck you in, okay? EMMA Okay. But what are you doing tonight that is more important than... She's doing that "sneakily drawing close" thing again. Nick holds up his finger, cautioning her to say it quietly. EMMA (leans in, whispers) ...my birthdaaaaay. KELL Something he'd get out of if he could. Here. Take lunch. Grab * backpack. We go. * Emma grabs her stuff, kisses dad, races from the room. Kell grabs her keys to follow, kisses Nick goodbye. NICK Nice evasion. Thanks.18 EXT. RURAL ROAD - DUSK 18 Cars are traveling an old service road...19 INT. TOWN CAR - DUSK 19 Nick's in back with Cantrell. The years have left Cantrell 90% blind; his glasses are beyond Coke bottle-thick. BLUE - 9-19-08 14. Between them sits Betsy the German shepherd, now ten years old, wearing a guide-dog harness. She looks miserable wearing a big cone-shaped POST-SURGERY COLLAR. NICK How long she have to wear this stupid thing? CANTRELL Till the stitches heal. Week or two. Nick dotes on the dog, they're old pals: NICK Poor honey. Sucks, doesn't it? But you're very pretty. Yes, you are. Even with a radar dish on your head. SARAH There they are. Like clockwork. ANGLE SHIFTS TO Sarah -- much more confident and power-suited than last time we saw her -- riding up front with the driver.19A EXT. AERIAL ESTABLISHING - GEORGE HILL PRISON - LATE DAY 19A* The car pulls up to the gate as CAMERA RISES to reveal the * new facility positioned right next to the old one... *20 INT. EXECUTION CHAMBER - NIGHT 20 The condemned, RUPERT AMES, is placed against the upright execution table and buckled in. The table is tilted back to vertical. All Rupert can do is lay there and watch, as: MEDICAL TECHS swab his arms with alcohol, prepare the needles, find his veins. The needles are inserted, taped off. The I.V. lines are attached. Very methodical. The techs leave the room. The curtain is drawn aside, revealing the big window that separates the chamber from: BLUE - 9-19-08 15.21 INT. VIEWING ROOM - NIGHT 21 Nick and his colleagues are among SEVERAL DOZEN WITNESSES seated in chairs. They watch as WARDEN IGER faces Rupert. WARDEN IGER Rupert Ames. Do you have anything to say? Rupert doesn't have much of an IQ and he's scared shitless, but he does his best: RUPERT I'm here. Clarence Darby ain't. And that ain't right. 'Cause that man is evil, ain't no other way to say it. All them things he done, and him turn witness against me for it. He pauses, trying to untangle his thoughts. RUPERT I did wrong too. I guess I'll pay up. But it was always him sayin' jump and how high, and I just went along. Now he's killin' me and he got you people to do it. And that's a shame. A goddamn shame. And... (pause) ...and I guess that's all. Nick trades a look with Sarah. Cantrell is stoic. Warden Iger nods to TWO GUARDS manning the LETHAL INJECTION MACHINE, on which EIGHT OVERSIZED GLASS CYLINDERS in a vertical row are the main feature, filled with various clear liquids. There are two switches -- one a dummy, the other live (no way to know which is which). The guards power up the machine. Lights activate on the board. Each man grabs a switch, waits. Nick watches the wall clock. It hits 7 o'clock. The warden * nods and the guards flick their switches, quickly leaving the * room. The warden follows them out, closes the door. We hear the pumps quietly activate. Rupert is taking shallow breaths, terrified...then lays back to wait. PLUNGER ONE slowly descends, emptying its contents into the I.V. lines... Rupert sags as the fast-acting barbiturate spreads through his veins...his breathing slows...his head drops back... he loses consciousness... PLUNGER TWO depresses, sending the second vial of liquid into the I.V. lines with a quiet whir of pumps...BLUE - 9-19-08 16.PLUNGER THREE activates...then PLUNGER FOUR...the row ofcylinders emptying in sequence...Rupert lies unconscious, just drifting away...He suddenly comes to. He draws in a long, shaky breath. Itcatches in his throat. His eyes go wide. His entire body startsto clench against some increasing pain.Nick is surprised, uncertain. Betsy starts GROWLING SOFTLY at *Cantrell's side. Her head comes up, hackles rising. *Nick glances to the dog...then to Iger, sees the stunned lookon the warden's face. Something is definitely wrong.The pumps keep whirring, the plungers keep descending...Rupert he throws his head back, mouth wide... RUPERT Ah...ah...AH!The witnesses go tense, confused -- what the hell? RUPERT Ah--ah--Jesus, don't that HURT!Rupert looks down at his arms, his expression turning to sheerhorror, because: The veins are turning angry red, thenblackening, as the liquids course through them... RUPERT OH FUCK, OH FUCK, THAT HUUUURTS!Those are last coherent words he speaks. From then on, he'sjust shrieking and bouncing against his straps, because:His veins are starting to smoke. Noxious and foul. The fleshstarts giving away, blood eating though skin like acid.Shock sweeps the onlookers: SARAH Oh, Jesus. CANTRELL What's going on? Nick?People are on their feet. Horror and incomprehension. CANTRELL Nick, goddamn it, what? NICK I don't know!Rupert is fast becoming a horror: BLUE - 9-19-08 17. It's going down his arms and legs, up his neck, infusing his ears -- a nauseating discoloration courses through his body, using his veins as a road map, going from red to yellow to black like bruises birthing spontaneously before our eyes... People in the room scream, turning away. Nick pushes his way to the viewing glass, shouting at the techs: NICK WHAT THE FUCK'S GOING ON? DO SOMETHING! The techs dash into the chamber -- but are instantly gagging * and choking on the toxic fumes billowing from Rupert. They * retreat coughing, pulling the door shut again. * Rupert's screams spew forth toxic fumes...breath blows smoke from his nostrils...eyes liquefy...he's arching against his restraints so hard that bones begin snapping, blood spewing and smoking through his skin... All Nick can do is stand at the glass in horror as whatever is happening runs its course and the victim collapses in a cloudy, toxic haze...22 EXT. PRISON YARD - PARKING AREA - NIGHT 22 Drained and waiting: Nick sitting against the town car. Cantrell across from him with Betsy at his side (the guide dog will always be at his side in this movie, specified or not). EMERGENCY LIGHTS are swirling all around them. A PARADE OF PEOPLE descends: DETECTIVE DUNNIGAN, Sarah, Warden Iger, COPS, PRISON STAFF. Intense: IGER We're still trying to sort through this thing. CANTRELL Gentlemen, we face a terrible shitstorm of scrutiny in the days to come. We need answers. Start with what we know. IGER Lethal injection is a series of drugs given in a specific order. Somebody had to have replaced one or more of those ingredients with something else. (off their looks) Industrial solvent? Acid? DUNNIGAN Let's not guess, let forensics do its job. BLUE - 9-19-08 18. CANTRELL * How could the chemicals be switched? We're in a goddamn prison! * NICK * I'll ask because somebody has to. * Is there any chance, no matter how remote, that this was an accident? A mix-up? Weird shit happens? A beat of awkward silence. The warden hesitating. SARAH Show them. The bad part.23 INT. PHONE JUNCTION ROOM - NIGHT 23* Dunnigan brings our group in. ELECTRICIANS huddle at an array * of circuits and trunk lines. In the dancing flashlight beams: * DUNNIGAN * Some kind of bypass on the phone * lines. Nick sees a CIRCUIT-BOARD spliced into the wiring. DUNNIGAN * Twenty minutes before the execution, * the prison stopped receiving incoming calls and emails. Cell service went * dark too. Signal was probably jammed. SARAH * The bad part. I was just on with the Governor's office. He commuted Rupert Ames' sentence. They were trying to call us to stop the execution. They couldn't get through. Nick and Cantrell are stunned as this sinks in. DUNNIGAN The Governor's incoming number triggered this device and shut out any further calls. Cantrell removes his glasses, rubs his eyes. Softly: CANTRELL Oh, fuck me. Fuck me. BLUE - 9-19-08 19. DUNNIGAN * One more thing. * Dunnigan aims his maglight and swings the junction box cover all the way open. Scrawled on the inside of the door in red are the words: "HIS TONGUE WILL WAG IN HELL." DUNNIGAN This mean anything to you? * CAMERA PUSHES IN on Nick...24 EXT. PRISON YARD - PARKING AREA - NIGHT 24 Nick's LAPTOP sits on an unmarked car, streaming the D.A.'S DATABASE by wireless. Nick taps the keys, as: NICK Clarence Darby. That's what he said when he agreed to testify against the man we executed tonight. DUNNIGAN "His tongue will wag in hell." Those very words? It was ten years ago. SARAH I remember it too. Some things stick in your head. NICK Check the court transcripts, they're public record. DARBY'S MUGSHOT (ten years ago) scans up, along with pertinent * info of that time. GARZA, Dunnigan's partner, peers at it. * GARZA * I know this prick. I'm pretty sure * he's one of our C.I.s. Surprised looks are traded. DUNNIGAN You think, or you know? BLUE - 9-19-08 20. GARZA That's not the name he uses now. * But I'm pretty sure he's one of Bernstein's informants. DUNNIGAN Okay, raise Bernstein, I want everything he's got, including an address. We roll with tactical. NICK How about I ride-along? Give you a fast, accurate ID on this guy? CANTRELL Is that necessary? NICK You said yourself we should move fast. This thing'll be all over the morning news cycle. We'd all look a lot better if we have the right man in custody by then. Off Cantrell's look...25 EXT. BRIDGE/CITYSCAPE - NIGHT 25 AERIAL SHOT: ANGLING DOWN to find a CONVOY OF POLICE VEHICLES speeding across a bridge.26 INT. UNMARKED CAR (MOVING) - NIGHT 26 Garza driving. Dunnigan riding shotgun. Nick in back, putting * on a tactical vest. A transmission comes over the car's * dashboard computer: a MURKY NIGHTTIME SHOT OF A MAN in * sunglasses and Hawaiian shirt. * GARZA That's him. "Wayne Dunlap." DUNNIGAN Is that Clarence Darby? NICK I think so. Hard to tell. Dunnigan scrolls the classified police data pertaining to the informant: dates, number of convictions attributed... BLUE - 9-19-08 21. DUNNIGAN Jesus, look at this. No wonder Bernstein loves him. GARZA We scored a lot of good intel off this fuckhead through the years. Almost a shame to bag the guy. A snort from Nick. The cops glance back. NICK A shame? GARZA He's helped us put a lot of bad people behind bars. Look. Arrests, convictions... NICK I can read a C.I. profile. What I see is an asshole dirty up to his ears in the drug trade. So you cops look the other way? He gets a free pass as long as he keeps feeding you convictions? DUNNIGAN Isn't that what you did ten years ago? Give this guy a free pass in return for a conviction? (off Nick's look) Maybe we played this asshole to our advantage on the street, but you're the one who put him there. So, no offense, but you might wanna go fuck yourself a little. Nick stares at the man on the dashboard computer screen...27 INT. CLARENCE DARBY'S HOUSE - NIGHT 27* ...who is indeed Clarence Darby, naked and drenched with sweat, * taking a hit off a crack pipe. A woman's HAND flails up into frame, trying to grab for it. DARBY Wait...wait... He sucks in a full breath, hands the pipe off to: LISA, the thin tattooed skank he's got bent over his bed and is fucking from behind. She flares the bowl with a lighter, barely registering any reaction as he keeps pumping her.BLUE - 9-19-08 22. DARBY Almost. Almost. LISA This shit makes you soft, baby. DARBY (thrusting, grimacing) Thank you...for stating the obvious...you...bitch...He grits his teeth. Screams. Finishes. He sags, catching hisbreath, and glances at the PLASMA TV SCREEN, which has beenplaying silently. He grabs the remote, unmutes the set: NEWSCASTER (V.O.) * ...rumors the execution did not go well due to technical flaws, but that has yet to be confirmed... DARBY "Did not go well." Way to go, Rupert. You even fucked up dying. LISA You know that guy? DARBY Knew. Past tense.CELL PHONE RINGS, he answers. VOICE Wayne? DARBY Depends. Who's this? VOICE Somebody who doesn't want to see you in jail. Look out your window. (Darby hesitates) Argue later. Do it now.Darby goes to the window. Headlights in the distance. Lots ofthem. He grabs binoculars off the sill.BINOCULAR POV: VEHICLESAll cop. Racing this way. No lights, no sirens.DARBYlowers the binoculars, stunned. BLUE - 9-19-08 23. VOICE There's a world of shit coming your way. I'd get out the back. Now. Click -- line dead. Darby frozen for a moment, looking around at all the drugs and paraphernalia. He scrambles, tossing on his pants, grabbing his shirt. Lisa jumps off the bed -- LISA What? She goes to the window, sees cars sweeping from the darkness. LISA Are those fucking cops? Darby lunges to a bookcase, grabs a REVOLVER from behind the * books, sails out the bedroom door...28 INT. DOWNSTAIRS - NIGHT 28 ...and races down the steps with Lisa at his heels. LISA You ain't leaving me here! She catches him halfway across the room, holding him back. He smashes the gun into her face repeatedly... DARBY OFF'A ME! ...and knocks her bleeding and crying to the floor. He sails on through the kitchen, leaving her there...29 EXT. DARBY'S HOUSE - NIGHT 29 ...and bursts through the screen door, fleeing barefoot across the back yard as VEHICLES AND COPS swarm the front of the house. A cruiser nails him with a spotlight: COP VOICE (over car speakers) You! Freeze right there! Darby, never slowing, swings his arm around, FIRING his revolver blindly at all the lights...30 EXT. FRONT YARD - NIGHT 30 ...whoa, fuck, gunshots! Cops scramble and dive. Nick has just gotten out of Dunnigan's car -- a cruiser's window takes a blind hit nearby, exploding glass. Nick ducks, total shock, * out of his element. Drawing, Dunnigan throws him to the ground. * DUNNIGAN STAY DOWN! BLUE - 9-19-08 24.31 EXT. BAD NEIGHBORHOOD - NIGHT 31 Darby runs like an amped-up rat in a maze, hearing cop cars in the night: Engines ROARING, tires SQUEALING... Suddenly, the SOUND OF A HELICOPTER above. Darby dashes for cover against a garage, lost in shadow. A massively bright searchlight sweeps from above, probing... Darby crouches, heart hammering, watching the searchlight scan over rooftops. His phone RINGS, he answers: VOICE Ditch the gun. Wipe the prints. DARBY Kiss my ass. VOICE I heard six shots. Revolver? Bring extra ammo? Darby glances at the gun, realizing. He bangs his head back against the garage wall in frustration -- fuck! VOICE You shot at cops. That's attempted murder if they find the gun on you. You're in deep enough without that. Darby frantically wipes the gun with his shirttail, as: VOICE You'll need my help getting out. DARBY What'll it cost me? VOICE We'll discuss terms later. Go south, across 10th. Past the El tracks. Alley behind the clinic. DARBY What's there? VOICE A cop. Take his ride, he won't give * you any trouble. DARBY How do you know? VOICE 'Cause I tasered his ass. You gonna keep asking questions? BLUE - 9-19-08 25. Click -- line dead. Darby breaks cover, heaves the gun into somebody's yard, keeps moving...32 EXT. DARBY'S HOUSE - NIGHT 32 Chaotic with cops and lights. Lisa is dragged out, shrieking and bleeding, her face a broken mess. ANGLE TO Nick watching it all unfold. He sees Dunnigan approach: DUNNIGAN No way he's getting out of this neighborhood.33 EXT. ALLEY - NIGHT 33 Darby finds a POLICE CRUISER parked in the moonlight, window down. Dark inside. A LOCAL COP is sprawled across the front seat...groaning, coming to. Darby jumps in, passenger side, wrestles the cop upright. He yanks the cop's service revolver, slapping him awake. DARBY Drive. Darby reaches over and keys the engine to life. DARBY Drive, fucker! I'll put your brains on the dash! COP (disoriented) Don't shoot! Don't hurt me, okay? DARBY Depends on you. Go. The cop hits the gas. Tense moments go by as they accelerate up a dark road. Darby ducks as COP CARS stream past.34 EXT. DARBY'S HOUSE - NIGHT 34 Dunnigan and Nick tense, hearing a VOICE over the radio: COP VOICE (heavily filtered) ...air unit three...see no sign of suspect...think we lost him... DUNNIGAN (keys mic) Keep sweeping the area, unit three. (to Tactical Commander) Go house-to-house. Check everything. * Garages, dumpsters, storm drains... *BLUE - 9-19-08 25A. NICK * You gotta be kidding me. *Dunnigan -- angry, at a loss -- doesn't reply. Cops are *scrambling in all directions. *Nick turns, steps TOWARD CAMERA INTO A TIGHT SHOT, gazing off *into the darkness. Something very weird just happened here, *but he has no idea what. Softly: * NICK * How could we lose him? * BLUE - 9-19-08 26.35 EXT. INDUSTRIAL ZONE - NIGHT 35 Tracks and factories, remote and deserted. Far away, the POLICE COPTER is still buzzing, searching... The police cruiser appears, stops. Darby emerges with gun and * flashlight leveled, motions for the cop to get out. The cop * complies with hands raised, shaking. DARBY In the ditch. COP ...please...don't kill me... DARBY Knees. Let's go. Darby shoves him stumbling into the ditch. The cop sinks to his knees and starts to weep. COP I'll never see my wife and little girl again. I'll never see them. DARBY It's fucked up. Darby steps closer, draws the hammer back, takes aim for a head shot...but his PHONE RINGS. He pulls it fast. DARBY This my guardian angel? (beat) Hello? On his knees in the muck, the cop's quiet weeping becomes soft laughter. He brings up a cell phone, speaks into it: COP I see you got out okay. Darby draws back, confused, gun still aimed. The cop snaps his cell phone shut, rises to face him. COP You know why I'll never see my wife and daughter again? He takes his hat off, peels his moustache away. Darby pins him with the flashlight, finally and fully revealing: BENSON CLYDE You took them from me. Recognition floods Darby. He pulls the trigger, and: BLUE - 9-19-08 27. Nothing. Just a click, Darby freezing, a hiss of pain. Not comprehending. * Clyde reaches for the gun, pries open Darby's fingers, pulls it from his grasp... revealing the TINY NEEDLES that sprang from the pistol's grip into Darby's palm. Darby stares at his perforated palm. His knees give out and Clyde catches him, eases him to the ground. *36 OMITTED 36*THRU THRU38 3839 INT. FARM SHED - NIGHT 39* ANGLE: A head encased in a hood. The hood is pulled off, revealing Darby -- eyes wide, lying on a rough table. Benson Clyde leans over him, checks his pupils. CLYDE Can't speak? He displays the prop gun rigged with the needles. CLYDE Tetrototoxin. Fascinating stuff. It paralyzes you, but leaves all other neurological functions intact.WHITE - 9-7-8 28.He sets the gun down, starts rooting through some instrumentsthat Darby can't see (though he's straining to). CLYDE That means you can't move. Or talk. But you can see. Hear. Feel. (busying himself) That last one's important. Feel. You can feel everything. (glances at bottled drugs) Got some other items here. Drugs to revive you in case you pass out. Stuff like that.Darby almost manages to speak, thrashing weakly. Clyde leansover, checks his pupils again. CLYDE Wearing off a little. No worries.He tucks a padded block under Darby's head like a pillow,raising his head so he can see better. Clyde moves down thetable, tightens straps holding Darby down. But the worst part:TOURNIQUETS are tied on Darby's arms and legs at variouspoints. Darby sees them and starts hyperventilating. CLYDE Oh. These. Don't want you bleeding out. This will take a while.Clyde puts on a thick coat, like a meat-packer's. He returns,sorting implements, Darby trying to see. Clyde obliges him,holding things up: CLYDE (pliers) Teeth. (hacksaw) Balls. (bolt cutter) Fingers. Maybe toes. (scalpel) Eyelids. In case you insist on shutting your eyes.Darby's screaming -- but with the tetrototoxin in his system,all that's coming out is air, like a slow leak.Clyde picks up an object, unfolds it -- a full-body plasticcoat. He puts it on over his other coat, as: CLYDE Earlier on the phone? I said I'd get you out? You asked me what it would cost? Well. BLUE - 9-19-08 29. He finishes buttoning up, crosses back to the table, raises a new object into view: a CIRCULAR POWER SAW. * CLYDE We'll start with an arm and a leg. Go from there. Pause. The reality of what he's about to do washing over him: * CLYDE I've been waiting to say that line * for years. But it wasn't very funny, was it? No. Played much better in my head. Maybe it's my delivery. He puts a construction-site face protector atop his head, the kind with a full plastic face shield that can be flipped down. * He turns and undoes the slipknot of a laundry cord stretching * up to the ceiling. He feeds the cord and a full-length mirror * tilts down horizontally above the table. Darby finds himself * staring straight up into it -- he'll see everything. * ANGLE FROM BEHIND VIDEO CAMERA The CAMERA'S LCD SCREEN looms large in our shot. The LCD is dark, the camera inactive. It's mounted high on a tripod, aimed down at the table. Clyde approaches b.g., pauses. CLYDE Gosh. My heart's beating. You? * He flips his visor down -- dark, no face visible. He reaches up, turns the camera on. The LCD screen activates. ANGLE CLOSES IN until all we see is: THE LCD IMAGE. Grainy in low light. Clyde, now faceless behind the visor, crosses to the squirming figure on the table. We hear the CIRCULAR SAW BUILD TO A HIGH SHRIEK... FADE TO BLACK ...and the SHRIEKING SAW FADES...40 HOLD IN BLACK. 40 THE BLACKNESS OPENS UP -- we're in a cop car's trunk looking up as the lid is opened. A FIGURE in a meat-packing coat looms over us, faceless and scary behind a dark face protector. ANGLE INTO TRUNK * reveals OFFICER HILTS hand-cuffed and duct-taped. He's spent * the night in here. He recoils, terrified and blinded by glare. * BLUE - 9-19-08 29A. The figure opens a wicked-sharp butterfly knife, CLICK-CLACKS it open. He leans down, slits the tape binding Hilts' arms, drops the keys in the cop's hands.41 EXT. COUNTRY DIRT ROAD - DAWN 41 The police cruiser sits on a dirt road, a FEMALE DISPATCHER'S VOICE issuing softly and incessantly from the radio: BLUE - 9-19-08 30. FEMALE VOICE ...unit twenty one, come in...unit twenty one, please respond...report your location... The mysterious figure strides from the police cruiser to a MIDNIGHT BLUE 1965 LINCOLN CONTINENTAL in superb condition, shrugging off his thick coat. He gets in, hits the gas. Hilts struggles to uncuff himself in the cruiser's trunk, * arms and legs cramping, as: * The Lincoln becomes a CLOUD OF DUST receding in the distance... *42 INT. NICK'S KITCHEN - MORNING 42* Cleaning up the aftermath of the party: Nick up on a step- stool taking down the birthday banner; Kell in her robe feeding the dishwasher; Emma zooming in and out shuttling paper plates and plastic cups into a big trash bag... EMMA ...and while we were singing karaoke, Ashley was all dancing around and jumping up and down and suddenly she gets this look on her face... KELL I saw it coming. EMMA ...and suddenly she just went barf. Total puke moment. And we were all like, ewwww gross! It was so funny... She's out of the kitchen to grab more stuff. Kell starts preparing a bowl of cereal for Emma. KELL Funny for her. I cleaned it up. NICK I had my "ewwww gross" moment last night too. KELL Hey. I had a house full of shrieking ten year-old girls. NICK Hey. I saw a guy's veins dissolve. KELL Honey. It's not a competition. (off his look) Okay, you win. BLUE - 9-19-08 31. Emma re-enters, dumping more trash: EMMA ...so Tara says that's what you get for eating too much cake and that almost made Ashley puke again... The DOORBELL RINGS. Kell glances out the window. KELL Delivery. EMMA (grabs her cereal) I'll get it! She runs out. Nick comes off the step-stool, gratefully accepts a cup of coffee from Kell. He suddenly freezes, notices: The kitchen TV is playing CNN: a top-of-the-hour story on the Rupert Ames execution and foul-up. NICK Oh, shit. We've gone national.43 INT. LIVING ROOM - DAY 43 At the front door, a MESSENGER hands Emma a GIFT BASKET trailing mylar balloons with "Happy Birthday Emma" on them. EMMA Thank you! She closes the door, turns toward us, finds a CARDBOARD ENVELOPE on the basket -- a card? She opens it, finds: Not a card. An unlabeled DVD.44 EXT. COUNTRY DIRT ROAD - DAY 44 LOCAL SHERIFFS (not city cops) are spreading out across the * fields, beating the grass, looking for clues... ANGLE TO Officer Hilts, blanket-draped and still rattled by his night-long ordeal, being interviewed by a SERGEANT: SERGEANT ...the suspect who tasered you last * night...was it the same person who * let you out of the trunk this morning? HILTS I never saw a face...either time...he wore a thing, a face shield... Suddenly, we hear a DISTANT VOICE shouting in panic: BLUE - 9-19-08 32. VOICE Sergeant! Sergeant! Everybody's gaze snaps up, tense. Across the fields, a YOUNG COP is stumbling away from a distant farm shed, pointing: * YOUNG COP Come quick! You gotta see this!45 INT. NICK'S KITCHEN - DAY 45 Nick at the table with Kell, riveted to CNN: STATE OFFICIALS, including Iger, are being grilled in a media frenzy. Cantrell was right, it's a shitstorm of scrutiny...46 INT. LIVING ROOM - DAY 46 Emma, munching her bowl of breakfast cereal, slots the DVD in the player. She backs up, hits play with the remote. An IMAGE appears on screen, grainy. Emma looks perplexed. It's not a normal DVD -- more like a bad home movie: A figure in a plastic coat and face shield turns from the camera to a table, where another man is strapped down. The first man raises a circular saw. The man on the table is thrashing weakly, trying to move. Emma still has no idea what she's looking at. Suddenly: The man with the saw makes a quick sweep across the table, across the other man's leg at the shin. The move was so fast and casual that it's taking a moment to sink in: Emma stands frozen, clutching her cereal bowl. EMMA Daddy? B.G., we see Nick lean back in his chair, reacting to her tone of voice...and by what sounds like a shrieking saw. On screen, the man with the saw picks up the severed limb and shows it to the victim. It's been lopped off below the knee. Emma drops her bowl -- it shatters at her feet. Nick and Kell enter behind her, confused, not sure what they're seeing... On screen, the man with the saw lops off the victim's forearm. KELL Oh my God! Emma turns, throws herself into her parents' arms. They drop to their knees, shielding their sobbing daughter. PUSH IN ON them staring at the shrieking saw... BLUE - 9-19-08 33. KELL What the hell is this? Jesus Christ, Nick! Turn it off! Turn it off! (comforting Emma) It's okay, baby, I'm here... Nick lunges to turn off the TV as: FROM THIS POINT ONWARD, WE PLAY THE SEQUENCE AS MONTAGE:47 INT. FARM SHED - DAY 47* The door is swung open in a blaze of sunlight. The local cops enter with pistols drawn and shotguns leveled. Faces go stark with horror as their eyes adjust. SERGEANT Oh my Lord.48 INT. A RENOVATED FARMHOUSE SOMEWHERE - DAY 48* A RECORD is pulled from a sleeve. An old-school vinyl LP.49 INT. FARM SHED - DAY 49* Cops easing in. ANGLE SWINGS QUEASILY AROUND as they enter, WIDENING to reveal a scene of nightmare intensity: Blood everywhere. Streaks. Spatters. And body parts. Strewn and discarded. Intestines nailed to the rafters overhead.50 INT. FARMHOUSE - DAY 50 A RECORD PLAYER NEEDLE DROPS, hits the groove with a HISS of vinyl. MUSIC STARTS TO PLAY LOUDLY, BOOMING through the space. * FOCUS REMAINS WITH the spinning record. An OUT-OF-FOCUS FIGURE in a rolling chair pushes away from the record player and sails across the room toward a brightly-lit work table...51 INT. FARM SHED - DAY (SONG CONTINUES) 51* Cops are covering their mouths with handkerchiefs, gagging. The stench is incredible. Flies are buzzing and swarming. One cop turns away and doubles over, trying not to puke. The Sergeant moves cautiously forward, finds: A HEAD. On the wooden dissection table. Clarence Darby, not that you'd recognize him. His eyes are gone. His lips are missing. His teeth...well, most of them are scattered about.52 INT. FARMHOUSE - DAY (SONG CONTINUES) 52 A MINIATURE CIVIL WAR SOLDIER is held in extreme magnification before us under a tabletop magnifier, the tip of a paintbrush delicately evoking stunning detail... BLUE - 9-19-08 34.53 INT. NICK'S HOUSE - DAY (SONG CONTINUES) 53 Emma is still sobbing into her mother's arms as Nick takes the frame f.g., shouting into the phone: NICK My daughter is traumatized! She's * only ten! It's a goddamn snuff film! * In my home! *54 INT. DETECTIVE'S BULLPEN - DAY (SONG CONTINUES) 54 GARZA (motioning O.S.) Price got a video of it happening delivered to his house... Dunnigan enters frame f.g., snatches up his extension. He listens for a few beats, trying to get a word in: DUNNIGAN Yeah, we know. Nick, we know. The body's been found. The pieces, anyway. Call just came in. (beat) In some old shed on a farm outside * the city. About a hundred and fifty acre piece of property.55 INT. NICK'S HOUSE - DAY (SONG CONTINUES) 55 NICK Belonging to who?56 INT. FARMHOUSE - DAY (SONG CONTINUES) 56 A GIANT EYEBALL stares at us, unnaturally magnified by a tabletop magnifier. The lens is swept aside, revealing: Benson Clyde. In addition to the tabletop magnifier, he's wearing MAGNIFYING LENSES on his head. He examines the figurine with his naked eye, then flips the glasses down to continue...57 EXT. COUNTRY HIGHWAY - DAY (SONG CONTINUES) 57 VEHICLES race along two-lane blacktop: CRUISERS, UNMARKED CARS, TACTICAL VANS. A POLICE HELICOPTER skims along just above them at scary-low altitude... The cars veer off pavement and up a dirt road, kicking up an awesome trail of dust as the copter sweeps wide, pacing...58 INT. CARS - DAY (SONG CONTINUES) 58 Tense faces: Dunnigan, Garza, Nick. WHITE - 9-7-8 35.59 INT. FARMHOUSE - DAY (SONG CONTINUES) 59 Clyde pauses, hearing a RUMBLE under the music. Glances up as the rumble passes overhead -- a helicopter? He clicks on a tiny fan, holds the figurine under it, giving it a final dry.60 EXT. FARMHOUSE - DAY (SONG CONTINUES) 60 A shitstorm descends: vehicles swerving in, COPS jumping out, machine gun-toting SWAT TACTICAL TROOPS pouring from vans...61 INT. FARMHOUSE - DAY (SONG CONTINUES) 61 Clyde, still holding the figurine under the whirring fan, leans to one side in his chair, glancing out the window. He glimpses scurrying figures behind cars, cops darting and surrounding the house, motioning with hand signals... He holds up the figurine for a final look. Satisfied with it, he places it onto: A CHESSBOARD -- the last piece. All the others are also hand- painted, gorgeous. Real craftsmanship here. He stands. Calmly moves to the middle of the room. Kicks off his shoes. Peels off his shirt and undershirt. Even takes off his pants. There will be no confusion about hidden weapons. He positions himself, very precise and purposeful. Lifts his hands high above his head. Presenting himself. Waiting. Then, bam: doors EXPLODE in and windows SHATTER as the SWAT tactical troops storm the room, bad-asses in black, machine guns aimed, encircling him, everybody shouting: SWAT TROOPS DO NOT MOVE--FREEZE MOTHERFUCKER-- DON'T EVEN TWITCH--WE WILL FIRE UPON YOU--LET'S SEE THOSE HANDS-- Clyde is the calm eye of a pissed-off storm of highly professional cops with itchy trigger fingers. He remains serene, looking around at them, hands raised high... SWAT CAPTAIN ON THE FLOOR! FACE DOWN! DO IT NOW! He compliantly goes to his knees, then prone, offers his hands behind his back. They move in, cuff him, as troops spread throughout the house yelling "Clear!"62 EXT. FARMHOUSE - DAY 62 Nick, wearing his kevlar, follows Dunnigan and Garza. Nick glances over and sees a perfect 1965 midnight-blue Lincoln Continental in the carport... BLUE - 9-19-08 36.63 INT. FARMHOUSE - DAY 63 Clyde is pulled to his feet just as Nick enters. UNIFORMS spread out, securing the house. Dunnigan faces Clyde... DUNNIGAN Benson Clyde. You have the right to remain silent... ...as the full Miranda is read, Nick and Clyde have their eyes locked throughout -- this moment is all about them... DUNNIGAN ...understand your rights as I have explained them? CLYDE Yes. Clyde is hustled outside, leaving Nick with Dunnigan and Garza in the farmhouse -- it's renovated, clean, very loft-like. Nick drifts to the table, sees the chess board, can't help admiring the pieces. Then his eyes go to a floor-to-ceiling bookcase. He's stunned to realize: they're all law books. GARZA (O.S.) Check this shit out. Nick turns, moves to Garza's side. Dunnigan joins them. All three staring at a wall. ANGLE SHIFTS around to reveal: The long-ago PHOTO (clipped from a newspaper) of Nick and Clarence Darby shaking hands on the courthouse steps. ANGLE WIDENS to reveal: Photo after photo. The crime scene photos...photos of Clyde and his family in happier times...photos clipped from magazines and newspapers about the murder and trial...all very neatly and precisely arrayed. The entire wall covered with them. THE MUSIC KEEPS BOOMING from the record player. Dunnigan turns * TIGHT TO CAMERA and yells: DUNNIGAN CAN SOMEBODY TURN THAT FUCKING MUSIC OFF, PLEASE?64 INT. POLICE INTERROGATION ROOM - DAY 64 Clyde sits alone and isolated in a small room. WIDEN to reveal Sarah at the observation glass. She turns as Nick steps up. SARAH He says he'll only talk to you.WHITE - 9-7-8 37.Nick and Dunnigan prepare to go in. Dunnigan takes off hisgun and holster, lays them on a table, as Garza activates theVIDEO. Cantrell finds a chair by feel, sits down, as:INNER ROOMNick and Dunnigan enter. Dunnigan melts into a corner toobserve as Nick sits across the table from Clyde. CLYDE Counselor. NICK Mr. Clyde. CLYDE Why so formal? We go way back. Call me Benson. Or Ben.Nick sits across the table from Clyde, settles in. NICK Well. I'm here. So? CLYDE So. Maybe you can explain what this is all about.Nick almost laughs -- not what he expected to hear. NICK I think that's obvious.Clyde spreads his hands questioningly -- not really. DUNNIGAN You murdered two people. Rupert Ames and Clarence Darby. CLYDE (shifts his gaze) Detective...? DUNNIGAN Dunnigan. CLYDE Dunnigan. I thought I'd made it clear I would only speak to the gentleman across the table from me.Dunnigan glowers at him, looks to Nick. NICK You murdered two people. Rupert Ames and Clarence Darby.BLUE - 9-19-08 38. CLYDE Darby? I knew about Ames, of course. I've been following the news about his horribly botched execution. But Darby too? Quite a coincidence. DUNNIGAN Cut the shit. We know you did it. Save everybody a lot of time and trouble and just confess. CLYDE Are you going to continue to insist on being part of this conversation? DUNNIGAN Yes. CLYDE (beat, gives in) Fine. Far be it from me to be rude. NICK Clarence Darby was found on your property. Old abandoned shed? * CLYDE I didn't know I had one. It's 150 acres, uncultivated. The other day I found a creek I never knew I had. Hunters trespass all the time. You going to try to pin the dead deer on me too?OBSERVATION AREA SARAH I don't believe this guy. CANTRELL That man is frosty.INNER ROOM * CLYDE It occurs to me that an even moderately clever person could try to frame me for the murder simply by killing him on my property. One of Darby's drug rivals? That's an unsavory world. (off Nick's stare) A jury would have to weigh that possibility. What else you got?BLUE - 9-19-08 39. NICK (temper flaring) How about video of you dismembering Darby while he was still alive? CLYDE That's odd. See, if I were to do such a thing, I'd probably wear something so I couldn't be identified. Some kind of mask maybe. But you say it's actually me on the video? Did the camera capture my good side? *Nick snaps, lunges across the table, grabs Clyde. NICK You sick fuck, you sent it to my house! My daughter saw that video! It fucking traumatized her! She couldn't stop sobbing!Dunnigan moves in fast, trying to pull Nick off (but failing): DUNNIGAN Whoa-whoa, Nick, ease off! CLYDE No trouble here, Detective, we're fine. Thank you, though.Dunnigan backs off. Clyde turns back to Nick, who's still gothim in his grasp, their faces close. CLYDE Your daughter is, what, ten now? That's a wonderful age. My daughter was always so busy at that age, so interested, so into everything. Jumping around. I called her "Bean," she jumped around so much.Nick is easing off by inches, subtly and ineffably weirded-out, unable to break Clyde's gaze. Softly: CLYDE I am sorry, Nick, that your daughter experienced that. You're right. That video should not have arrived that way. The person who sent it should have thought twice.Dunnigan moves in again, gently but firmly pulls Nick away. DUNNIGAN Okay, enough.WHITE - 9-7-8 40. CLYDE Unless there's hard evidence tying me to these crimes -- forensic or otherwise -- why am I here? Why are we having this conversation? NICK We know you did it. CLYDE It's not about what you know. It's about what you can prove in court. (off Nick's look) Your words. Like when you called it a justice system. You know the thing about a system, Nick? Any system can be played. NICK You think you can play us? You gonna take me on? CLYDE Clarence Darby did. And I'm much smarter than he was. Or you.Nick advances, furious, held back by Dunnigan: NICK I'm gonna bury you, fucker! CLYDE (lunges to his feet) That's it, that's what I want! That fire in the belly! That's what I wanted ten years ago! Do it, Nick! Bury me! DUNNIGAN (shouting at Clyde) Sit down! Sit the fuck down!Clyde does, settles in, speaking calmly: CLYDE Or. Set me free. NICK What? CLYDE Did I stutter? Make your case. Or. Shake my hand on the courthouse steps and send me on my way. (off Nick's look) I'll even make it easy on you. I will confess, how's that? BLUE - 9-19-08 41. NICK You're gonna confess. CLYDE Let's start tomorrow after a good night's sleep. We'll all be fresh and rested.65 EXT. CITY HALL COURTYARD - DAY 65 Nick paces agitated, with the group: * SARAH * Ten years he's been planning this? * Patient people make me nervous. This? This freaks me out. * DUNNIGAN * Is he serious about confessing? * What's his deal, is he crazy? NICK Confession or not, we're gonna nail him on two counts of first-degree. CANTRELL Agreed, but softly. Nothing hard- ass, no grand-standing. Kid gloves. NICK Kid gloves? He's a psycho with a power saw. CANTRELL Depending on who's writing the headline, he's a grieving husband and father who got revenge on the men who murdered his wife and child. (off Nick's look) Public sympathy is to be respected and feared. This could blow up in our faces if we're not careful. We can't look like we're pissed off or have an ax to grind. (stops) Are we pissed off? Do we have an ax to grind? NICK No. BLUE - 9-19-08 42. CANTRELL Then stop acting like it. Beat. Nick takes a deep breath. NICK Okay. He got under my skin a little. That's done.66 EXT. CITY HALL - DAY 66 STEADICAM TWO SILHOUETTES: We're following Nick and Sarah through one of the pedestrian tunnels to the street: NICK ...background check's gotta be thorough, I want to know everything there is to know about this son of a bitch. Get all the ADAs on it, tell 'em I better not see them sitting around on their asses or texting their pals... SARAH How about outside help? That P.I. who helped us on the Jacovitz case? NICK Yeah, he was good. And Hanson's * always reliable. But try to limit their hours, okay? We find a MERCEDES at the curb -- Kell at the wheel, Emma in back. Nick gets in. Sarah leans down, happy to see them. Emma's face lights up -- the little girl obviously adores her. KELL Well, hello there beauty! SARAH Hey Kell! Hey Emma, how's my dynamo? EMMA Hi, Sarah! KELL We haven't seen you in so long it's ridiculous. When are you gonna come by for a visit? SARAH Who needs a life, right? Talk to your husband, maybe he'll give us a day off one of these years. KELL Soon, huh? Seriously, we miss you. BLUE - 9-19-08 43. Sarah blows Emma a big extravagant kiss. Emma returns it, waves as they pull away. Nick and Kell glance back, happy to see their daughter acting a bit more like her old self...67 INT. NICK'S HOUSE - NIGHT 67 Late. Nick, in t-shirt and pajama bottoms, comes up a dark hallway with a file in his hand, rubbing his eyes. He comes to his daughter's bedroom door, quietly turns the knob... EMMA'S BEDROOM ...and finds the bed empty. Sheets thrown back. Nick stands for a moment, every irrational fear he's ever had washing over him. CAMERA FOLLOWS HIM fast down the hallway... ...into the master bedroom, where he finds Emma sleeping with Kell. He stands for a moment, heart hammering. Softly: NICK Fuck. Kell stirs, sees him, puts a finger to her lips. In whispers: NICK I saw her bed empty. Scared the shit out of me. Don't know why. KELL She had a bad dream. She wanted to sleep with us tonight. NICK (feels his heart race) Jesus. EMMA (stirs) Daddy...? He climbs onto the bed, cuddles up, Emma between them. EMMA I had a nightmare. That man. * NICK I know. Shhh. We're all good. You're safe. Nobody's gonna hurt you. KELL Especially not that man. Daddy's gonna put him in jail forever. That's what daddy does. He makes sure the bad people stay locked away. Nick lays there, listening... BLUE - 9-19-08 44.68 OMITTED 68*69 INT. "THE DOME" - DAY 69* A huge domed chamber. In the center of the floor stands a smaller free-standing domed cage, like a bizarre birdcage. Inside the birdcage: Nick and Garza wait. Garza mans a camera. Outside the birdcage: Observers. Some (Cantrell and Sarah) occupy floor-level, where the video monitors are. Others (Iger and Dunnigan) are on a catwalk above that encircles the room. A door opens and Clyde is brought into the birdcage. He gazes around, checking his surroundings. CLYDE I admit I expected something more modern. That jail downtown? * NICK Filled to capacity. It has been for years. They had to re-open this for the overflow. Part of it anyway. * GARZA Welcome to the county jail annex. * All new inmates come here. It was * in the papers. CLYDE Right. Prison crowding. It's a problem. He sits. Nick joins him, pulls out a legal pad. NICK For the record: You've waived legal counsel. You've offered to confess to the murders of Clarence Darby and Rupert Ames. Yes? CLYDE We'll get to that. First, what I'd really like to talk about is the cot in my cell. It's lumpy. (off Nick's stare) Hardly any padding? Steel springs? Very uncomfortable?BLUE - 9-19-08 45. NICK I know what lumpy means. Sorry to hear it. But we're not here to talk about prison conditions, we're here to talk about things you've done. CLYDE Start with things I haven't done. Like get any sleep last night. (beat, leans forward) I said let's begin today fresh and * rested. You recall my words? * NICK * What do you want from me? CLYDE A bed in my cell. NICK A bed. In your cell. CLYDE Yes, please. One of those Sleep- Matic adjustables. Those are best. * NICK You want the variable temperature control too? CLYDE That would be nice.Beat. Nick tosses his legal pad on the table, swivels aroundin his chair to the observers up on the catwalk, spreads hisarms in a "help me" gesture. NICK Anybody? DUNNIGAN It's a steel cot! It's bolted to * the wall! * BLUE - 9-19-08 46. CLYDE I'm sure they have a wrench. * IGER We also have rules prohibiting * personal items such as beds. * CLYDE (looks to Nick) Let me get this straight. You're going to let a bed prevent this confession from taking place. NICK You looking to deal? All right, how's this? How about I don't kick your fucking teeth down your throat? Clyde is mildly taken aback. The cops tense up. CANTRELL Nick. NICK Sorry, Jonas. Okay, kid gloves. (to Clyde) My daughter slept in our bed last night. She hasn't done that since she was six. You gave her nightmares. So excuse me if I don't feel like cutting any little deals today. CLYDE My daughter can't have nightmares, because she died with Clarence * Darby's breath in her face. You * gave him a reduced sentence and his * freedom. All I want is a good night's sleep.70 EXT. PRISON COURTYARD - DAY 70 Everybody's wound up, talking fast: NICK This is bullshit. He's jerking our chain big-time... CANTRELL I can justify the expense. * IGER It's not just a bed. Every inmate * here will be on the phone to their * lawyer filing lawsuits for equal treatment. Can you justify that? * BLUE - 9-19-08 47. SARAH * (offering) We give him a bed, he confesses, we * take the bed away. At most it's one * night. * Cantrell weighs it, decides: CANTRELL We're talking a high-profile double homicide. Order the bed.71 INT. CELLBLOCK - CLYDE'S CELL - DAY 71 Clyde watches as MAINTENANCE MEN remove the unbolted cot from the cell and his Sleep-Matic is rolled in. CONVICTS watch, dumbfounded. Clyde's cellmate, a towering Aryan Brother named DWIGHT DIXON, stands quietly amazed... CLYDE (V.O.) (pre-lap) Switching the drugs was easy...72 INT. "THE DOME" - DAY 72 Back in the birdcage: CLYDE I hacked the Fedex database, diverted the package to me, made the switch, sent the package on. It's automated tracking numbers moving millions of packages daily. Nobody's questioning who receives what, or why. NICK And the prison phones? CLYDE Get a phone company uniform, hack the prison database, schedule an official visit. They'll wave you through the gate, like they did me. It's simple if you know how things work. (off Nick's look) It's a system. You learn how it works. You play it. Any system. BLUE - 9-19-08 48. NICK (beat) I saw him die. That stuff burned his veins. He suffered terribly. CLYDE Score. Nick flips to a new page on his pad. NICK Let's move on to Clarence Darby. CLYDE (sits back) * Hey, you like music? NICK (hesitates) * Very much. Why? * CLYDE I could tell. I love music. All of * it. It's like air in my lungs. So the thing about Clarence Darby is, I want my record collection and player brought to me. The vinyl discs as well as CDs. Reactions all around the room. Iger leans forward: IGER Vinyl records and CDs can be broken into shards. They make excellent weapons. My answer to that one, Mr. Clyde, is not no, but hell no. * Clyde absorbs that, looks to Nick, as: NICK It's a legitimate concern. CLYDE (beat, calls to Iger) How about my ipod and speaker dock?73 INT. CELLBLOCK - CLYDE'S CELL - DAY 73 AN IPOD AND SPEAKER DOCK now occupy a small plywood shelf attached to the railing outside Clyde's cell. A GUARD plugs it in via a long orange extension cord. ANGLE WIDENS to Iger, who turns to the bars and hands a remote control through to Clyde. Dixon's watching balefully, as is every inmate on the cellblock. WHITE - 9-7-8 49. IGER The player stays out here. You hand the remote to the on-duty guard every night at lights out. Those terms aren't negotiable. CLYDE I appreciate your compromise. Iger draws close to the bars. Quietly: IGER You looking to get your ass kicked? (off Clyde's look) By every inmate on this cellblock. You keep this up, they'll take it out on you. Harshly. Clyde glances back to Dwight. Dwight's watching, glowering, agreement in his silence. Clyde turns back to Iger. IGER Just trying to keep you alive in here. That's all. Iger walks away. Clyde aims the remote. MUSIC STARTS PLAYING. He leans his head on the bars, listening, blissed. Cons all over the cellblock are staring daggers at him. CLYDE (O.S.) (pre-lap) I took his fingers with a bolt cutter. His toes with a pair of tin snips. His balls with a hacksaw...74 INT. "THE DOME" - DAY 74 CLYDE ...his penis with a box cutter. His skin with a filet knife. His teeth with pliers. His eyes...for those I used my fingers. (looks to Nick) Check the video I made. All that will match up. I kept him alive for an hour, give or take. Time it. Nick trades looks with the others in the room -- everybody have what they need? People nod. Nicks closes his pad. CLYDE What now? NICK My office types it up, you sign.BLUE - 9-19-08 50.Nick rises, putting things in his briefcase. People get readyto leave -- but Clyde motions Garza to keep it rolling. CLYDE How about a signing bonus? The small concessions you've made so far have kept my cooperation flowing...why not give me a reward for signing? NICK You don't want to sign, don't sign. We've got you on videotape, we'll go to trial. In ten years, when your appeals are exhausted, I'll attend your execution. I'll make sure nobody tampers with the drugs. CLYDE Don't be such a hard-ass, Nick. I don't want much. Just a good meal. (directed at Iger) The food here? Sucks. No offense.Dunnigan glances at Nick and stifles a smile, enjoying wherethis is going in spite of himself: DUNNIGAN What do you have in mind? CLYDE There's a place in town on Halston. La Traviata. Ever been? * DUNNIGAN It's a little above my pay grade. CLYDE You know it, don't you, Nick? * NICK I've eaten there. So? * CLYDE They cater. Tonight, at 7 p.m., I * would like my meal delivered to my cell from La Traviata. With nice silverware, crisp linens... NICK Not gonna happen. CLYDE Why not?BLUE - 9-19-08 51. NICK Because I have no interest in making it happen. And you have nothing left to bargain with. CLYDE C'mon, Nick. We've just started bargaining. You haven't even heard what I'm offering yet.This makes people pause. Something in the tone of his voice. CLYDE Miss Lowell? Is your laptop still on? Would you please do a search?She flips the laptop opens, dread mounting even though she'snot sure why, poises her fingers over the keys. CLYDE William...Baxter...Reynolds.Cantrell's quietly stunned as the name sinks in. Pin-dropsilence now. Laptop keys CLACKING SOFTLY. People frozen. DUNNIGAN Who's William Reynolds? CANTRELL Clarence Darby's defense attorney. He brokered the testimony deal with us ten years ago. He's been missing now since... CLYDE March of '06.Sarah spins the laptop -- a photo of Reynolds, a story of hisdisappearance. * CLYDE Detectives Dunnigan and Garza will like this offer, Nick. It'll clear one of their department's missing- persons files. And it'll solve them their third homicide this week. NICK Tell me. CLYDE How do you think I located Clarence Darby after he got out of jail and legally changed his name? Reynolds told me -- though it took some * convincing. * BLUE - 9-19-08 52. PUSH IN ON Clyde in the frozen silence... CLYDE You want the location of the body? Tonight, 7 p.m., I get my meal * delivered to my cell from La Traviata.75 OMITTED 75*76 EXT. ROOFTOP HELIPAD - FEDERAL BUILDING - DAY 76* A HELICOPTER THROTTLES UP, everything moving fast: an FBI FIELD TEAM, led by AGENT SAM DAVIES, emerges from a staircase door onto the roof, where they are met by Nick and Dunnigan. Davies dons his kevlar vest on the move toward the waiting copter, everybody SHOUTING over the rotors: DUNNIGAN SPECIAL AGENT SAM DAVIES, NICK PRICE WITH THE D.A.'S OFFICE! DAVIES NICK! TELL ME ABOUT THIS BODY! NICK SUSPECT SAYS NEW JERSEY! ACROSS THE STATE LINE! THAT MAKES IT FEDERAL, THAT MAKES IT YOU! DAVIES (to another FED) GET THE CAMDEN OFFICE TO HAVE A GROUND TEAM MEET US! (to Dunnigan) LOCATION? DUNNIGAN SUSPECT WILL GIVE US A GPS MARK! WE'LL ADVISE YOU IN THE AIR! BLUE - 9-19-08 53. They get to the helicopter, feds loading in as Nick pulls a business card, hands it to Davies. NICK I'LL BE IN MY OFFICE! PLEASE CALL ME! WE GOT A LOT OF PEOPLE HOLDING THEIR BREATH ON THIS! DAVIES WILL DO! Davies gets in, signals the PILOT. The copter takes to the air, buffeting Nick and Dunnigan...77 INT. CLYDE'S CELL - DAY 77 TIGHT ON CLYDE. He looks up, speaking slowly and clearly: CLYDE GPS position is as follows...78 EXT. AERIAL SHOT - DAY 78 FBI HELICOPTER THUNDERING over the city... VOICE ON RADIO * ...delta niner foxtrot...GPS * coordinates follow... * The helicopter veers, banks into a steep turn...79 INT. D.A.'S OFFICE - DAY 79 Nick enters, moves through the bullpen. ADAs (assistant district attorneys) are working and grimly focused. Nick pokes his head into Sarah's office. She looks up. NICK What do we have so far? *80 EXT. PRISON - DAY 80 A HIGH-END DELIVERY VAN bearing the logo of La Traviata is waved through the gate into the delivery entrance... SARAH (V.O.) * He's got no next-of-kin. No family * since his wife and daughter were * killed...81 EXT. AERIAL SHOT - DAY 81 THE FBI HELICOPTER THUNDERS over beautiful green hills... SARAH (V.O.) He's a tinkerer. Little inventions * and gizmos... BLUE - 9-19-08 54.82 INT. NICK'S OFFICE - DAY 82 Nick gazing out the window, Cantrell seated with his dog, Sarah reading the report thus far: SARAH ...he holds two dozen patents that have made him a lot of money the last ten years. He's invested a lot of it in real estate. Weird stuff. CANTRELL Weird how? SARAH Properties with no real value. Around * airports, chemical plants. Stuff * nobody wants...83 INT. CELLBLOCK - DAY 83 A CONVICT comes to his bars, peering out... * CONVICT * Motherfucker... ...because here comes the rolling La Traviata cart -- gleaming domes keeping food warm, silver utensils, crisp linens, a ROSE in a bud vase. A red-jacketed LA TRAVIATA WAITER is pushing the cart, accompanied by GUARDS and Warden Iger. More cons appear at their bars, faces peering, an angry grumble growing in the cellblock as the cart goes by. The waiter's looking around, nervous... SARAH (V.O.) He votes. He gives money to charity, mostly victim's funds...84 INT. OFFICE - DAY 84 SARAH ...but he also gives a big chunk to macular research. CANTRELL (looks up) He donates to eye research? SARAH RPI. That's the charity you work with, isn't it? CANTRELL Huh. Strange. BLUE - 9-19-08 55.85 INT. CELL - DAY 85 The waiter, hemmed by guards, nervously reads the order: WAITER ...consommÈ...sea bass...squab... * New York strip, rare...a variety of * pates... CLYDE Rack of lamb? WAITER ...oh, yes, rack of lamb...86 EXT. NEW JERSEY HILLTOP - DAY 86 THE HELICOPTER ROARS IN, lands. Davies and his men jump out. AN FBI GROUND TEAM is waiting for them. A CAMDEN FIELD AGENT runs up and points at the ground, shouting: FIELD AGENT WE THINK WE'VE GOT A CAIRN HERE! SOMEBODY LAID A BED OF STONES AND PLANTED SOD OVER IT! Davies signals his team. SHOVELS AND PICKS hit the ground...87 INT. CELL - DAY 87 ...while GORGEOUS FOOD hits paper plates. It's being slopped unceremoniously from the fine china by the guards. TILT UP to Iger overseeing this process, passing china and utensils to the waiter, who's flustered: WAITER You're bruising the crepes. GUARD Life's a bitch, then you die. IGER ...no plates, they break into nice jagged pieces...nothing sharp, nothing that can be made sharp...no forks, no knives, no spoons....lose that carafe...we will have no potential weapons of any kind this evening, thank you...you can eat with your fingers... CLYDE The guards will think me gauche. Clyde's got the rose, teasing his nose with it. All around * the cellblock, inmates are shouting insults and threats... BLUE - 9-19-08 56.88 INT. OFFICE - DAY 88 Sarah is exiting, leaving Nick and Cantrell to stare at the phone and wait for it to ring... NICK (calls after her) Thanks. Keep digging.89 EXT. HILLTOP - DAY 89 Digging. Sod coming off, being set aside on plastic. FLASH PHOTOS being taken. Stones being pried up...90 INT. CELLBLOCK - DAY 90 Waiter and guards exit with the cart. The entire cellblock is SHOUTING. Iger pauses, gives a final glance back. Softly: IGER Idiot. Then he too departs, as: CLYDE aims his remote. MUSIC for dining. Clyde glances back at * Dwight, who's poised and tense. CLYDE I suppose if I don't share, you'll beat the shit out of me. Make me squeal like a piggy. That sort of thing. DWIGHT Fuckin' A. Clyde motions "join me, won't you?" They each take a seat. Clyde passes Dwight a crisply-folded linen napkin. Dwight tucks it like a bib. Clyde lays his on his lap. A hurled object CLANGS off their bars. The cons are now throwing things, hollering to raise the dead. Clyde cranks the music a bit louder, motions for Dwight to dig in. Dwight goes for it, cramming food in his mouth and grabbing for more, fingers digging in...91 EXT. HILLTOP - DUSK 91 ...fingers digging in, pulling loose soil, prying stones. A layer of soil is brushed aside to reveal: A face. Embedded in the dirt. He's been there a long time. FLASH PHOTOS highlight desiccated lips and teeth... BLUE - 9-19-08 57.92 INT. CELL - DUSK 92 ...lips and teeth -- Dwight chewing, laughing. Oddly enough, he and Clyde seem to have started enjoying each other's company. THE MUSIC PLAYS in bizarre counterpoint to: * THE CACOPHONY of an angry cellblock -- if the cons weren't in their cells, this would be a riot. All imaginable items are being hurled through bars: toilet paper rolls, books, shoes, clothes, all raining down, showering the cellblock floor... CLYDE I wonder what the little people are eating tonight? Dwight throws his head back and laughs...93 INT. OFFICE - DUSK 93 ...while, in deep silence, Nick unwraps a sorry-looking deli sandwich, swaps his pickles for Cantrell's potato salad (their long-standing ritual). They both keep glancing at the phone...94 INT. CELL - DUSK 94 ...as Clyde and Dwight indulge their food orgy. Dialogue is not important, so we won't hear any -- we'll let the MUSIC * take over and carry -- because it's all about tone: They're laughing and talking, winding each other up. And the more Clyde wisecracks, the more Dwight laughs. Clyde finishes gnawing a lamb rack and says something to Dwight about the ruckus. Dwight turns, glances out, as: Clyde casually, but with purpose, lowers the bone onto his lap -- adding it to one already there. He picks up a fresh one, starts chewing the meat off...95 EXT. HILLTOP - DUSK 95 Dark enough now for flashlights. In the beams, we see the body mostly excavated. Forensic team members gather, in gloves and breather masks, getting ready to try lifting. FORENSIC TECH Okay, let's see if we can get him out in one piece... ANGLE FINDS Davies at the helicopter, activity around him, holding Nick's card and dialing a cell phone...96 INT. CELL - DUSK 96 Clyde laughing, chewing, gnawing that third bone. ANGLE CLOSES DOWN as he brings it to his lap... BLUE - 9-19-08 58. TIGHT REVEAL: His napkin wrapped tightly around his hand provides padding for his palm. The two earlier bones are already held between his fingers -- he places the third, makes a fist -- and the bones now protrude from his clenched knuckles like a trio of spikes. TILT UP to Clyde...he reaches across, turns a paper plate over to cover the crepes...97 INT. OFFICE - DUSK 97 The PHONE RINGS. Nick snatches it up. He listens, looks to Cantrell...nods. They found the body.98 EXT. HILLTOP - DUSK 98 Behind Davies, B.G., the body's being extracted from the hole: FORENSIC TECH ...gently on three...one...two... DAVIES (on cell) --we'll have to wait for the autopsy results, but-- WHAM -- the GRAVE ERUPTS as HALF A DOZEN BURIED CLAYMORE MINES * pop like firecrackers, knocking Davies forward... *99 INT. CELL - DUSK 99 ...and Clyde lunges, face no longer laughing, the rolling cart slamming into the wall as the lamb bones protruding from his fist go slamming into Dwight's throat...100 EXT. WIDE LANDSCAPE/HILLTOP - DUSK 100 ...and the dust cloud cascades across the hillside... *101 INT. CELL - DUSK 101 ...and Clyde has Dwight pinned on the floor against the bars, arm ramming like a piston, punching those bones into Dwight's throat again and again, blood everywhere...102 INT. OFFICE - DUSK 102 TIGHT ON NICK holding the phone. He knows something awful just happened on the other end: NICK Agent Davies?103 EXT. HILLTOP - DUSK 103 An open CELL PHONE lies on the grass. Feet stumble haltingly into the shot. TILT UP TO: BLUE - 9-19-08 59. Davies, dazed, staring offscreen in shock. Dust and smoke billowing. People running, shouting...104 INT. CELL - DUSK 104 Clyde rises into the shot, calm now, covered with blood. He unwraps the napkin from his hand, snaps it open, uses it to wipe the blood from his face. He takes his seat, positions the cart, uncovers the crepes and resumes eating... FADE TO BLACK105 INT. PRISON COURTYARD - DAY 105 A steel gate slides open, revealing Nick. Flanking him are Cantrell, Dunnigan, Davies (banged up and bandaged), Iger, others. They move toward us with purpose, grim and resolute, Sarah bringing up the rear with a young ADA named ROYCE. NICK Why do you have him in the dome? IGER He killed his cellmate. We had to separate him out. CANTRELL What's wrong with solitary? IGER We don't have the authority. Not without a court order. This place was re-opened under protest as it is. Some areas are off-limits to our use -- tied up in a legal challenge by the ACLU as cruel and unusual. Especially solitary. (off Nick's look) It was nicknamed the dungeon... NICK (to Sarah) Get Judge Burch on the phone. Sarah speed-dials as a GUARD lets them in...106 INT. "THE DOME" - DAY 106 Clyde waits in the birdcage, shackled. The group spreads into the room, silence thick. Nobody will enter the birdcage this time. Clyde occupies it alone -- owning it, in fact -- as:BLUE - 9-19-08 60. IGER Nice trick with the rack of lamb. Didn't see that one coming. NICK Why'd you kill your cellmate? CLYDE I claim self-defense. NICK Here's what I think. You suckered us in. You ordered that meal for the purpose of killing him. CANTRELL Which makes it premeditated. Again. CLYDE And, again, you'll have to prove that in court. As I've said before... (to Nick) ...make your case. Or set me free. DAVIES (pissed, moving forward) Your booby-trap killed two of mine * and put four in the hospital. That * brings the total of people you've * killed to six -- and be advised the * Bureau does not suffer losing agents in the field. (turns) We're done dancing. I have the right to claim jurisdiction here, do I not, Detective Dunnigan? DUNNIGAN That is correct, Agent Davies. DAVIES (again to Clyde) So. I'm gonna rendition your ass. Rumor has it we have places that make Guantanamo look like Disneyland. Don't bother packing, you're gonna disappear. CLYDE (beat, glances to Nick) You see, Nick? That man is pissed! That's what I'm talking about! No deals, no compromise! You see? NICK I see you totally disconnected from reality, that's what I see! BLUE - 9-19-08 61. SARAH (handing off phone) Judge Burch with an answer for you.107 INT. JUDGE'S CHAMBERS - DAY 107 JUDGE BURCH I'm the ACLU's biggest fundraiser in this state. You wanna put that piece of shit in solitary? Good. As far as I'm concerned, you can bury him in the bowels of hell.108 INT. "THE DOME" - DAY 108 NICK Thank you, Judge Burch. (hangs up, looks to Iger) * Consider your court order signed. (moves to Clyde) Freedom? Not likely. In fact, you just bought a one room suite in the dungeon. Very exclusive. IGER You'll have it all to yourself -- the first man down there in over twenty years. Quite an achievement. Clyde sinks with a sigh of resignation and defeat, rests his head wearily on the bars. Nick moves in, speaking quietly: NICK You're doing everything wrong. Making all the wrong moves. CLYDE It would seem that way. The wording catches Nick -- but he dismisses it, turns: NICK Sam. I know you got hit hard. I know you're furious. But I'd like my shot at prosecuting this case. (off Davies' look) * This started with us. Let me finish * it. Give me that chance. * CLYDE I'm seeing fire in your belly, Nick. I like it. Keep going. This is our deal, after all... CANTRELL Let's not mistake this! This is not about the two of you!BLUE - 9-19-08 62. CLYDE (shouts) Wake up, blind man! It's been exactly that since I watched him shake Clarence Darby's hand on the steps of the Hall of Justice ten years ago! The Hall of Justice!His voice echoes off. In the silence that follows: DAVIES You wanna take this fuck down? Be my guest. Whatever you need. CLYDE (bangs his bars) That's the spirit, yes! (to Nick) It's on you now, Nick. It's your game to lose. Just don't screw up. You do, they'll scapegoat you. That's * how the justice system works. * (to Davies) Good call, Sam. Making me disappear was a bad idea. You couldn't have handled the blowback. NICK Blowback? * CLYDE * Cause and effect. Your actions * provoke reactions. The choices you * make come back to haunt you. * (off their looks) * There are things I've set in motion. * Dominoes that will fall. Didn't see * the rack of lamb coming? Start a list. All I can do at this point...if I feel like it...is stop them from happening. Ready to talk deal? NICK You're insane. CLYDE See how insane you think this is. You're going to release me from this place with all charges dropped within twenty four hours... NICK Or what? CLYDE Or I start killing everybody. BLUE - 9-19-08 63.109 INT. SOLITARY WING - DAY 109 "The Dungeon" -- a small underground block of FIVE CELLS dating back a century or more. A GUARD is spraying WD-40 into the lock of a cell, trying to turn the key. It finally does, as: Clyde is brought in. GUARDS have him on poles connected to a leather collar around his neck, and they're none too gentle. Clyde tosses a final glance back at Nick and Iger. * CLYDE Clock's running, Nick. ...and then he's gone, shoved inside.110 EXT. PRISON COURTYARD - DAY 110 Nick and the others exit the Dome, thoughts racing: CANTRELL What can he do? We've got him boxed in. He's isolated, for God's sake. NICK Let's keep him that way. Strict rules apply. Law says he gets one hour outside his cell a day, that's what he gets. Just one, under heavy guard. The other twenty-three hours, he's in that cell, he's a ghost, he doesn't exist. No contact whatsoever. DUNNIGAN You think it was a bluff? * NICK We underestimated him before. I'd like to know what this prick is capable of. (calls to Sarah) Update on the background check? SARAH Properties, investments, a few small * businesses he owns -- a lot of it's * hidden behind false names and shell * companies, but we're still digging... * NICK That's it? Nothing else unusual? * ROYCE The last twenty years, he's been * Joe Blow Citizen. But prior to that, * we've hit a blank spot. He used to * do consulting for the government, * but we can't pin down what. * BLUE - 9-19-08 64. They absorb this -- especially Davies. All eyes go to him. NICK What kind of government work leaves a blank spot, Sam? DAVIES I'll make a few discreet calls. See what I can find out.111 INT. RESTAURANT - NIGHT 111 Expensive, upscale. We find Nick and Kell at a table. She's got her menu, but her attention's really on Nick. He's toying absently with his wine glass. KELL Where are you? NICK (catches himself) Million miles away. Sorry. KELL Don't be. This guy's really doing a number on your head, isn't he? NICK Yeah. I guess he is. (she expects more) It's...killing his cellmate. I need that to make sense. KELL Why? Happens in prison all the time. NICK Yeah, I know, but...we're not talking some gang-banger. This man is precise. Does things for a reason. KELL He's psycho. You said so yourself. We saw it on that video. Psychos don't need a reason, Nick. They're just psycho. (off his look) Whatever. You'll figure it out. You * always do. NICK (smiles) Thanks. I'm a poor excuse, though. It's date night. You deserve better. (a glance around) Just wish you'd picked another * restaurant. * BLUE - 9-19-08 65. KELL This is our place. You love it here. * (as a waiter approaches) You should have said something... * She raises her menu -- yes, we're in La Traviata. And the waiter is the same guy who brought Benson Clyde his meal: WAITER Have we decided? Nick's CELL PHONE RINGS. He pulls it, checks the number, gives them a look -- sorry, gotta take this. NICK Sam? What is it? (beat) Not far, maybe six blocks. I'm having dinner with my wife.112 EXT. CITY HALL - NIGHT 112 DAVIES Two words: doggy bag. Be in your office in ten minutes. * (beat) Nick, don't ask questions. I was on the phone all day. Believe me when I say we've got one shot at this. He clicks off...113 INT. NICK'S OFFICE - NIGHT 113 ...and faces Nick and Cantrell in the dimly-lit office: NICK He's coming here? DAVIES So I'm told. It's called inter-agency cooperation, but don't ask me what agency because I wouldn't know. This isn't even back-channels, this is Theseus in the fucking Labyrinth. (off their looks) I just blew thirty years' worth of favors today calling in this one chit. I hope it's worth it. * The desk phone RINGS. Nick answers, listens a beat: WHITE - 9-7-8 66. NICK Yes. Yes, we're all here. Downstairs? Okay. Understood. (hangs up) He said not to take the elevator. Off their puzzled looks...114 INT. CITY HALL - SPIRAL STAIRCASE - NIGHT 114 Huge, descending seven floors, circles within circles dropping into darkness. Nick and Davies lead the way down. Cantrell brings up the rear with his dog and cane... SPOOK (O.S.) That's good there. They freeze. Nick and Davies peer down. They start to make out a FIGURE in the murky darkness one level below. SPOOK Which one of you is Davies? Davies takes a step forward. THE SPOOK eases partially into the light -- flinty gaze, military-style haircut. SPOOK You must be well thought of, Agent Davies. I don't do this. But I was asked nicely by the right people. They briefed me on your problems with Benson Clyde. NICK What are we dealing with? SPOOK Things I can neither confirm nor deny. Things of which, if I'm asked, I will disavow any knowledge. The guys trade a look. Cantrell can't help chuckling. CANTRELL (to Davies) You gotta be kidding me with this guy. SPOOK He's not. Tell me you grasp the implication of what I've said, or we're done here. CANTRELL (smile fades) Yeah. Okay. I get it.WHITE - 9-7-8 67. NICK What was Clyde? Some kind of spy? SPOOK Spooks like me are a dime a dozen. Clyde was a brain. He ran a think- tank, inventing things for use in the field. Ways to kill people. (off their looks) You need to get rid of somebody. It's not a situation where you can get close. What do you do? NICK Ask Clyde? SPOOK That's right. Ask Clyde. And he'd figure something out. Gizmos, strategy. He was good at it. NICK How good? SPOOK (beat) You play chess? NICK Yeah. Tournament level in college, matter of fact. SPOOK In my line, we use an aptitude profile based on chess. A tournament- level player like you can think five to eight steps ahead of an average player, did you know that? Me, I think about ten steps ahead, so I'd take you in a game. NICK What about Clyde? SPOOK Off the charts. If you're eight steps ahead, he's twenty. Or fifty. He's already got the game won on the first move, you don't even know you're playing yet. (further into the light) This cellmate he killed? You think that was random? Bullshit. That was a pawn taken off the board. If I were you, I'd be trying to figure out what the move was.BLUE - 9-19-08 68. NICK I have been. Any thoughts? SPOOK Top of my head? Was the cellmate ever connected with this case? Or with Clyde? Was anybody else in that facility? Guards? Cons? The janitor? Any connection at all, no matter how remote. Because if Clyde says he has things in play, he does. DAVIES Like what? He's locked up. What can he do? SPOOK (gives him a look) You're an average chess player, aren't you? DAVIES Actually, I kind of suck. SPOOK I can tell. But I like your tie. DAVIES (perplexed) Thank you. Father's Day. SPOOK There's this tie -- we call it the Albert, after Albert DeSalvo. They tiptoe in one night, thread a piano wire with a ratchet gizmo into one of your ties. Sounds crazy, but * trust me it works. You put your tie * on and all day long it slowly tightens. You don't even notice it's cutting off the blood-flow to your brain. Then you drop dead. Brain-dead or plain dead, doesn't much matter at that point. (beat) Clyde invented that.The Spook melts back into the shadows. The guys crane forward,trying to see. There's a brief spill of light below as adoorway opens and closes...he's gone.The three of them stand there absorbing everything they'veheard. Nick sits on a step. Quiet looks are traded......and they all start taking off their ties... WHITE - 9-7-8 69.115 INT. NICK'S HOUSE - NIGHT 115 Nick enters tie-less, subdued, distracted. Kell and Emma are in the living room playing Scrabble. EMMA Daddy! Emma jumps up and runs over for a hug. EMMA Mom said I could stay up late. Wanna play Scrabble? NICK Let me talk to mom first. Emma returns to the couch. Kell comes to Nick, noticing his weird vibe: he's looking around at the room. NICK Sorry about date night. KELL It's fine. You learn anything? NICK Thing or two. He moves up the hallway -- slowly, as if noticing the walls for the first time, the picture frames, the light fixtures... KELL (following him) Nick? NICK Hey, I was thinking. Maybe you could pack an overnight bag for you and Emma in case you need to...you know...spend the night in a hotel. Or something. KELL Why would we wanna do that? NICK No reason. It's like a fire-drill thing. You know. In case.116 INT. BEDROOM - NIGHT 116 He comes in, opens the closet, reaches up for some overnight bags -- but pauses, drawn to his tie-rack inside the door. He stares at the ties hanging in neat rows...starts touching them, running his hands up and down the fabric...BLUE - 9-19-08 70.Kell stands in the doorway watching. Wondering what the fuckis going on. And getting a little creeped out. KELL Honey?He freezes, feeling something in the seam of a tie. Runs hisfingers up and down, thinking something's in there.Emma appears in the doorway too, at her mother's side. Bothstaring now. They watch as:Nick grabs a pair of scissors from Kell's sewing kit, carvesthe tie lengthwise, rips it open, feverish and faster, findsnothing inside but mangled fabric and thread and -- stops.Looks back. Realizes they're staring at him. KELL What the hell are you doing?Nick pauses -- what the hell is he doing? He starts to regainhis sense, laughs at himself in amazement. EMMA Daddy? NICK It's okay, baby -- I'm fine, I promise. Go back to your game.Dubious, Emma departs. As soon as she's out of earshot: KELL Seriously, Nick. What the fuck. NICK Nothing. I got paranoid for no reason, that's all. I'm fine now. I can't believe I let that son of a bitch Clyde get to me like that. KELL Are you in danger? Are we?The question hangs there -- the real question. * NICK I'm sure we're fine. *He pulls his phone, speed-dials. * NICK * I'll make goddamn sure. * (beat, into phone) * Sarah, roust the ADAs. Tell 'em * we're pulling an all-nighter. BLUE - 9-19-08 71.117 EXT. PRISON COURTYARD - NIGHT 117 ADAs are parking their cars along the wall, directed by a waving GUARD. ANGLE FINDS a lot of people: cop, prison, FBI. * Sarah jumps out of her car and hurries over to Nick and the others with a flock of EIGHT ADAs at her heels. NICK Ready to turn this place upside down?118 INT. PRISON ADMINISTRATION OFFICES - NIGHT 118 ...we find the ADA team spread around the bullpen, aided by prison personnel and police advisors -- everybody's on computers, or sorting heaps of paper files, etc. NICK See if there's anybody locked up here -- or working here -- ex-cop, witness for the prosecution -- anybody who might have had anything to do with the original Darby-Ames case, or has any previous history with Benson Clyde. Start with the cellmate. Flag anything, no matter how insignificant it seems... JAMESON glances up in dismay from his keyboard. JAMESON This could take days. Sarah, grabbing a stack from a filing cabinet and slamming the door shut with her hip, gives him a laser look: SARAH We boring you, Jameson? You got someplace to be? JAMESON No, Miss Lowell. SARAH (crossing the room) Weekend plans? Cancel 'em! I don't wanna hear any shit about it! (on Jameson again) Clack-clack, Jameson. Clack-clack. BLUE - 9-19-08 72. Jameson dives onto the keys, starts clack-clacking. Sarah gives Nick a nod -- she's got this in hand. Nick exits...119 EXT. PRISON GROUNDS - NIGHT 119 ...and finds a FORENSIC TEAM disassembling Clyde's Sleep-Matic bed -- nuts, bolts, struts, electronics. The mattress is being razored open, wadding pulled out and run under fluoroscopes. NICK Well? DUNNIGAN It used to be a Sleep-Matic adjustable bed. Now it's not. CAMERA FOLLOWS them to a table where an FBI TEAM is focusing all their skills and tech on Clyde's ipod and speaker dock. The TEAM LEADER places the buds in his ears, listening. NICK What do you have? TEAM LEADER Rocky Mountain Way. Joe Walsh. (off Nick's look) What do you want from me, it's a fucking ipod. The other agents snicker, not hiding their amusement, but: * NICK * Tear it apart, make sure. Memory. * Speakers. Wiring. Everything. *120 INT. CLYDE'S CELLBLOCK - NIGHT 120 GUARDS, FEDS, BOMB-SNIFFING DOGS -- they're cruising the cellblocks, flashlights swiveling, beams catching the faces of sleepy cons in their cells or at their bars... We find Nick and Iger at Clyde's now-empty cell. TWO FBI * emerge, shake their heads. * FBI FORENSIC Blood stain. Few fibers. That's it. CONVICT (sleepy, at his bars) Warden, man, whassup? IGER Everybody back to sleep. NICK (looks to Iger) I want to see him. BLUE - 9-19-08 73.121 INT. SOLITARY WING - CLYDE'S CELL - NIGHT 121 Two doors: solid steel outer door, inner barred door. The outer slides aside, reveals Nick outside the bars. Inside stands a shadow, waiting: Clyde. CLYDE You're up early. Trouble sleeping? NICK It was a good bluff. But you're done. Fucking with my head. Scaring * my family half to death. Done. Clyde moves closer to the bars, into the light. CLYDE Amazing, isn't it? How primal that is. That pull? What a man is capable of when it comes to his family? * NICK * You strip away all the polite shit, * that's what we're really about. CLYDE * I hope you never face what it is to * lose them, Nick. It's like dying yourself. There's nothing worse. That could play as a threat, of course -- but it's not. It's * genuine. And pained. And sincere. And Nick knows it. NICK Good night, Ben. CLYDE Good night, Nick. And then the moment's gone and the mocking Clyde returns: CLYDE Is it casual Friday? (off Nick's look) I've never seen you not wear a tie. And that says volumes: Clyde's totally aware of what they've been up to and is tickled by it. The outer door GRINDS SHUT...122 EXT. PRISON GROUNDS - DAWN 122 Night has passed, day is coming. All the earlier energy has dissipated into anticlimax and weariness. People straggle across the yard in groups toward their vehicles...BLUE - 9-19-08 74.Nick, Dunnigan, Davies, Iger -- all look whipped. Sarahapproaches, briefcase in hand, files under her arm. SARAH We dug pretty deep for one night. Still got a ways to go, but on a first look? Nothing. Nada. Zip. IGER Well, that's good news. NICK So far. Now we double-down. Make * absolutely certain. * (nods after ADAs) * Let them all sleep a few hours, * then bring 'em back for round two. * SARAH Due diligence. My middle name. *She trudges toward her car, following the ADAs toward theirvehicles. Nick trades relieved looks with the men -- everybodycoming down from a tense night. Davies shakes their hands: DAVIES Fellas. For once, glad not to be of assistance. DUNNIGAN Love it when they cry wolf.The men separate in different directions. Dunnigan catches aglimpse of Sarah almost at her car -- she loses a page fromunder her arm, which flutters away on the breeze. DUNNIGAN (calls to her) Miss Lowell! Lost something!She looks back, sees the page skittering slowly across theground. Weary, she blows a strand of hair from her eyes, setsdown her briefcase, walks back to get it...Dunnigan smiles, keeps walking. The other men too. Nick standsa moment, watching, then starts toward his car...The ADAs are getting to their cars, pulling key fobs, aimingthem to unlock their cars...Sarah is getting to the page, leaning down...The ADAs are pressing the remotes, a CHORUS OF CHIRPS...And WHAM -- the cars EXPLODE in a stunning SERIES OFDETONATIONS, killing the ADAs, throwing bodies through theair, kicking cars off the ground and flipping a few skyward... BLUE - 9-19-08 75. Nick is knocked flat by heat and shrapnel ripping the air... Sarah goes flying. An arcing car slams upside-down nearby on a rocket-booster of flame and shattering axle... And from this point on the visuals and sound are surreal: * NICK pries himself off the ground, stunned, looking around, trying to figure out what the fuck just happened. He's disoriented, all sound muffled. Smoke drifting. Flames billowing. Dunnigan runs up to Nick, shouting something. We can't tell what, because Nick can't hear. Dunnigan sees Nick is alive, turns and keeps going, running to help the others... Nick looks over, sees bodies being pulled clear by responders, men running in, beating at flames... Nick, dazed, looks through the drifting smoke and sees Sarah trying to sit up. There's something wrong with her leg. Nick pulls himself to his knees, staggers to his feet as sound filters back in: screams, shouts, the roar of flames. He stumbles through the smoke to Sarah. She's on the ground in shock, sobbing and flailing, crying out. Nick sees the jagged piece of metal that slammed deep into her calf, nearly severing it. He drops to his knees, tries to calm her: NICK You're gonna be all right. He pulls the metal from her leg -- mistake. Blood sprays. He clamps down hard with both hands, blood going everywhere. NICK MEDIC! I NEED A MEDIC! He keeps clamping down, Sarah screaming and sobbing, as we GO TO BLACK123 IN A SERIES OF FADE-TO-BLACKS, THE FOLLOWING IMAGES: 123 FIREMEN spraying the flaming rubble of the cars... TANGLES OF WRECKAGE billowing smoke... A BODY BAG dragged across the ground, added to a ROW OF BODY BAGS awaiting transport... EMERGENCY VEHICLES parked haphazardly, lights spinning... COPS AND RESPONDERS dealing with the scene... BLUE - 9-19-08 76. SARAH being wheeled on a gurney to a PARAMEDIC VAN by an EMS TEAM, oxygen mask on her face, gravely injured but stabilized, everything swirling around her, Dunnigan clearing a path... NICK appears, takes her hand. She clasps it weakly. They load her on and the vehicle pulls out with siren and lights...124 EXT. PRISON GROUNDS - DAY 124 Back to "real time" -- Cantrell is just getting out of his town car with his dog. WE FIND Nick on his cell: NICK (on cell) Baby. Listen. Don't be worried or scared. But I want you to pack those overnight bags... I don't have time to explain now. Just do it, okay? I'll call you back as soon as I can -- please, honey, I gotta go. He clicks off as ANGLE COMES AROUND, revealing Davies and his TEAMS coming his way: DAVIES Each car had an explosive charge on the gas tank. NICK He's got someone working with him. On the outside. He's got to. DAVIES Not necessarily. Everything looks pre-rigged. BOMB EXPERT We found a short-range transmitter beacon buried outside the prison wall. When your people showed up here and drove in through the gate, the signal armed the bombs. * DUNNIGAN He could have planted those bombs a month ago. CANTRELL (grappling for sense) No...no, we've got two dozen ADAs on payroll. Those eight were picked last night on the spur of the moment. How could he know which eight would show up? WHITE - 9-7-8 77. DAVIES He didn't. Our people just found bombs on every car in your ADA pool. All two dozen. We're disarming those now.125 INT. "THE DOME" - DAY 125 TIGHT ON CLYDE shoved into the birdcage. The neck-poles are disengaged. He moves forward, gazing through the bars... CLYDE I want a phone in my cell. If I'm conducting my own defense, it would be useful. Also in case you and I need to be in touch, Nick. NICK Fuck you. CLYDE (glances at clock) Your twenty four hours are about up. In return for the phone, I'll extend you another twelve hours. NICK If not? CLYDE How many more people die while you stand around dithering? How many do you get killed before my point starts sinking in? Cantrell closes in, tracking Clyde by voice: CANTRELL Motherfucker! Whatever point you had was lost long ago! Eight kids dead in that yard, most of them just out of college! Eight! I have to talk to their families. I have to try to explain why their loved ones are dead. Clyde leans down, right in Cantrell's face, intense: CLYDE I've been waiting for my explanation for ten years. So far... (shouts) ...NOBODY'S FUCKING BOTHERED! Beat. Cantrell spits in his face, turns away trembling with rage. Clyde calmly wipes it off, rises to address them all:BLUE - 9-19-08 78. CLYDE If it hasn't dawned on you, this is a war. As in any war, there will be collateral damage. The question, as always, is how much damage you're willing to take before you withdraw. DUNNIGAN Maybe I got a better idea. Maybe we end this war right now. (looks around) Fourteen people dead! I have to say * this out loud? (moving toward Clyde) Prisoners die in custody all the time. Attacking a guard. Trying to escape. Shit like that.Clyde, eyes locked, pulls his shirt open -- here's your target.Dunnigan, temper flaring, yanks his revolver and aims. DUNNIGAN Don't tempt me. GARZA Jesus Christ, man, dial it back... CLYDE Do it. It would be decisive. Stupid, but decisive. (off Dunnigan's look) Can you handle the blowback, Detective? The "shit like that?"Nick's stunned, seeing the whole situation spiraling out ofcontrol. He steps in, seizing the moment back: NICK Put the gun away! Are you crazy? DUNNIGAN (calmly reholsters) It's an option. All I'm saying. Risk the blowback. Ride it out. NICK We're not risking anything. Or letting him tear us down. (to Clyde) You're not getting us to throw out the rules, like you. No way. BLUE - 9-19-08 79. CLYDE I like rules. I've wanted you to follow them from the start. Like the one that says you prosecute a man who murders my family. (re-buttons) So. Rules. A phone buys you another twelve hours. But if you haven't cut my deal and let me go by the deadline... NICK What? What then? CLYDE I'll kill someone in this room. That sucks the air out of the conversation -- everybody stares as that sinks in. Glances are traded. NICK Who? He looks at the room full of people, scans their faces as if trying to pick. He points his finger, starts going from one end of the group to the other... CLYDE Eenie...meenie...miney...moe... ...from person to person, to the end, moving back again... CLYDE ...my mother...told me...to pick...a person...and that...person...is... He lands on Cantrell. Silence. Cantrell obviously can't see. CANTRELL Who's he pointing at?126 EXT. PRISON COURTYARD - DAY 126* Everybody on the move, emotions high: CANTRELL Fuck him. Let him try. NICK That's not helpful! We have fourteen * dead! You could ask them what he's capable of, but they're in no position to answer.BLUE - 9-19-08 80. CANTRELL (beat, tight) Point taken. DAVIES We'll give him his phone. We'll tap in and monitor every call. DUNNIGAN Buys us another twelve hours, we could use that right now. That puts the deadline at... (checks his watch) ...about 7:30 tonight. CANTRELL Shit. I'll be in front of a room full of lawyers. The A.B.A. dinner. I'm the keynote speaker. NICK No way. Find a replacement. DUNNIGAN Until his deadline passes, you're in protective custody. Not negotiable.Cantrell isn't happy about it -- but nods. NICK And have them switch the location of that dinner. CANTRELL That's last minute. BLUE - 9-19-08 81. NICK Exactly. He could have gotten your schedule in advance -- been planning to take you out at the dinner along with everybody else. That eenie- meenie act could have been horseshit. (off their looks) We have to get a few moves ahead. Plan for every contingency. DUNNIGAN This way, Mr. Cantrell. Garza, you're with Mr. Price. They split up. Dunnigan leads Cantrell to an unmarked car while Nick and Garza head toward Nick's. Nick's phone RINGS. He checks the number, answers: NICK Hey baby -- no, I'm fine. Really. Honey, calm down... He listens a beat, calls to the men getting in the other cars: NICK Our shit just hit the fan in a big way -- we're all over the news... (on phone) Yes, all eight died. Sarah's in surgery right now... (beat) ...they think so, but... (beat) ...okay, I'll meet you there. Love you. He hangs up, aims his key fob -- and hesitates. He and Garza trade a look, thinking the same thought. ANGLE SHIFTS to: BOMB EXPERT * You're good. Car's been swept. NICK Of course it has. Thanks. Nick, feeling foolish, presses the fob. Nothing but a tiny CHIRP. He and Garza get in.127 INT. UNMARKED CAR (MOVING) - DAY 127 Dunnigan drives. Cantrell and his dog ride in back. Both men tense and silent. TWO POLICE CRUISERS provide escort...128 INT. NICK'S CAR (MOVING)/EXT. HOSPITAL - DAY 128 Nick is pulling up toward the hospital, sees a TV NEWS VAN at the entrance, a MINICAM CREW arguing with hospital security. BLUE - 9-19-08 82. GARZA Go around. I'll get us in back. Nick hits the gas, drives past the news van...129 INT. HOSPITAL - DAY 129 ...and they come past the nurse's duty desk. UNIFORMS are stationed in the hallway. Garza pushes a path through: GARZA Keep the press off this floor, understand? Nick squeezes past. The floor is busy. He finds Kell in the waiting area. She looks up, spots him. Kell rises. She and Nick pull into a tight embrace. No words for a long moment. Kell's shaken, fighting tears. NICK Any word? KELL She's in surgery now. They're saying she'll be okay. NICK Thank God. That's good. KELL Good? You'll have to explain the good part, Nick. I'm missing it. This is crazy. What if something happened to you? What would I say to Emma? What would we do? NICK You didn't lose me. You won't. Does the school know we're pulling Emma out of class? KELL I called, yeah, but -- I'd rather be here for Sarah when she wakes up. Nick -- and for you. I want to do something... NICK You are. Getting our daughter out of harm's way. And yourself. (calls to Garza) Detective. Will you escort my wife, please? (to Kell) There's not much time. I'll be there to see you off. Okay? Please? BLUE - 9-19-08 83. Kell reluctantly walks away with Garza, while: *130 EXT. CITY HALL - DAY 130 A media frenzy is brewing: TRUCKS pulling in, NEWS CREWS gathering. ANGLE TO A REPORTER on-camera: REPORTER ...reporting live from a tense scene at City Hall...we have confirmation of earlier reports that eight people with the district attorney's office were killed this morning in an explosion at the County Correctional Annex in George Hill...131 INT. D.A.'S OFFICE - DAY 131 Nick enters, finds the STAFF around the bullpen watching the same live report. Everybody's in shock, a few are crying... * REPORTER ...details are sketchy at this point, and names are being withheld... People start noticing Nick. Royce comes up, looking dazed. NICK Sarah's fine. That's the good news. ROYCE Oh, God, that's a relief... (calls to the others) Miss Lowell is okay...she's okay... Everybody reacts -- they needed a shred of good news. ROYCE We've been getting calls from upstairs. The mayor's people. (off Nick's look) Someone from our office has to make a statement to the press. With Mr. Cantrell absent, the mayor wants you to do it. WHITE - 9-7-8 84. NICK (pause, thinking) Royce...how much petty cash do we have in the safe? ROYCE I don't know...four thousand? NICK Give it to me. And your cell phone. I need to borrow it for a few days. ROYCE (beat, puzzled) What do you want me to tell the mayor?132 INT./EXT. CITY HALL - DAY 132 A FIGURE enters shot, pushes a door open into glaring daylight. CAMERA FOLLOWS him outside to a podium set up before a swarming MOB OF PRESS shouting questions. ANGLE COMES AROUND to reveal: Royce, nervous, leaning to the microphones. ROYCE We in the D.A.'s office are still reeling from the events of this morning, as you can imagine. It's a tragic day for us...for our city...133 EXT. TRAIN STATION PLATFORM - DAY 133 Kell and Emma on the platform, Garza hovering nearby, CROWDS swarming around them as boarding calls come over the P.A. system. Kell is looking around, anxious. Nick appears on the platform, hurrying. They see him. Emma runs, throws herself into Nick's arms as he crouches. EMMA I wanna see Sarah... NICK Hey, hey...she's fine, don't be scared. That's not allowed. And there's no reason for it. EMMA This sucks. NICK I know. EMMA Why do we have to go?BLUE - 9-19-08 85. NICK 'Cause your mom wants to see a few Broadway shows. You gonna begrudge her that? EMMA You're kinda full of shit, Dad.Nick's taken aback -- not sure whether to laugh. He trades alook with Kell, who's too tense with worry to care. NICK Okay, you're right. Maybe I am a little. But only a little. The part you can believe is that this is all going to be fine. Sarah, us. (directed at Kell) I mean it. Okay? EMMA Okay.She detaches from her father. Nick rises to Kell, pulls anenvelope, hands it to her... NICK No credit cards. Too easy to track. Meals, hotel, whatever -- pay cash....then takes her cell, swaps it for Royce's... NICK I'll keep this. It can be traced. Use this one instead. Don't answer unless you see it's me. * P.A. VOICE FINAL BOARDING CALL FOR NEW YORK CITY DIRECT, FINAL CALL... KELL Anything else? NICK I love you. KELL Emma's right. This sucks.She embraces him, fears and emotions swirling. KELL Be goddamn careful. BLUE - 9-19-08 86. She breaks the embrace. Nick stands, watching them get on the train. The doors close. The train starts out... Nick turns. Garza's been watching -- a look of sympathy for what Nick's going through...134 INT. TRAIN - DAY 134 Kell and Emma on the train, watching buildings slide by outside the window. Kell troubled, holding her daughter...135 EXT. AERIAL SHOT OF TRAIN - DAY 135 WE FOLLOW the train traveling a path through canyons of buildings, leaving the city... ANGLE SWAPS TRAIN FOR CAR as we drift over a bridge and find Nick's car racing across the span... *136 INT. CANTRELL'S HOUSE - DAY 136 Nick and Garza enter. ANGLE COMES AROUND to reveal the house swarming with HIGH-TECH FBI FORENSIC TEAMS turning the house upside-down, tearing things apart, X-RAY SCANNING walls... Cantrell sits isolated, near tears of frustration, as the place is trashed around him. He glances up, hearing: NICK Jesus. * CANTRELL Nick? These guys won't even let me pack a bag. Not even a toothbrush. Davies enters frame, accompanied by FORENSIC TECHS -- not the guys from downtown, but people who work serious ops. DAVIES We have granules of an unidentified substance in the ice-maker... He holds up a drinking glass with a few ice cubes, runs a black-light wand behind it -- dark granules become visible on each pass, embedded in the ice. DAVIES I'm betting something lethal. TECH #1 Like this salt. (pours a small amount) Not sodium chloride. Potassium chloride. It's a neuro-blocker, stops the heart -- they use it in lethal injections. You'd be dead before you got up from the table. *BLUE - 9-19-08 87.Nick tosses the others a grim look. * NICK I'm telling you, Clyde has someone * working with him. Someone on the outside. CANTRELL Who? Who could he have? NICK Somebody from his past. Could be * that spook we met on the stairs, * for all we know -- he'd know how to * plant this shit... CANTRELL Him? No--why would Clyde let him come talk to us? NICK To fuck with our heads? To get us to bring in our ADAs so he could blow them up? DUNNIGAN * It would be a Clyde move. But it's * not proof. (to Cantrell) * Could he have planted this stuff in * your house before he was arrested? CANTRELL I--I don't know... NICK Jonas, think -- last few days, have * you used any ice? Any salt? CANTRELL (confused, grappling) I don't use salt--my cholesterol. Ice? Yeah--not long ago. NICK Before or after he was arrested? CANTRELL I don't remember! You track your * use of ice, Nick? You keep a daily * log?TECH #2 calls from the kitchen: BLUE - 9-19-08 88. TECH #2 Heads-up! Looks like polonium here. In his tea pot. Same way the Russians killed Litvenenko. Took him two weeks to die. (off their looks) It's an exotic isotope. All you need is a trace amount. Rips through your organs and bone marrow. Nick's been listening, thunderstruck, paler by the moment. He looks to Cantrell sitting there, quiet and shaking. NICK * I'll buy you a new toothbrush. *137 EXT. AERIAL ESTABLISHING OF HOTEL - DAY 137 DRIFTING IN on a reflective glass skyscraper -- spectacular.138 INT. HOTEL ROOM - DAY 138 The door opens, revealing Nick, Cantrell, et al. They come into the room...actually, "room" undersells it. It's the most spectacular suite known to man -- huge open floor plan, with a stunning view of all the downtown buildings surrounding us. NICK Holy shit. CANTRELL Nice? DAVIES I'm actually a little jealous Clyde didn't pick me. Cantrell laughs -- and it lightens everybody's mood. Nick * drifts to the windows, gazing out, as: * DUNNIGAN It's the presidential suite. Last person who stayed here was actually a president. Of a country. Security here is amazing. NICK * It's not bad, Jonas. I think you can muddle through. DAVIES You're muddling with him. I don't want you back at your house until my people sweep it. You need pajamas, buy some in the shop downstairs. Nick nods, pulls Sarah's reports from his briefcase. BLUE - 9-19-08 89. NICK The background check my office was compiling -- these properties we * think Clyde owns? If he is working * with somebody, they could be * operating out of any of these. We * should check them. * DUNNIGAN I'll try to wrangle additional * manpower. Big job. * DAVIES (pages the report) * No shit. This is quite a list. Over * forty locations? NICK It's not even complete. Sarah was * in the middle of it -- untangling property ownership from under assumed names, shell companies. She's the expert on all that. CANTRELL * Fellas... I'm grateful for all your efforts. I just wanted to say it. NICK Save it for tonight. Hope you're in the mood for Chinese takeout. CANTRELL Where are you going? NICK That stuff in your house -- it's all gone too far. I started this. I owe everybody at least one last try at defusing it.139 EXT. COUNTY JAIL ANNEX - DAY 139 A STEEL DOOR opens. Clyde steps out, shackled, blinking at daylight. He comes down a short flight of steps... CAMERA COMES AROUND to reveal his surroundings: not within prison walls, but rather behind the prison -- a loading area we haven't seen, comprised of fences and razor wire. Nick walks in the rear gate, passed through by Warden Iger himself -- this is clearly an off-the-books meeting. Nick and Clyde walk to each other, meet halfway.WHITE - 9-7-8 90. CLYDE Interesting location you've chosen. NICK I thought we'd have some privacy. CLYDE For what? A talk? Or... (gazes around) Maybe you've decided to take Detective Dunnigan's advice.He's noticing GUARDS atop the prison wall and surroundingroofs -- all with sniper rifles. NICK Be the perfect place for it. Outside the wall. Look like you were shot trying to escape.WIDE ANGLE FROM ABOVENick and Clyde below. A SCOPE suddenly rises into frame,turning our shot into a SNIPER SCOPE POV, jumping Clyde'sface into magnification. He smiles in the crosshairs...RESUME NICK AND CLYDE CLYDE You have some kind of signal worked out? You scratch your nose and blam, I'm a goner? NICK Something like that. CLYDE Might solve all your problems. What's stopping you? Afraid of the blowback? NICK No. It's to prove a point. (off Clyde's look) Just because I have the power, doesn't mean I have to use it. CLYDE Ah. Nice. Good one. NICK One can show mercy. CLYDE Mercy. Right. NICK Yeah. So why don't you?BLUE - 9-19-08 91.We see Clyde's brain bend a little -- trying to wrap his headaround it. It's almost painful for him. CLYDE I think we've come a little too far for that, haven't we, Nick? I mean, what do I say? Sorry, my bad? Which way to the execution chamber? NICK Don't give me that. Death doesn't scare you. CLYDE (smiles "right") Yeah, but...we're in the flow of this now. You cry havoc, you let slip the dogs of war, you go with * it. You don't just stop because * someone says hey wait. By then the dogs are dragging you. NICK Until one side admits defeat. What if I did that? What if I said... (beat) ...you were right. I was wrong. What if I say I should have prosecuted both men ten years ago? CLYDE I'd say you're making progress. You should have, you know. Prosecuted both. NICK I'd have lost. CLYDE With your head held high. And without any blame from me.Nick's CELL RINGS -- he turns away, answers: NICK Yeah... (beat) She is? Great news. I'll stop on my way back. And Royce? Put some get- well flowers in her room, they sell 'em in the lobby. Thanks. (hangs up, baleful) Six hours in surgery.BLUE - 9-19-08 92. CLYDE But she's okay -- good. Miss Lowell is a fine young woman. (beat) Oh, hey...your wife and little girl get out of town all right? NICK (beat, staring) You asking that question makes me want to scratch my nose.Clyde glances around at the snipers with a laugh. CLYDE Just a guess. It's what I would do. Get 'em out, make sure they're safe. (reproachful) C'mon. Like I'd ever have hurt them anyway. NICK No? CLYDE There are limits. Even in war. I may be many things, Nick. But I'm not Clarence Darby. I'm not Rupert Ames. I'm not that kind of monster. NICK What kind are you? CLYDE Not the kind who'd hurt your wife and child. Christ, look at me. Mine were my salvation -- then they were killed -- and all I had left was this. Life without them in this fucking charnel-house world.Pause. Drawing close: CLYDE It hurt to lose them, didn't it? Your family. Even knowing they'd come back. NICK Yeah. CLYDE Imagine knowing they wouldn't. NICK I can't. I can't imagine that. * BLUE - 9-19-08 93. CLYDE Good. I envy you. For me, knowing * mine won't come back is the only thing that's crowded my thoughts for ten years. If I could take a rusty knife and cut out that part of my brain, I would. NICK I won't make any more deals with murderers. If hearing that makes a difference...if that was the point of all this...you've won. We see Clyde's brain hurting again -- he's trying to believe that, would like to believe that... CLYDE Counselor. I have no doubt, as we stand here, that you really believe that. I wish I could. (pause) Are we done? You gonna scratch your nose, or can I go? Silence now. Nothing left to say. They turn and walk in opposite directions...140 INT. CLYDE'S SOLITARY CELL - DAY 140 ...and Clyde is brought in, locked into gloom as the doors SLAM behind him. He stands, staring at the darkness...141 EXT. CITYSCAPE - DUSK 141 The sun is setting...142 INT. NICK'S CAR (MOVING) - DUSK 142 ...as Nick drives back into town, crossing one of the bridges.143 INT. HOTEL BALLROOM - DUSK 143 (Not Cantrell's hotel, but one close by.) A SIGN reads: "A.B.A. Dinner." PEOPLE are entering, passing a GREETER. ANGLE FINDS Judge Burch arriving...144 INT. JUDGE BURCH'S OFFICE - DUSK 144 A SECRETARY answers the ringing phone: SECRETARY Judge's chambers. VOICE ON PHONE Laura? Laura, that you? BLUE - 9-19-08 94. SECRETARY I'm sorry, Judge Burch is gone for the evening. VOICE ON PHONE Dang it. Listen, honey, I flew in from Galveston for this A.B.A thing Laura invited me to -- just got here and they said it was moved. You got a number, address, anything?145 INT. HOSPITAL ROOM - DUSK 145 Nick peers in. Sarah's in bed, leg braced, in traction. She's awake but groggy -- which isn't stopping her from giving instructions to Royce, who's scribbling notes at her bedside: SARAH ...tell Hansen we need hard info on those addresses...don't let the shell game on ownership title slow him down...at this point we'll take educated guesses... Sarah looks over, sees Nick step in, gives him a weak smile. NICK Hey. SARAH Hey. Nice flowers. Thanks. He comes to the bed, takes her hand, squeezes it. NICK How you doing? SARAH This place has great drugs. Damn. I should've totaled my leg long ago. But her emotions are in turmoil -- she puts her hands over her face, holding back a sob. SARAH They're all dead? NICK I'm afraid so. Sarah lets herself cry. Nick waits, then: * NICK You're alive. That counts for a * lot. * (beat) * I'm sorry I put you in harm's way. *BLUE - 9-19-08 94A.She absorbs that, angrily wipes her eyes. SARAH It wasn't you. It was that son of a bitch. I hear he's threatened Jonas? * BLUE - 9-19-08 95. NICK We're all over it. Jonas is safe -- * out of reach. *146 INT. CANTRELL'S SUITE - NIGHT 146 Cantrell on the upper level, wearing brand-new sweats, white cane tapping the unfamiliar place, Betsy at his side. He follows VOICES around the corner... Inside a room, Garza's playing poker with three other cops: LASZLO, FLEMING, and MITRIUS. CANTRELL Who's winning? FLEMING Laszlo, the cheatin' prick... LASZLO Yer mama... GARZA Wanna sit in? CANTRELL If I had my Braille set, I'd clean you out. Not much of a game if you have to tell me what my cards are. GARZA Right...sorry. The other guys toss Garza a look -- what a moron. CANTRELL People forget. No worries. (turns away) Enjoy your game, fellas. FLEMING Need help? Want one of us should walk you down? CANTRELL I'm good. Unfamiliar places take me a little longer. But I get there. GARZA (calls after him) Holler if you need anything. (back to the game) Okay, who's in, who's out...147 INT. HOTEL BALLROOM - NIGHT 147 WAITERS setting out salads, guests taking seats, as: WHITE - 9-7-8 96. M.C. Good evening. Sorry for any confusion our last-minute change of location might have caused...148 INT. CANTRELL'S SUITE - NIGHT 148 That incredible city view -- skyscrapers all around, aglow with lights. Cantrell enters frame, drawn to the glass... A POLICE HELICOPTER IS ROARING slowly past out there, drifting among the buildings at our eye level. Cantrell raises his hand, places it on the glass, feeling the vibrations... The copter's searchlight sweeps the windows, highlighting him briefly with incredible light he can't see...149 INT. OTHER HOTEL BALLROOM - NIGHT 149 ...but we can see the copter going by from here, searchlight playing over Cantrell's building -- which is plainly visible just across the way. ANGLE WIDENS to find Judge Burch at a table, as: M.C. ...please join me in a warm welcome for our keynote speaker this evening, Judge Laura Burch... She rises and heads for the podium amidst APPLAUSE...150 EXT. CHINESE RESTAURANT - NIGHT 150 Nick exits, arms loaded down with bags of takeout, talking on his cell phone as he heads for his car: NICK ...yes, you pain in the ass, of course I got your kung-pao...you think I'd forget...just don't give Betsy any, I can't deal with dog farts all night...151 INT. CANTRELL'S SUITE - NIGHT 151 Cantrell's sitting in front of that incredible view with Betsy at his feet, on the phone: CANTRELL How long, man, I'm starving...152 EXT. CHINESE RESTAURANT - NIGHT 152 Nick gets to his car, checks his watch -- and pauses. The time reads: "7:27." Nick is suddenly hit with a momentary sense of dread. He glances up the street... WHITE - 9-7-8 97. ANOTHER ANGLE reveals Nick in deep f.g. looking up the broad avenue -- in the distance stands Cantrell's skyscraper. NICK I'm minutes away. Relax. Nick shakes off his misgivings, hangs up, gets in the car...153 INT. CANTRELL'S SUITE - NIGHT 153 Cantrell eases to the floor, sits with Betsy. He strokes her fur. She WHINES, uneasy. CANTRELL It's okay. It's gonna be okay.154 INT. BALLROOM - NIGHT 154 Judge Burch at the podium: JUDGE BURCH ...Jonas was upset not to be here with you tonight...a personal matter came up...but he wanted me to give you all his fondest regards...155 EXT. A ROOFTOP - NIGHT 155 ANGLE LOOKING UP at Cantrell's hotel -- a FIGURE steps into our shot, his back to us. He pulls a cell phone from his pocket, flips it open, sees the time: "7:29." The thumb starts pressing numbers -- boop...boop...boop...156 INT. CANTRELL'S SUITE - NIGHT 156 ANGLE DRIFTING ACROSS THE FLOOR -- Cantrell and Betsy against the incredible city view... He finally gets fed up with that surgery collar she's worn the entire movie, reaches around, unsnaps the plastic. He puts the collar aside, gently ruffs her shaggy neck. CANTRELL There. That's better. He puts his arm around her, taking comfort in her presence. A quiet, pensive moment...157 INT. NICK'S CAR (MOVING) - NIGHT 157 Nick driving, a block from the hotel now... WHITE - 9-7-8 98.158 EXT. ROOFTOP - NIGHT 158 ...as the FIGURE finishes dialing. The thumb hovers a moment, then presses "send." We hear the call RINGING through...159 INT. CANTRELL'S SUITE - NIGHT 159 ...and Cantrell hears a strange SOUND...almost like a phone ringing -- sort of close but not -- weirdly muffled. He looks around, trying to pinpoint it. His head finally swivels down to Betsy lying at his side. She's WHINING, getting a little freaked, licking her stitches... Cantrell's hand travels down her fur to her belly...fingertips tracing the stitching...and what he can't see is the strange glow building under her skin... But he can sense it. His eyes widen slightly... ...and WHAM! The room is swallowed in a DETONATION --160 EXT. CANTRELL'S FLOOR - NIGHT 160 -- which BLOWS OUT THE ROOM IN A HUGE EXPLOSION, the rows of windows vanishing in a storm of flame and shattering glass...161 INT. BALLROOM - NIGHT 161 Judge Burch and the others gasp as the explosion lights up the night from the building across the way...162 EXT. NICK'S CAR - NIGHT 162 Nick slams on his brakes -- he cranes forward, gazing up in horror as the explosion is reflected in his windshield...163 EXT. ROOFTOP - NIGHT 163 The blast kicks from the face of the building, fireball rising with eerie grace into the night sky, as: The FIGURE steps into frame, pockets the cell phone. CAMERA PIVOTS BEHIND him, losing Cantrell's building and bringing the other hotel into view -- the one with the lawyers...164 EXT. NICK'S CAR - NIGHT 164 Nick jumps out, stunned. He runs up the street toward the hotel as glass and debris rains onto the sidewalk...165 INT. BALLROOM - NIGHT 165 People crowd to the glass, staring out at the skyscraper across the way -- at the smoking ruin that was once a floor... BLUE - 9-19-08 99.166 EXT. ROOFTOP - NIGHT 166 ...and the FIGURE bends down, picks something up. He hefts it onto his shoulder: a LAWS ROCKET-LAUNCHER. He flips up the sight, takes aim at the other hotel, fires... WHOOOSH -- the rocket streaks, leaving a contrail...167 INT. BALLROOM - NIGHT 167 FAST CUT: Judge Burch and those around her reacting as the glare of the rocket approaches in a heartbeat -- WHAM! OUR SECOND EXPLOSION of the night takes out the ballroom, killing dozens, blowing flame and debris across the room...168 EXT. STREET - NIGHT 168 Nick sees it: the contrail, the second blast, all of it. It stops him dead in his tracks. Just overwhelmed.169 OMITTED 169*170 INT. CANTRELL'S SUITE - NIGHT 170* Garza and his guys come stumbling and bleeding from the room * they were in. They get to the top of the stairs, find the * front of the suite open to the windy sky outside... FLEMING (gasping on radio) ...we need help up here... * GARZA Jesus Christ. What the fuck hit us?171 EXT. STREET - NIGHT 171 Nick stares up, wondering the same thing as we FADE TO BLACK172 INT. CITY HALL - GRAND CONFERENCE ROOM - DAY 172 A 30-foot-high hand-painted domed ceiling above, an equally huge ROUND TABLE below -- an imposing room that says power. Nick is ushered in. A DOZEN OR MORE PEOPLE are seated -- top- echelon city brass -- political, fire, police. Also present are Davies and Dunnigan. (Dunnigan is not seated -- he's getting his ass reamed today.)BLUE - 9-19-08 100.The top dog: THE MAYOR. He's seething but not a screamer -- aman who keeps it tightly reined: MAYOR We're worldwide news this morning. Almost twenty dead, among them some of this country's top attorneys. I had friends in that room. Hell, I almost attended myself. NICK The second explosion. I saw a rocket * fired. * (to Davies and Dunnigan) Clyde does have somebody on the outside. MAYOR * What you saw or think you saw is * beside the point. What matters is * that the FBI wanted to rendition * this man out of my city. The reason * he's still here causing havoc is you. You wanted to prosecute this case. Your ambition kept him here * and provoked this tragedy. DUNNIGAN (mutters) ...not entirely fair... MAYOR Detective. Your job is hanging by a thread. I'd think a man of your experience would know when to keep his mouth shut and his ass covered.Dunnigan -- formidable though he is -- looks away, keeps hismouth shut. The Mayor approaches Nick, looks him in the eye. BLUE - 9-19-08 101. MAYOR When I go in front of the cameras today -- unlike some people who seem unwilling to do so when asked -- I'm going to make goddamn sure the media doesn't hang this abject disaster around my neck. Why? Because I'm hanging it on yours. (beat) You're done. Gone. Fired. Non- existent. Get the fuck out.173 EXT. CITY HALL COURTYARD - DAY 173 People going about their business. Nick exits, dazed, comes down the steps. He sits on a step, vacant -- a man completely at a loss and out of options. His CELL RINGS. He rouses himself, flips it open. CLYDE (V.O.) Hey. Some legal team from the mayor * showed up here this morning. I hear * you're off the case. Told you they'd * scapegoat you, didn't I? (beat) Nick? You there? * NICK * How'd you kill Jonas? I know about the second explosion, I saw the contrail, so I know you got somebody working for you. But the first explosion -- how? CLYDE Say you find a guy with a bad cocaine problem. Hungry ex-wives. Greedy mistress. Heavy gambling debts. * ...a bizarre sound occurs on the line -- an unidentifiable SHRIEKING SOUND that grows and rapidly dissipates... CLYDE Say that guy's a veterinarian. You * hand him a million in cash, he'll * do what you ask. Especially if he's * looking to blow town for good...BLUE - 9-19-08 102. NICK (can't believe it) It was...inside the dog? CLYDE You own the vet, you own the dog. Explosive wasn't even that big. Stuff I use, it didn't have to be. (beat) Hidden in plain sight. That's my specialty. Haven't you figured that out yet?Nick sighs, rubs his eyes, can barely even speak. CLYDE What's next for you? Mulling career options? I suppose law is out. NICK I'm trying to get over my friend being dead. Aside from that, fuck you. CLYDE Fair enough. (beat) I'll miss you Nick. It was a good dance. NICK Didn't bring your family back, though, did it? (off Clyde's silence) Has it made you feel better? All this? You done making your point? CLYDE Just warming up. This is Clausewitz shit, my friend. Total war.CAMERA PUSHING IN on Nick, listening, as: CLYDE I'm gonna pull the whole thing down. I will topple the gleaming pillars and drag the whole fucking diseased, corrupt temple down on my head. (beat) Stay tuned. It'll be Biblical.Click -- line goes dead. Nick sits staring at the phone... BLUE - 9-19-08 102A.174 INT. HOSPITAL ROOM - DAY 174 Nick enters, finds Sarah crying. A WALL-MOUNTED TV IS PLAYING A NEWS REPORT of the explosions -- file footage of Jonas Cantrell pops up. Nick drifts over, sits at her bedside, as: REPORTER ...going live now to City Hall where Mayor Tilden is about to make a statement...announcing, we're told, among other things, the dismissal of District Attorney Nick Price... The IMAGE cuts to the Mayor stepping to the mic. MAYOR Thank you all for gathering on this solemn and anxious occasion... WHITE - 9-7-8 103. Nick MUTES it. He and Sarah don't speak for long moments -- he's waiting for her to pull herself together. She finally does, going into professional mode, pulling her laptop and files and reports around her. SARAH We got the latest batch of background in. Hansen and the other guy did some good work here-- NICK Sarah. Give it a rest. It's over. We're done. (off her look) I'm done. The mayor is nailing my coffin shut. The best thing you can do right now is distance yourself from me as much as you can -- see what you can salvage of your career. Sarah is staring at him with "fuck you" in her eyes. She picks up a multi-page list of addresses, hands it to him. SARAH This lists over fifty shit-value properties in industrial zones that nobody in their right mind would want to own -- stuff around chemical plants, factories. All are owned by Benson Clyde. Look at twenty-two. Nick, not caring, scans down to: NICK "Joe's Lube-and-Drive Garage." Went out of business in '94. (looks up, irritated) Now why would Joe's extinct Lube- and-Shit Garage be of the slightest possible fucking interest to you, me, or anyone? SARAH (tight, pissed) The garage, not so much. But the address. Look at the location. Nick looks down at the list again...staring...175 EXT. JOE'S LUBE-AND-DRIVE GARAGE - DAY 175 A shitty garage in a shitty industrial park. Bordering it, on the other side of some fencing, are municipal train tracks. Nick's car pulls up. He gets out. It's a ghost town here. BLUE - 9-19-08 104. He goes to the garage window -- glass thick with dirt. He wipes with his sleeve, but it doesn't help him see in.176 INT. GARAGE - DAY 176 TIGHT ON ROLL-UP DOOR -- a CAR JACK jams in under the lip. We hear CRANKING and the door rises... Nick drops down, peering in. He squeezes under the door, stands up. Gloomy in here. He hits the door switch -- it RATTLES up * on its tracks, flooding the place with light... * He looks around. Cobwebs. Dust. A CAR under a tarp on the hydraulic floor-lift. Old shelves and pallets of tools. Rust. Grime. The crap of ages. He sighs, turns and walks out...177 EXT./INT. GARAGE - DAY 177 ...and pauses. Something tickling his brain. Suddenly, a SHRIEKING COMMUTER TRAIN blasts by -- gone, dwindling. It was a bizarre, distinctive sound...like the one Nick heard during his last phone call with Clyde. Nick stands frozen, pieces in his head tumbling and threatening to fall into place. Something about the shape of that car under that tarp... He turns, staring at it. Goes back in, drawn to it -- it's long, distinctly old-school, with sharp boxy corners... He draws the tarp off -- finds a 1965 Lincoln Continental, midnight-blue, in excellent condition. The last time he saw it, it was parked in a carport at Benson Clyde's farmhouse. What's it doing here? More pieces falling into place. Nick leaves the garage again, walking out... CAMERA TRACKS HIM across the tarmac, and as we come around the corner of the building, we reveal: The County Correctional Annex is right there, a backwater corner of the prison not sixty feet away... Nick stares up at it -- a very curious location indeed.178 INT. GARAGE - DAY 178 FAST CUTS: Nick searching...behind shelves...the toilet...in closets...the grimy little office... He stops. Looks at the car. There's a mechanic's pit below that hydraulic lift. He goes to the control, hits "up"... BLUE - 9-19-08 105. ANGLE FROM MECHANIC'S PIT Nick's face comes slowly into view as the hoist rises... FADE TO BLACK IN BLACKNESS, WE HEAR: Boop-boop-boop...a cell being dialed. The line RINGING. A voice answering:179 INT. POLICE STATION - BULLPEN - NIGHT 179 DUNNIGAN (weary) Dunnigan. INTERCUT WITH STREET (INDUSTRIAL AREA): NICK (on cell) Do we finish this tonight? DUNNIGAN Nick? Jesus... (nervous glance around) Look. No hard feelings, but there is no "we." You're radioactive. I * can't even be seen talking to you... NICK I know who he's got on the outside. (that stops Dunnigan) I'll ask again. Do we finish this tonight? Poor Dunnigan looks tortured. He catches Garza's eye...180 EXT. JOE'S LUBE-AND-DRIVE GARAGE - NIGHT 180 A TRAIN SHRIEKS through shot, revealing: The garage quiet in moonlight. The area deserted. Beat. The garage door rolls up on its tracks. Darkness within. A PAIR OF HEADLIGHTS kick on, blinding us. The Lincoln emerges, moves off into the night as the door rolls down again. We hear SOFT STATIC from a police radio, and a voice: BLUE - 9-19-08 106. DUNNIGAN (O.S.) All units. Subject vehicle is on the move. ANGLE WIDENS to reveal we're in an UNMARKED CAR -- Dunnigan * at the wheel, Nick beside him. Dunnigan's on the radio: DUNNIGAN Everybody maintain distance. Dunnigan puts the car in gear, pulls out... FROM THIS POINT ON, WE'RE VERY MUCH IN MONTAGE STYLE (IT GOES WITHOUT SAYING THIS NEEDS THE RIGHT PIECE OF MUSIC):181 EXT. AERIAL SHOT - NIGHT 181 DRIFTING MAGICALLY THROUGH the downtown skyscrapers...neon- lit rooftops...city lights reflecting off glass buildings... AN FBI HELICOPTER drops into shot. CAMERA COMES AROUND, pacing, the copter's reflection in the buildings we're passing...182 EXT. AERIAL SHOT LOOKING STRAIGHT DOWN - NIGHT 182 SKYSCRAPERS pass the lens below us... There's a midnight-blue Lincoln traveling the streets far below. It turns a corner, moving up a long boulevard. CAMERA PIVOTS around a skyscraper, following...183 EXT. STREETS - VARIOUS ANGLES - NIGHT 183 The Lincoln cruising, cold reflections of street lamps kicking off sheet metal, flowing along its body and windshield... WE START ZOOMING AND RACKING FOCUS to the unmarked cars tailing it in traffic....visually, it becomes a surreal dance of headlights and traffic signals...184 EXT. AERIAL SHOTS - VARIOUS ANGLES - NIGHT 184 A POLICE COPTER joins the FBI copter in the air...both cruising eerily against a kaleidoscopic wash of city lights... VOICE #1 (V.O.) Maintain two thousand foot ceiling...185 INT. DUNNIGAN'S CAR (MOVING) - NIGHT 185 VOICE #1 (V.O.) Subject vehicle turning south off of Hudson...into an alley... DUNNIGAN (clicks hand-mic) Hang back...hang back... WHITE - 9-7-8 107.186 EXT. ALLEY - NIGHT 186 The Lincoln pulls to a loading door. The door rises...187 INT. BUILDING - NIGHT 187 ...and the Lincoln enters. It stops next to a LARGE CUBE VAN with the logo: "Nomos Custodial Services." CAMERA PUSHES IN as the car door opens, feet step out... TILT UP to Clyde dressed in a custodial services uniform. He slams the car door, gets in the van, fires up the engine...188 EXT. AERIAL VIEW OF ALLEY - NIGHT 188 Far below us, the van emerges from the same door, comes out of the alley and back onto the street... VOICE #2 (V.O.) I got a white van...large cube type...think he switched vehicles... moving north again on Hudson...189 INT. DUNNIGAN'S CAR - NIGHT 189 DUNNIGAN Five and six, stick with that building in case he's trying to cowboy us. All other units, stay with the van... Dunnigan pulls out into traffic, resuming the tail... VOICE #3 (V.O.) I have visual on van. Logo on side reads "Nomos Custodial Services." NICK Where the hell is he going?190 EXT. CITY HALL - ESTABLISHING - NIGHT 190 The glorious old building looms above us. TILT DOWN to reveal a red carpet event brewing -- LIMOS AND LUXURY CARS pulling up, GUESTS in expensive attire getting out... The NOMOS VAN STEALS THE FRAME as it drives past and turns to go around the back of the building... A LIMO STEALS THE FRAME BACK as it pulls to the curb. The Mayor steps out, waving and smiling for FLASHING CAMERAS...191 INT. DUNNIGAN'S CAR (MOVING) - NIGHT 191 Nick and Dunnigan drive past all the hoopla... BLUE - 9-19-08 108. NICK You don't suppose Nomos Custodial * has a service contract with City Hall, do you? Off Dunnigan's look of "oh shit"...192 EXT. CITY HALL SERVICE ENTRANCE - NIGHT 192 TIGHT ON A CARD SCANNER as a card is swiped. THUNK -- the lock disengages. TILT UP to Clyde as he rolls a loaded custodial cart (with mops and trash barrel) inside...193 INT. CITY HALL SERVICE AREA - NIGHT 193 A GUARD mans the security desk -- he glances up from a BANK OF LIVE-FEED VIDEO MONITORS as Clyde rolls his cart in. SECURITY GUARD Mr. Nomos! Ain't seen you around. CLYDE Ted...had to get that vacation in. Visited my sister in the Keys... SECURITY GUARD Nice. Good for you. CLYDE Hey, what's all that hoopla at the main entrance? SECURITY GUARD Mayor's got a big fuckin' thing. Thousand dollar a plate whatever. They say the Governor might come. CLYDE (moving on) I'll stay out of their way. SECURITY GUARD (calls after him) They're up on six, avoid that floor. They got more security than God...194 EXT. AERIAL SHOT LOOKING STRAIGHT DOWN - NIGHT 194 Far below: The entrance lit up with arriving cars and guests, CAMERAS FLASHING... A HELICOPTER DRIFTS through the shot just below us in SLOW- MOTION, rotors thrumming eerily...195 INT. SERVICE ELEVATOR - NIGHT 195 ...while Clyde rides up. He stops at five, gets out... BLUE - 9-19-08 109.196 INT. HALLWAY - NIGHT 196 ...and rolls his cart up the hallway. MUFFLED MUSIC from the floor above. He comes to a door, sorts his keys...197 INT. EMPTY COURTROOM - NIGHT 197 ...and enters in darkness. Moving swiftly, he reaches into his trash barrel, pulls a gleaming STEEL BRIEFCASE from under the shredded papers -- he strides to the judge's dais, lays the case atop it, turns and heads back to his cart...198 INT. SERVICE AREA SECURITY DESK - NIGHT 198 ...as a STREAM OF TACTICAL COPS stampede into the building and up the stairs. ANGLE FINDS Nick, Dunnigan, and Davies looming over the nervous security guard: DUNNIGAN What floor? SECURITY GUARD I told him to avoid six... (checking monitors) There... On a monitor: Clyde rolls his cart from the courtroom... SECURITY GUARD That's the main courtroom on five. * NICK That's right below the ballroom. The Mayor's event.199 INT. 6TH FLOOR HALLWAY AND BALLROOM - NIGHT 199 Early arrivals are coming up, entering the ballroom. The place * is crawling with SECRET-SERVICE TYPES in suits. *200 INT. 5TH FLOOR HALLWAY - NIGHT 200* Clyde comes down the hallway B.G., rolling his cart... F.G., ANGLE FINDS tactical cops with machine guns pouring quietly up the stairs, taking up positions just around the corners, poised and tense. TIGHTEN IN as the TAC LEADER uses a small mirror to peek around the corner and spot Clyde: TAC LEADER (whispering on headset) Subject in sight. Do we take him? BLUE - 9-19-08 110.201 INT. ANOTHER STAIRCASE - NIGHT 201* Nick, Dunnigan and others are racing up the steps. Dunnigan * raises his radio to say yes, but: NICK No. Let him go. (off Dunnigan's look) We know where to find him. Let's get to that courtroom. Dunnigan hesitates -- against every instinct in his body. DUNNIGAN I hope you know what the fuck you're doing. (clicks mic) Negative. We're letting him go. All units hang back. Repeat. We are letting the subject go.202 INT. 5TH FLOOR HALLWAY - NIGHT 202 The cops trade surprised glances. The elevator DINGS. Clyde gets on, the doors close. The cops swarm up the hallway...203 INT. COURTROOM - NIGHT 203 This all happens fast: Bang -- the doors slam open. Nick leads a huge phalanx of cops and FBI in, weapons and flashlight beams stabbing in all directions. NICK There. They race to the judge's dais -- the steel case. DAVIES Don't touch it! Could be motion sensitive! Davies shoves his way to the front, grabs a small hand-held drill from one of his guys' tactical vests: DAVIES I need light! Dozens of beams converge. Davies places the drill, goes to work on the case...grind, grind... VOICE #4 (V.O.) I have visual...suspect leaving the * building...different service exit...204 EXT. CITY HALL - NIGHT 204 Clyde exits a loading dock, gets in his van... BLUE - 9-19-08 111.205 INT. COURTROOM - NIGHT 205 ...grind, grind...the drill taps through. Davies yanks it, feeds a fiber-optic tube into the hole, puts his eye to the eyepiece. He swivels the tube carefully, peering inside... DAVIES * Crap. * (glances up) * Explosives. Nasty ones. * DUNNIGAN What? C-4? * Davies takes his eye from the eyepiece, looks at them. DAVIES C-4 is for girl scouts. This is malglinite. Take out the whole floor above us...maybe this entire corner of the building... NICK Can you open it? Disarm it? DAVIES (back to eyepiece) No, we got tripwires. We open this lid, instant karma's gonna get us. (keeps scanning) Don't see a motion sensor. Trigger looks simple...dial a cell phone, incoming call arms the trigger -- trigger's set to count down from forty seconds, then boom. (off their looks) That call comes in, we have forty seconds to get as far away from this thing as possible. DUNNIGAN (to his men) Alert the mayor's security team. * Evacuate those people upstairs -- * clear that ballroom, go! NICK No! Dunnigan turns on him, instant shouting match: DUNNIGAN No? What the fuck are you talking about, this could go off any second! WHITE - 9-7-8 112. NICK He won't set it off until that room is full! People are still arriving, red carpet shit, that's at least another half hour! DUNNIGAN I will not take that risk! NICK You have to! Beat. Nick, no longer shouting, but intense and fast: NICK If I'm him, I've rigged cameras in that ballroom -- live video feed -- first sign of an evacuation, I trigger the bomb. (off their looks) We have to think ahead of this fuck! Pause. Looks traded. DAVIES I'm open. DUNNIGAN Okay, Nick. What's the move?206 INT. LINCOLN/NOMOS CUSTODIAL - NIGHT 206 Clyde slams the van door, gets in the Lincoln. He pulls a handheld CLAMSHELL VIDEO MONITOR -- it shows a LIVE FEED of people entering the ballroom, mingling as they arrive... Clyde smiles, starts the engine...207 INT. CITY HALL BALLROOM - NIGHT 207 The Mayor enters, waving to everybody, shaking hands...208 INT. JOE'S LUBE-AND-DRIVE GARAGE - NIGHT 208 The garage door rises. The Lincoln backs in, stops on the hydraulic lift. Clyde gets out, throws the tarp over it. Briefly checks his clamshell. Still plenty of time... He raises the lift a few feet, drops down and crawls under the car into:209 THE MECHANIC'S PIT 209 Duplicate controls. He hits the button and the car sinks down atop us, settling to the floor, sealing us into darkness. WHITE - 9-7-8 113. Beat. A BRIGHT LIGHT turns on -- one of those gazillion candlepower flashlights. Clyde aims it and we see: A TUNNEL hewn into the wall of the mechanic's pit. Just large enough for Clyde to crawl into. He does...210 INT. TUNNEL - NIGHT 210 Hand-dug, rough dirt held up by two-by-four bracing. A wheeled platform is the transport -- Clyde's on his back, pulling himself along by an overhead rope, hand over hand...211 INT. UNDER THE PRISON - NIGHT 211 Clyde emerges in the suffocating darkness of a sub-basement laid into a foundation that dates back to the Civil War. He crawls free, shining his light as rats scurry in shadows... He's on his hands and knees at first because the ceiling's so low. He's finally able to rise, moving along at a crouch... ...and emerging into a proper sub-tunnel. Now able to walk normally, he navigates the tunnels and comes to:212 INT. CLYDE'S STAGING AREA - NIGHT 212 We're just below the solitary wing. Clyde has it rigged with all his needs: computer, spare cell phones, various kinds of clothing, even a shelf lined with snacks. He quickly shrugs off his custodian's outfit, revealing his prison jumpsuit beneath. He gazes up a welded steel ladder (identical to four others in a row -- one for each cell). He checks his clamshell one last time, tweaking the bad reception with a relay -- ballroom looks full. He clicks off his lamp and clamshell, sets them on a shelf... He goes up the ladder to a hatch in the ceiling...213 INT. CLYDE'S CELL - NIGHT 213 ...and enters through a swiveling portal concealed behind the toilet. In deep darkness now, he pulls his cell phone, starts inputting a number -- boop...boop...boop... And he freezes. Realizing... There's somebody in there with him...a silhouette sitting on the floor by the door. The figure reaches out, pushes open the outer door a bit. Faint light spills in, revealing: NICK I came to talk. Guess who wasn't in his cell? Imagine my surprise.BLUE - 9-19-08 114. CLYDE Imagine mine. NICK Beautiful how you played us. Getting yourself tossed into solitary -- * pre-rigged with exits from all five * cells. Whichever one we put you in, you had your bases covered. (faint smile) I thought I was such a bad-ass putting you down here. Turns out I was doing what you wanted. CLYDE That's how you play. Make the other guy think it's his idea. (beat) You came to talk, so talk. NICK Been thinking. If I'd done things differently -- made different decisions from the start -- we wouldn't have gotten to this point. CLYDE But it happened. And here we are. NICK Here we are. (beat) Your decisions put us here too. This mess is on both of us. * CLYDE You want to hold hands? What's your point? NICK We can't change decisions we've made. We can only account for decisions we make from here. I know what mine will be. (beat) What about you? You gonna finish dialing that number, or what?Clyde hesitating, thumb hovering over the number pad. CLYDE If I don't? What are you offering? NICK You looking to deal?BLUE - 9-19-08 115. CLYDE I'm willing to listen. NICK Okay, here's the deal. The deal is...there is no deal. (off Clyde's look) I told you. No more deals with murderers. I'm sticking to that. That's my decision. It's what you * taught me. Strange as it sounds, * I'm grateful for the lesson. *Nick rises, steps out -- pauses, turns back. NICK Your turn. You make the right decision, I'll see what I can do for you. But the wrong decision is one you'll have to live with the rest of your life.The moment stretches. Clyde poised -- all down to this. In *the end, he can't help himself: Boop-boop-boop -- hits send. * CLYDE I'm sorry. NICK Me too...Nick pushes the barred door shut... NICK ...because like I said, it's a decision you'll have to live with the rest of your life. Which at this point I figure is... (glances at watch) ...another 35 seconds....and turns the key in the lock -- klatch. NICK Check mate.Clyde hears a SOUND...like a phone ringing -- sort of closebut not -- muffled -- like the sound Cantrell heard...Clyde, realization dawning, thrusts his hand out and jerksthe cot blanket up, revealing:The steel briefcase under his cot. He glances up to see:Nick gone.Clyde scrambles to his portal, yanks on the handle... BLUE - 9-19-08 116.214 CLYDE'S STAGING AREA (UNDER THE CELLS) 214 ANGLE ON: The hatch handle rattles -- now padlocked shut.215 INT. JOE'S GARAGE/MECHANIC'S PIT - NIGHT 215 FAST CUT: Dunnigan thrusts himself out of the tunnel, cops grabbing his arms, pulling him free...216 INT. SOLITARY WING - NIGHT 216 Nick comes through the sally-port at a fast stride, through another door, goes up the steps...217 INT. CLYDE'S CELL - NIGHT 217 Clyde wheels around, frantic as a caged tiger -- he lunges to the door, rattling the bars...218 QUICK ANGLES 218 ...while Nick pounds faster and faster up staircase after staircase...219 INT. CLYDE'S CELL - NIGHT 219 Clyde -- enraged, bellowing -- picking up the steel briefcase, swinging it hard against the bars, trying to batter through... And then stopping. A self-awareness returning. Perhaps it's the Clyde that's been missing for years -- the sane one. Pause. He sets the briefcase down. Stands a moment. He sits down on the briefcase. Calm now. Pulls a SMALL PHOTO from his breast pocket. Gazes at it. It's his wife and daughter. He stares at them a while. Tucks the photo back in his pocket. Nods. CLYDE Well played. BOOOOM! The DETONATION is staggering, instantly vaporizing * Clyde and the cell he's in...220 SOLITARY WING 220 ...BLOWING the bars right out of the stone on a WALL OF FLAME that overwhelms the lens...221 FAST CUTS: CORRIDORS AND STAIRCASES 221 ...FLAME HURTLING with express-train force... BLUE - 9-19-08 117.222 EXT. PRISON COURTYARD - NIGHT 222 ...and BLASTING TONS OF BRICK AND MORTAR skyward. Nick enters the shot as WE DOLLY BACK WITH HIM, walking away from the building going to dust and rubble B.G. CAMERA PANS HIM AROUND, now following him, as he approaches Davies standing with Iger. Iger is staring, agog: IGER Jesus. * (beat) * Thank God that wing was empty. * A car arriving behind them: Dunnigan getting out, approaching. * IGER How do I explain this to the city? DUNNIGAN I think the Mayor will have your back. Nick approaches, comes abreast of them. Looks are traded with Dunnigan and Davies. Relief. Fellowship. A touch of sadness. Words aren't needed here. Nick keeps walking, pulls his cell phone, starts dialing. Dunnigan smiles. He knows exactly where Nick's going...223 INT. TRAIN STATION PLATFORM - DAY 223 LONG LENS: Nick sitting...waiting... An ARRIVING TRAIN moves massively into the shot, pulling into the station... Nick rises. A SQUEAL OF BRAKES, steel on steel... Nick engulfed in a crowd of arriving passengers, people getting off, swirling and jostling all around him, wiping frame... ...only two faces he wants to see... ...and there they are... He sweeps his family into his arms. The final moments of this movie are all about faces and joy... ...and CREDITS BEGIN as we FADE OUT \ No newline at end of file diff --git a/unformated_scripts/Script_Leaving Las Vegas.txt b/unformated_scripts/Script_Leaving Las Vegas.txt new file mode 100644 index 0000000000000000000000000000000000000000..6a67267eb8c90c8af3008575d020f491558d3e4b --- /dev/null +++ b/unformated_scripts/Script_Leaving Las Vegas.txt @@ -0,0 +1 @@ + LEAVING LAS VEGAS by Mike Figgis Based on the novel by John O'Brian SHOOTING SCRIPT September 1994 TITLE ON BLACK; '10 P.M. - LOS ANGELES' DISSOLVE TO: 1 INT. SMART BAR IN BEVERLY HILLS - NIGHT It is the kind of bar where the well-to-do folks of LA go to pick up - or be picked up. Lesser-known actors, agents and executives of all ages. Into this bar comes Ben. Ben is in his thirties. He is wearing an Armani suit that could use a visit to the dry-cleaner's. He hasn't shaved in the last twenty-four hours (but neither has any of the actors in the bar). He is a good-looking man but is clearly in trouble of some kind. Although still in control of his faculties, it becomes clear in the following scene that he is much the worse for wear with drink. He looks around the room until he sees someone he recognizes and then walks over to a table where two couples are seated. The men are young execs, the girls, both blonde and busty, have very white teeth and smile all of the time. The camera follows Ben over to the table. One of the execs looks up as Ben gets close. He recognizes him but delays his recognition until the last moment in the hope that Ben is not looking at him. BEN Peter PETER Ben... how are you, man? They shake hands. Ben is not invited to take a seat and Peter waits for a while before being forced to introduce him to the table. Ben Sanderson, Marc Nussbaum, Sheila, Debbie. MARC Nice to meet you. I think I spoke to you on the phone a couple of years ago. Weren't you both at MGM with Laddie? BEN That's right. Are you still at ICM? MARC No, I'm at Tri-Star now. BEN That's great. Say hello to Mike for me. That's a beautiful dress, Debbie, and those are fabulous earrings, Sheila. There is an awkward silence. Ben does not make a move and is not invited to join them. The girls smile. MARC I gotta tell you, I'm a big fan of your writing. I loved Bay of Pigs. BEN Thanks a lot. I didn't actually write it, I just got the credit. I was fired. (to Peter) Can I talk to you for a moment? Peter gets up and he and Ben walk to the door together. Peter speaks very quietly. PETER Listen, Ben, I can't help you any more. Do you understand? BEN This is the last time. Promise. I just need some cash tonight. I lost my credit cards. The money'll be on your desk first thing tomorrow morning, Scout's honor. How's the new one coming along? I here you got Richard Gere. The two men look at each other for a while. Peter's friends are looking at them, as are other people in the room. Peter takes out his wallet and extracts some notes. PETER This is all I have in cash. Please don't drink it here. BEN Yes, that's fine. I'll messenger it over to you tomorrow. PETER I don't want it. Ben... I think it would be best if you didn't contact me again. And he turns and walks away, back to his table. CUT TO BLACK: TITLE ON BLACK; 'LAS VEGAS - 1.20 A.M.' FADE UP ON: 2 EXT. HELICOPTER SHOT - DAY Las Vegas. A blaze of color in the middle of a desert. Credit sequence begins. CUT TO: 3 INT. LOBBY OF EXPENSIVE HOTEL - NIGHT A mixture of businessmen and gamblers creates a sense of activity and superficial excitement. Music wafts across the soundtrack, almost drowned by the dense texture of thousands of slot machines, creating an insane New Age symphony. Credit sequence ends. Into the lobby from the street comes Sera. It's hard to tell how old Sera is - somewhere between twenty-five and thirty-five. She is a beautiful American girl. Her face has the freshness of a model in a Sears catalogue. She is dressed simply in a short black skirt and matching jacket. High heels complete the picture. Heads turn as she passes a group of businessmen and it's clear they find her very sexy. She acknowledges their glance with a half-smile and steps into the elevator. She could be a secretary, or a PA to one of the many execs here in Las Vegas at a convention. The body language is a bit different, though. 4 INT. PENTHOUSE SUITE OF HOTEL - NIGHT A view of night-time Las Vegas through a window. Traffic up and down The Strip; bright, gaudy neon flashing and winking. We hear the sound of men laughing and the camera pulls focus and we see reflected in the glass... ...a group of people. On the table are bowls of potato chips and dip and sandwiches. The TV is on at a sports channel and two boxers pound the shit out of each other. CUT TO: 5 INT. ELEVATOR - NIGHT Sera looks at herself in the gold-tinted mirror in the elevator. She takes out a lipstick and freshens her lips. Some people get out and the elevator climbs higher. We see from the indicator that she has punched the Penthouse button. Camera moves in tighter and we see that she is nervous but concealing it well. The elevator stops, the doors open and she steps right into the Penthouse. 6 INT. PENTHOUSE - NIGHT A bottle of Scotch is almost empty. The man talking is Yuri. He is Russian, in his early forties, a little overweight, a big man wearing a blue silk suit. His thick black hair is greased and combed back. He wears a lot of jewelry, all gold. Rings, a bracelet and a Rolex. Two men in business suits and a weird stoned woman in her late thirties listen to him. YURI ...but please, my friends, call me Yuri. It is my American name... I picked it myself. The three people laugh. There is a hint of contempt in the way that they speak to Yuri. FIRST BUSINESSMAN Where are you from, Yuri? I mean, you sure don't talk like you're from this neck of the woods. Yuri smiles at them. YURI (silky voice) No... you are right, my friend. How very observant you are. I am from Latvia. WEIRD WOMAN Tough place. YURI Yes, I hear this too. But I am not a tough man. I am a simple man who is here to learn from my new American friends. The door opens and Sera comes in. Everybody stares at her. WEIRD WOMAN (turned on) Is this your friend, Yuri? YURI Ah, yes... Sera. The second businessman takes out a small manila envelope from his inside pocket. YURI(cont'd) Sera is my gift to you, my friends from New York City. You may do with her as you wish in this beautiful room, which is also my gift for the night to my friends. You will find her a very willing girl, for all of you...just as we arranged. Yuri smiles again as the Second Businessman hands him the envelope. The rest of them just stare at Sera, aroused by the idea of her. SECOND BUSINESSMAN Of course, Yuri. I think you'll find this just as we discussed. Yuri gets up. YURI So, my friends... I have other business to attend. Enjoy. He heads for the door, passing Sera. She holds out his arm as he passes. SERA (whispering) Yuri... please! Can I talk to you for a moment. Still smiling, he takes Sera's arm and leads her into the bedroom. YURI My friends... excuse me for just one moment. 7 INT. BEDROOM - NIGHT Mirrors reflect mirrors. SERA I don't want this. Yuri, please. I really don't want this. You know I don't like to do groups. YURI (playful) I want this, Sera. I need this! SERA Please, Yuri. He holds put his arms. Sera goes to him. He hugs her with one arm. He pulls up her skirt so that her panties are exposed. YURI (seductive) These are pretty. Sera watches in the mirror as he pulls her panties to reveal her buttocks. He strokes her there gently with his other hand. We see that there are two fine scars there. He speaks gently, like a father to a daughter. YURI(cont'd) Is this how you would repay me for coming all this way to find you again? Driving through the desert to protect my little Sera. CUT TO: FLASHBACK-SILENT-GRAINY BLACK AND WHITE 8 INT. ROOM - NIGHT Yuri and Sera - different time, different place. Sera looking frightened, backing away from Yuri, who pulls a switchblade from his jacket and opens it. CUT BACK TO: 9 INT. PENTHOUSE - NIGHT Yuri enters from the bedroom. The weird woman is doing a line of coke. YURI (cheerful) Sera wanted me to ask if she might undress at once for you. She has a very beautiful undergarment witch she would like you to see. ANGLE ON BEDROOM DOOR Sera comes into the room. She smiles and begins unbuttoning her jacket. She takes it off and drops it on the floor, and then unzips her skirt and steps out of it. Sera is now in control and playing the room. In the background. Yuri leaves the room. WEIRD WOMAN (strange voice) Come here. Sera walks over and something strange takes place between them. CUT TO: 10 INT. BEN'S BAR. LA - MORNING The bar is dark but through a small window we see that it is a very bright sunny day outside. The bartender reads the Los Angeles Times. The bar surface is red vinyl. There are five customers, all single men. One of them is Ben and he is sitting at the bar watching TV. A game show is in progress and the TV sound is loud. Ben finishes his drink and grimaces before indicating to the barman that he'd like a repeat. Barman pours him a whiskey - Cranberry - and the camera moves in closer to Ben, ending in a close-up. Ben takes a big hit from the drink and concentrates on the TV. We hear from the TV sound that it is a word game with a big prize. Ben smiles to himself. BEN'S POV OF TV The talk show hostess, an American TV beauty, is showing the audience the prizes available in today's game show. ANGLE ON BEN As he finishes that drink and asks for another. The camera moves in close on his eyes. BEN'S POV OF TV She turns from the prizes and looks straight into the TV camera, which starts zooming into her. At first, what she is saying makes complete sense, but then things change... HOSTESS (smoky, sexy voice) Just look at this studio, Ben, filled with glamorous merchandise, including an extra special prize chosen just for You! A big, bad, BMW motorcycle, complete with saddle bags stuffed with thousands of US dollars. "There are oohs" from the audience. HOSTESS So, Ben, (tosses her hair) Let's find a bar, get drunk and go for a ride. The studio lights dim. HOSTESS Then we can get a suite somewhere and order up a case of champagne while we fuck ourselves silly. Close-up on males in the audience doing the grunt. HOSTESS This is it, just for You, Ben. She unbuttons her top, licks her fingers and makes her nipples hard. HOSTESS Because You've been so patient, and because I want to fuck you, take care of You, and because there's nothing else in the world worth doing. Section of the audience clapping - some women dabbing their eyes. HOSTESS Tell you what, Ben, let's go to Las Vegas. The bars stay open twenty four hours night and day. Just you, just me, Ben, think about it, all right? ANGLE ON BEN Lost in his fantasy BEN I'll think about it. He looks back at the screen, but the show has returned to what is known as "normal". He finishes his drink and then an attack of nausea hit him. He takes a deep breath and rolls his neck and his head. The barman puts down a fresh drink. Ben looks at his own hands...which are steady. BARMAN You should go on that show. CUT TO: 11 INT. SMART BUSINESS SPACE - MORNING Ben sitting at a desk with a phone wedged on his ear, a cup of black coffee on the desk. The walls are covered with framed film posters and one complete wall has shelves jammed with scripts. He nods from time to time and sometimes says 'yes' or 'OK', but it becomes clear that there is no one on the other end. He drinks from the coffee cup. A woman comes up to his desk, a business colleague. She puts a wad of messages down on the desk. BEN Yeah, but what's the back end like? By the time we're through with P and A, the above-the line is going to take it to about fifteen and with something like this... I don't know if Disney will go for it... can I call you back on this? OK... chow for now. (to the woman) Good morning. WOMAN (cautious) Ben... Mr. Simpson was looking for you. I said that you had a doctor's appointment. He said for you to go in as soon as... are you OK? BEN (pulling himself together) I'm fantastic, but I gotta go out now... very important meeting, could make a coupla million for the company. Ben gets up and as he passes her he grabs her and dances a few steps. It is clear that she likes Ben, but when his face gets close to hers she smells the alcohol on his breath and she turns away. Ben stops dancing and smiles sadly. WOMAN (tender) Ben? BEN What? WOMAN You should go now. She leaves the room and Ben goes through some routine at the desk. He opens a drawer of a filing cabinet and puts in his whole arm, looking for something at the very back. He pulls out a small vodka bottle and opens it and then pours the contents into his coffee cup. With cup in hand he leaves the room. CUT TO: 12 INT. SMART OFFICE - DAY Ben is sitting opposite his boss, Mr. Simpson, who is very upset. He hands Ben an envelope. Ben opens it and pulls out a check. He looks at the amount. BEN (genuinely moved) This is to generous Peter. SIMPSON (close to tears) Well... we liked having you around, Ben, but you know how it is. BEN (ashamed) Sure thing... and I'm sorry. Ben takes a swig from his coffee cup. SIMPSON (trying to cheer things along) Well... what are you going to do now? BEN I thought I might move out to Las Vegas. Simpson looks puzzled. BEN The bars never close. CUT TO: 13 INT. BEN'S BMW — DAY Ben drives though Beverly Hills. He pours the content of a small bottle of vodka into an empty Coke can, puts the empty bottle under the seat and then drinks from the can. He slips a tape into the player and we hear "Lonely Teardrops", by Michael McDonald, one of Ben's favorite songs. At a traffic light a cop on a bike pulls up next to him and Ben takes a pull from the Coke can and smiles, mouths the word "hot". The cop nods back at him, the light changes and they both pull away. CUT TO: 14 EXT. SANTA MONICA STREET — DAY Ben carries a brown paper bag which clinks. Camera follows him as he walks down the street. He looks at... BEN'S POV A girl walking ahead of him in the same direction. She is walking her dog. She is attractive from behind. We hear Ben's thoughts. BEN (voice-over) Beautiful, no just the shape which is nice, but the whole walk, the feeling, the movement. This girl is pleased with herself. Maybe this is the only art I can appreciate... I don't know if this is good or bad, but right now she is really beautiful. When I was a boy it would have been really important that she have a pretty face, to go with this body, I mean. I still would like to see her face, but her beauty is no dependent on her face. The dog gets interested in something on the sidewalk and she bends down to pull at its collar. BEN (voice-over) I wonder what kind of panties she's wearing. Shit, that's too specific, but... on the other hand, you can never be too specific... but then, the infinitesimal must be, by definition, as infinite as the infinite. Suddenly the girl stops. Ben catches up with her and cannot resist looking into her face. BEN (voice-over) God, she's so young. The girl sees Ben and smiles an innocent smile, GIRL Hi! BEN Hi... CUT TO: 15 EXT. BEN'S HOUSE IN SANT MONICA - DAY Ben walks up to his house still carrying the paper bag. A young boy of about thirteen years of age is fixing a beat-up bike. Ben greets him. BEN Hey, Brad... how's it going? BRAD Hey Ben. There were a couple of guys looking for you. BEN What did they look like? BRAD Suits. I didn't tell them anything. You know anything about gears? Ben takes a look. The gear mechanism is all bent out of shape. He bends down to have a look. It is clear from the way he deals with this mechanical problem that he's good with his hands. He doesn't try to force anything but he moves the chain and gear mechanism to get to the problem. BEN How'd this happen? BRAD I was going real fast down on the beach and something slipped and everything got jammed up. BEN The news is not good, kid. This bit here... see there... it's broken. You need a new one. BRAD (upset) How much, do you think? BEN I don't know. I'll find out though. Ben gets up, picks up his bottles and heads for his house. He looks back and Brad is sitting still by the bike, looking totally dejected. This really seems to upset Ben. CUT TO: 16 INT. BEN'S HOUSE - AFTERNOON Ben is naked and the shower can be heard in the background. The house is austere, only the minimum of furnishing. He pours a large tumbler of vodka and takes a gulp, then tops up the glass. He turns on the stereo, selects a record - Miles Davis, Kind of Blue - and puts it on the turntable. He turns on the cassette recorder and inserts a new blank tape. He puts the machine into the record mode. He kneels down next to the deck and with complete precision puts the needle on the second track without any problem. The music starts and continues through the next sequence. 17 INT. SHOVER - DAY Ben is in the shower with the glass in his hand. 18 INT. BATHROOM - DAY Ben shaving with the glass in his hand. He does the area around his mouth first so that he can drink while he does the rest. 19 INT. LIVING SPACE - DAY Showered and shaved and wearing a smart dark suit, Ben looks handsome and normal. He selects another record and again sets up the cassette machine to record. He turns the stereo up full and dances by himself while watching MTV silent. He tries a turn which is a bit ambitious and loses hi balance. In slow motion we see him fall. Ben lies still on the floor. He smiles to himself and decides top stay there for a while... FADE OUT: FADE IN: 20 INT. SERA'S BEDROOM. LAS VEGAS - DAY Sera wakes up in bed next to Yuri. (The camera is high above the bed looking down.) She is completely drenched in sweat. A thin shaft o light comes from the crack in the drapes and falls across their bodies. Other than that, the room is in darkness. To get out of bed she would have to climb over him. She lies still. Yuri speaks without opening his eyes... YURI I missed you, Sera. You have been lonely? Sera blinks and turns her head towards him. SERA I'm older now, Yuri. He puts his hand between her legs, over the sheets and grasps her there. YURI You have been lonely? SERA (tensing a little) I've been all right. YURI I will keep you safe. We are both older. He climbs on to her and mounts her. Familiarity. YURI You have been lonely? SERA (flat voice) I am lonely, Yuri. He begins thrusting into her. YURI Yes... so am I. Camera move slowly into a tight portrait of Sear. SERA (voice-over) I had a new dress... we were at the fair, Daddy bought me an ice-cream and I spilt it on my dress... CUT TO: 21 INT. DOCTOR'S OFFICE - DAY Sera is sitting on a sofa talking to an unseen person. (Although it is no entirely clear when this is taking place, the sense of it is that we are in present, i.e. all the events in the film are in the past tense.) SERA ... Mom was with Helen, and Dad looked around first to see if she was watching and then he scraped it all off and threw it on the grass and then he kissed me and hugged me and told me it was all right... 22 INT. SERA'S KITCHEN. LATER THAT DAY Yuri is tucking into a hearty breakfast. Sera plays with her food. YURI (planning his day) This is such a small apartment, Sera. I cannot stay here. We will find a big apartment. You know how much money I can bring you. I belong in... (laughs) ... wealth and luxury. He suddenly looks up from his food and smiles at her. YURI Why did you run away from me in Los Angeles? Sera says nothing. YURI Because you are sly. Mmm? You knew all along that there was more money in Las Vegas. Didn't you? Sera nervously plays with her food. YURI You have nothing to fear from me. You know why? Because we belong together, Sera. Don't we? Sera forces a smile. SERA (quietly) Yes. QUICK CUT TO: FLASHBACK: 23 INT. ROOM - NIGHT Grainy black-and-white image. Sera on a bed, pinned down by Yuri, who has a knife. CUT BACK TO: 24 INT. SERA'S HOUSE - DAY YURI I'm pleased with you, Sera... how you have moved up in the world. I showed you a glamorous world when I took you off the streets... (shaking his head) and how you repay me. SERA Where have you been staying? YURI With an old friend. He drops his fork. YURI But that is none of your affair. You will call this morning and book me into a hotel suite where I will make new contacts for us. The mood has changed and Sera does her best to move out of these dangerous waters. SERA You'll need some money, then. Yuri nods. Sera rises goes to a kitchen drawers and finds money. YURI (becoming angry) It is, after all, Sera, my money. SERA (calmly) Yes, of course. How much do you need? YURI (shaking his head) All of it. I need to buy many things... all of it! Yuri is very angry and as Sera hands him the money, he hits her, hard, knocking her back into the refrigerator. His ring cuts her cheek. YURI (shouting) Don't look at me like that. And then his anger goes and he becomes quite tender with her. He takes her face in his hands to look at the cut. YURI It's not so bad. It is nothing. (whispers) I need money, Sera. I need it fast. You must go on the street tonight. For me. He sits down with shaking hands. He suddenly seems more vulnerable than she is. He goes to the window and looks out, left and then right, as if he expects to see something. YURI I need money fast, Sera. I want you back on the street. Tonight. FADE OUT: FADE IN SLOWLY - SOUND FIRST: 25 INT. BEN'S HOUSE - NIGHT Ben opens his eyes. The only light comes from the TV. The miles Davis record has got caught on a scratch and is repeating the sane phrase over and over again. He looks at his gold Rolex and then fingers the wedding band on his finger. CUT TO: 26 INT. BEN'S BAR. LA - NIGHT Ben is sitting at the bar. He drinks a large glass of something very quickly and then immediately orders another. He drinks this a little slower but still too quick, finishes it and then orders another. He looks around the bar and sees a woman sitting by herself, thirtyish, pretty and receptive. She looks and sees Ben, and he smiles at her. She smiles right back. Ben talks across the bar. BEN (charming) Good evening. PRETTY WOMAN (pleased) Hi. BEN I'm Benjamin...Ben. PRETTY WOMAN I'm Teri. Ben walks over to where she is. She is pleased that this good-looking man has come over to make a play. She makes a noise with her straw to indicate that her glass is empty. BEN I'll get you another one... and me too. Mind if I join you? She watches him walk to the bar. He gets the drink and walks back to her. He sets the drinks down on the table and sits down. As he does so, his face gets close to hers and she smells the booze on him. PRETTY WOMAN Wow... been drinking all day? BEN But of course. She looks at him, a disappointed expression on her face. She is no longer interested in being seduced by this man and this much is clear to Ben. BEN Why don't we finish these and go to my apartment on the beach? She doesn't respond. BEN We can watch a movie and I'll mix you up a gooey blender drink. Ben winces at his own words. He shakes his head. PRETTY WOMAN I have to get up pretty early tomorrow. I'll just finish this and go. Thanks anyway. They drink in silence for a while. Ben takes a deep breath.0 BEN (pathetic) I really wish that you'd come home with me. You're so cute and I'm really good in bed... believe me... you smell good too... He stops and frowns as he stares into his empty glass. BEN No, OK. Ben tries to stand and has to pull himself up by holding the bar. It's a strange thing with drunks like Ben... when they're up they have balance and timing, but when they're down it all falls apart. She starts to speak but then doesn't. A look of great sadness comes over her. PRETTY WOMAN I have to go now. Thanks anyway. She stands to go. PRETTY WOMAN Maybe you shouldn't drink so much. She walks to the door and Ben turns to the bar, watched by he Barman, who is a little concerned. BEN (to himself) Maybe I shouldn't breathe so much, Teri. Ha... ha. BARMAN (sever voice) Time to go, buddy... We're closing up. Ben gets out his wallet but his hands are shaking so much that he cannot extract any bills. He is very embarrassed and tries again, but to no avail. BEN Would you... ? The barman shakes his head in disgust as he goes into the wallet and takes some money. CUT TO: 27 EXT. LA STREETS - NIGHT Ben is cruising in his car, listening to music on his stereo. CUT TO: 28 INT. STRIP CLUB - NIGHT Ben comes into the club and sits down next to the stage, where a dancer is doing her thing accompanied by a live blue trio. A swimsuited waitress comes to the table. WAITRESS There's a one-drink minimum per show, I hope you saw the sign when you came in. Anyway, they're supposed to tell you. BEN Yes, I heard, and it's not a problem. WAITRESS What do you want? BEN What are my choices? WAITRESS Everything's ten dollars, and there's no alcohol. BEN No alcohol? WAITRESS No alcohol. You gotta get something else. Everything's ten dollars. What do you want? BEN What do you think I should get? WAITRESS Non-alcoholic malt beverage? BEN ... Noooo. WAITRESS Orange soda? BEN No. WAITRESS Coffee? BEN No. WAITRESS Sparkling apple cider? BEN No. WAITRESS Water? BEN Water? WAITRESS One drink minimum per show. Everything's ten dollars. Now... tell me what you want or I'll eighty-six you. BEN (decides) Water. She writes down W.A.T.E.R. and walks away. Ben calls her back. BEN Just how much would it cost for you to eighty-six me? ANGLE ON THE STAGE A tough black girl dances in a world of her own, impervious to the men who stare at her. The trio grinds out a dirty blues. A man opposite Ben places a dollar bill on the stage and as the dancer squats down to pick it up he stares between her legs an winks. The Waitress puts down a styrofoam cup and a bottle of water in front of Ben but refuses to look at him. WAITRESS (hostile) Three-fifty. Ben puts down a hundred on to her tray. BEN (polite) Could I have fives please? Keep one for yourself. This throws the Waitress for a loop. CUT TO: 29 INT. BATHROOM OF STRIP CLUB - NIGHT Ben drinks all of a fifth of bourbon. Other guys come and go, pissing against the urinal. Ben offers one of the guys a drink, the pianist from the trio. He takes a shot. CUT TO: 30 INT. STRIP CLUB - NIGHT Ben sits next to another man watching the show. On stage a tall blonde dances with her own reflection in a mirror. Ben turns to his neighbor. BEN To me nothing is more beautiful than the relationship between the reflection of a woman and the woman who has created it. NEIGHBOR (completely uninterested) No shit! 30A EXT. LA STREETS - NIGHT Ben drives in his car. CUT TO: 31 EXT. SUNSET BOULEVARD - LATER THAT NIGHT Ben is cruising in his car, listening to 'Lonely Teardrops' again. He's looking for a prostitute. He sees a girl, but when he slows down she ducks into a doorway. He looks in his rear-view mirror and sees a cop car coming up fast. Ben panics for a second. There is a bottle between his legs. The cop car draws level and cruises alongside him for a while, but then puts its lights and siren on and speeds off, doing a U-turn. Ben continues and then sees an Hispanic girl and stops. He winds down the window. He is by now almost incoherent. BEN Good evening. 32 EXT. KERBSIDE - NIGHT The girl looks up and down the street and then walks over to the car and bends down to the window. HISPANIC GIRL You wanna date? You wanna date me? The girl's eyes shift constantly from Ben to the street and then back again. BEN (cut to the chase) I'll give you a hundred dollars for a straight forty- five minutes. You get the room. Ben shows her the money. HISPANIC GIRL (trying to take him) The room is twenty. You pay for it. Ben laughs. BEN OK... but only because I think that the concept of surrender fits in with the big picture right now. How about over there? He gives her a twenty and indicates a motel across the street. She sets off and he gets out of the car. As he does, a wave of nausea hits him. He shakes his head violently and then lurches across the street, causing two cars to hit their brakes. The camera follows him into the dark parking lot of the motel, where the Hispanic girl is waiting. BEN (slurring badly) I canremember... if mywifeleffme... or Illeff her... bufuckittanyway... The girl laughs at Ben and says something in Spanish. Slowly the picture gets darker, until all that can be seen is the headlights from the passing cars on Sunset... and then... 33 INT. BEN'S HOUSE - DAWN Ben wakes up on the kitchen floor. The fridge door is open and its light is what lights Ben. Inside the fridge are one green pepper and four bottles of vodka. Without too much effort Ben feels for his wallet and sees that it is still there, as are his car keys. He closes the fridge door and in the green light from the window he lies still. The first birds start singing. (the birdsong continues through the following sequence, which does not have sync sound.) CUT TO: FLASHBACK 34 EXT. SUNSET BOULEVARD MOTEL. PARKING-LOT DUMPSTERS - NIGHT At the rear of the motel. Next to some garbage hoppers, the Hispanic girl hugging him and kissing his neck. He tries to kiss her on the mouth, but she turns her face away. CUT TO: 35 INT. BEN'S HOUSE - DAWN Ben lying on the floor, thinking. CUT TO: FLASHBACK 36 EXT. SUNSET BOULEVARD MOTEL. PARKING-LOT DUMPSTERS - NIGHT The Hispanic girl kneeling in front of him, unzipping his trousers. Through a gap in the fence, we see traffic going up and down Sunset. CUT TO: 37 INT. BEN'S HOUSE - DAWN Ben lying on the floor, thinking... CUT TO: FLASHBACK 38 EXT. SUNSET BOULEVARD MOTEL. PARKING-LOT DUMPSTERS - NIGHT The girl takes his hand and kisses it. She begins sucking the fingers, taking the whole hand into her mouth. CUT TO: 39 INT. BEN'S HOUSE - DAWN Ben suddenly sits up and looks at his hand. His wedding ring has gone. He thinks about this for a long time. CUT TO: 40 INT. BANK - MORNING Ben waiting in line to cash a check. He looks unwell and is having difficulty standing straight. At last it is his turn. He goes to the counter and hands over a check to the girl. BANK GIRL OK... four thousand, six hundred dollars... one moment, sir... She looks at her computer read-out. BANK GIRL That'll leave five dollars in your account. Would you sign the back of the check, please? BEN (surprised) You couldn't cash it just like it is? BANK GIRL (puzzled) I'm sorry, sir. Is there a problem? Ben picks up a pen and tries to sign, but his hands are shaking so much that he cannot do it. BEN (embarrassed) Well... to tell you the truth, I'm a little shaky right now. I just had a brain surgery... Why don't I come back after lunch, when I'm feeling a little better? We can take care of it then. CUT TO: 41 INT. BEN'S BAR. LA. - MORNING Ben seated at the bar, a pile of bills in front of him. The Barman sets down a vodka, picks up the empty glass and takes some bills, shaking his head in disapproval. The TV is on, some game show as before, and Ben watches carefully, looking for a sign from the girl, but the show proceeds in its 'normal' fashion. The only difference is that the hostess is played by the girl in the bank. Ben grabs the Barman's attention. BEN I think, when I'm done with this, I'll have gin and tonic... Bombay gin and tonic. The Barman loses it BARMAN (angry) You should be having coffee. Do you know what time it is? You're a young man. (calmer) It's none of my business, but if you could see what I see, you wouldn't do this to yourself. Ben is taken aback by the emotion in his voice. In his mind, cynicism and the desire to cry fight it out. He holds the emotion back, and looks down at the bar. BEN I understand what you're saying... I appreciate your concern. Its not my intention to make you uncomfortable. Please... serve me today and I will never come in here again. (cheerful) If I do, you can eighty-six me. BARMAN Sure, sure, I can eighty-six you now if I want to. Stop fucking with me. I don't give a fuck what you do. He picks up a bottle of gin, fills a glass, slams it on the counter in front of Ben and knocks twice with his knuckles on the bar. BARMAN On the house, son. Ben looks at the TV for a sign. None is forthcoming. CUT TO: 42 INT. BANK - DAY Ben waiting in line again. The same Bank girl is there and she is dealing with her customers in the same inanely cheerful way that the game-show Hostess dealt with her prize- winners. She notices Ben waiting and an irritated look flashes over across her face. Ben studies her. She is pretty in an ordinary kind of way. We hear Ben's thoughts as voice- over (or maybe he says them out loud to himself). BEN (voice over) Are you desirable? Are you irresistible? Maybe if you drank bourbon with me, it would help. Maybe if you kissed me and I could taste the sting in your mouth, it would help. Close-up on the Bank Girl as she does her thing, efficiently counting money, smiling, perfect teeth framed by a Cupid mouth. She is wearing a white blouse through which frilly lingerie can just be made out. BEN If you drank bourbon with me naked... if you smelled of bourbon as you fucked me, it would help... it would increase my esteem for you. If you poured bourbon on to your naked body and said to me... drink this... Camera moves in tighter on her face as she chats with a customer about the weather. BEN ... if you spread your legs and had bourbon dripping from your breasts and you vagina and said drink here... then I could fall in love with you, because then I would have a purpose, to clean you up, and that would prove that I'm worth something. Id lick you clean so you could go away and fuck someone else. BANK GIRL Next! Ben takes a moment to come out of his reverie. He smiles and comes to the counter, completely in control of himself. BEN I'm back, I've got my check... and baby... I'm ready to sign. He flips the check over, makes sure she is watching and signs with a flourish. BEN There... Steady as a fucking rock, excuse my French. (serious) Wanna have dinner with me? She counts the money out and glares at him as she hands it over. BANK GIRL I'm glad you're feeling better. Do you need a validation? Ben looks at her and smiles. CUT TO: 43 INT. SUPERMARKET - DAY Ben throws items into a trolley. Garbage bags, firelighters and charcoal lighter fluid. CUT TO: 44 INT. BEN'S KITCHEN - DAY Ben putting all the kitchen utensils into a large garbage bag. Three other bags are already filled and the kitchen is looking empty. CUT TO: 45 INT. BEN'S BEDROOM - DAY Ben is stuffing all the bedding into a garbage bag. Next he opens a drawer on the dresser and begins taking out clothes and stuffing them into another bag. He pauses for a moment to take a drink from a tall glass. CUT TO: 46 INT. BEN'S LIVING ROOM - DAY All the books from the bookcase go into another bag. Then all the records. But he selects certain favorites and as this sequence progresses we can see that Ben is making tapes of these tracks. As soon as he is done with the recording, he throws the album into a garbage bag. CUT TO: 47 EXT. BEN'S YARD - NIGHT Ben pours lighter fluid on to a pile of photographs and then throws a match on to it. It bursts into flames. He throws more stuff on and the fire blazes. A curious neighbor watches from a safe distance, not wanting too get involved. ANGLE ON THE FIRE A watercolor, a poem to his wife, photograph of him and his wife, a Polaroid of a naked woman, his medical records, his birth and marriage certificates, divorce papers, strips of photographs from booths, postcards from Hawaii. Two small children (his?). ANGLE ON BEN Now the flames are high and Ben has to stand back as he throws things on to the fire ... his camera, an engraved box, his wife's 'left behind' clothing , a clock... CUT TO: 48 EXT. BEN'S HOUSE - DAWN Fifteen neatly tied garbage bags and Ben's furniture are stacked up on the sidewalk. Ben comes out of his front door carrying a racing bike. He walks to the neighbors' house and places the bike on the porch. We see a label saying 'To Brad from Ben'. He walks to his black car with a small suitcase, gets in and drives off. CUT TO: 49 EXT. DESERT LANDSCAPE WITH ROAD - DAY A high wide shot shows a small black car making its way across the frame. DISSOLVE TO: 50 INT. CAR - DAY Through the window we see a dead straight road stretching to infinity. The sunlight is painfully bright. On the soundtrack we hear one of Ben's chosen tapes, which continues through into the next shot. DISSOLVE TO: 51 EXT. GAS STATION IN THE DESERT - DAY Ben is filling his car. A Town Car drives in and stops next to the BMW. Three men get out. They look like Russian Mobsters. Ben nods at them and they nod back. CUT TO: 52 INT. CAR - NIGHT Same angle through the window but this time we see Las Vegas at night as Ben drives down the main drag. An overdose of neon. 52A EXT. LAS VEGAS STRIP - NIGHT Ahead we see the light changing, but Ben doesn't notice until it's almost to late. The car stops and we see Sera crossing in front of the car. She gives Ben a look of real attitude because he is over the line and she has to change course to cross in front. CUT TO: 53 EXT. HOTEL FORECOURT - NIGHT Sera is talking to Yuri. A middle-aged man gets out of a cab and Yuri shakes him by the hand and introduces him to Sera. He hands Yuri an envelope and then Sera and he go into the hotel together. Yuri looks around thoughtfully before getting into a cab and driving off. 54 INT. DOCTOR'S OFFICE - DAY Improvised scene.(1) INT. MOTEL RECEPTION - NIGHT Ben waits to check in while the manager explains the house rules to a family of large people from the Midwest. MANAGER All rooms to be paid a week in advance, maid service is optional, use of the pool is at your own risk, there is no lifeguard on duty. Above the manager's head is the name of the motel, The Whole Year Inn. Ben stares at it and then smiles. BEN'S POV The sign has changed to The Hole You're In. CUT TO: 56 INT. LIQUOR STORE - NIGHT Ben has almost filled a trolley with bottles of various brands. He is whistling and seems happy. 57 INT. DOCTOR'S OFFICE - DAY Improvised scene.(2) CUT TO: 58 EXT. THE STRIP - NIGHT Ben driving. He sees Sera and follows her, then drives up on the sidewalk. She sees him. BEN Hello! SERA Hello. BEN Are you working? SERA (tough) Working? What do you mean, working? I'm walking. And she walks a few steps to prove it, stopping on the passenger side of his car. They pause for a moment and Ben is confused. He is quite taken with her beauty, but this is not going according to plan. He reaches into the car quickly and picks an open can of bee, draining it before tossing the empty back on to the rear seat. SERA Isn't it illegal to drink and drive? BEN (laughs) That's funny. (seriously) I wonder if you'll take two hundred and fifty dollars to fuck me? Sera doesn't say anything. BEN That is, if you'll come to my room for an hour, I will give you five hundred dollars. SERA Maybe you shouldn't stand in the road like that. You're pretty drunk. He bites his lips as he waits for her to respond. SERA (softer) You're pretty drunk. BEN (factual) Not really. My room's not far. The Whole Year Inn. You can drive with me if you want... She makes no response. BEN ... or we can walk... or I'll give you cab fare. Takes out his money. BEN Whatever you want. She touches the door handle. SERA Why don't you give me the money when I'm in the car, and I'll drive you. It takes a moment or two to register that she is saying yes. He comes around the car to open the door for her. BEN I'm Ben. They shake hands. SERA I'm Sera. She gets in. Ben gets in. CUT TO: 59 INT. CAR - NIGHT Ben hands her the money. BEN Sarah - with an H? SERA No - S.E.R.A. They grin at each other. SERA You wanna start the engine? They drive off. 60 EXT. MOTEL PARKING LOT - NIGHT They sit in the car for a while before speaking. SERA I'm sort of curious... if you're willing to pay me two- fifty... not that I mind... I mean, I'm OK with that - why aren't you staying in a hotel? BEN We can go to one if you'd prefer. SERA No, this is fine. I was just wondering. Ben switches off the engine but makes no move to get out of the car. BEN Well... I'm here because I'm a drunk who tends to pass out at odd hours for unpredictable stretches. I'm going to a hotel soon. A room with a balcony to pass out on... or off. He falls silent. SERA Umm. We can stay in the car for an hour if you want. But I really have to go then. It's your time. BEN Right, I'll get your door. I tend to fade in and out lately. SERA I guess I do too. BEN You what? SERA I sometimes fade out. BEN Oh... well, maybe we better synchronize our spells... or stagger them. SERA (gently) You were going to get my door. He gets out and she waits for him to open the door. She gets out and he offers her his arm. She takes it and they walk into the motel. CUT TO: 61 INT. BEN'S ROOM - NIGHT As Ben closes the door. Sera surveys the room. SERA (amused) What this room needs... is more booze. SERA'S POV There are bottles everywhere. Ben has gone to a lot of troble to lay them out in a pleasing way. BEN Do you think so? She turns and looks at him, appraising him. Suddenly she's all business, in control, and Ben likes it. SERA Mind if I use the bathroom? BEN Of course. She goes into the bathroom. BEN Want a drink? I'm having one. SERA (off-screen) A shot of tequila, if you can spare it. BEN Of course. Ben smiles, happier than we've ever seen him. He gets her order ready and then he takes a big swig from a bourbon bottle. He sits on the edge of the bed. The bathroom door opens and Sera comes in wearing a black bra and panties. She's acting the hooker now, tough and sexy. SERA For two-fifty we can do pretty much what you want. You've been drinking, so it might be better if I got on top, but the other way's fine too. I have some jelly in case you want to fuck my ass, that's up to you. If you want to come in my face, that's OK too, just try to keep it out of my hair, I just washed it... and my eyes, it stings. She walks to the table and downs her tequila in one. Then comes to the bed, where Ben is sitting. She kneels, unzips his fly and begins sucking him. Ben watches her, looks at her reflection in the closet mirror, reaches for the bottle and drinks some, being careful not to disturb Sera. After a while Sera comes up. SERA Do you want to fuck now? BEN (confused) Maybe another drink first. More tequila? SERA OK... whatever. She takes the bottle and drinks. She goes down again. Ben stops her. SERA What's the story? Are you too drunk to come? BEN (sincere) I don't care about that. There's time left. You can have more money. You can drink all you want. You can talk or listen. Just stay, that's all I want. She looks at him, confused. She sees a strange look on his face. It throws her. This is a turning point. Both of them are momentarily exposed. Ben lifts the sheet and moves to one side, indicating that she should come into the bed. She's as confused as he is. She gets in with him and he hands her the bottle. CUT TO: 62 INT. CASINO - NIGHT Yuri is losing at one of the tables. He continues to bet though, putting half of what he has left on one number. He lose again. He mops his face with a red silk handkerchief and places another bet. 63 INT. SOMEWHERE IN THE CASINO - NIGHT The three Russian Mobsters we saw in the desert are walking through the casino, looking for someone. CUT TO: 64 INT. BEN'S ROOM - NIGHT They are both in bed, drinking. SERA So, Ben, what brings you to Las Vegas? Business convention? They both laugh and Ben hands her the bottle. BEN No, I came here to drink... myself... you know... SERA To death? BEN Yes, that's right. He looks at her, she at him, not sure whether to believe him or not. BEN I cashed in all of my money, paid my AmEx card, gonna sell the car tomorrow. SERA How long's it gonna take, for you to drink yourself to death? BEN I think about four weeks, and I've got enough for about two hundred and fifty to three hundred dollars a day. SERA Yes... that should do it. What am I? A luxury? BEN Yeah. And your meter just ran out. Ben looks at his watch. SERA It's OK... nice watch. Go on. Talk some more. Ben yawns, suddenly deeply tired. BEN In LA I kept running out of booze and the store would be closed because I'd forget to look at my watch... so I decided to move here because nothing ever closes and because I got tired of getting funny looks when I would walk into a bar at six o'clock... even the bartenders started preaching. (yawns again) Here, everyone's from out of town so no one cares, no one is overtly fucking up CUT TO: LATER. SIDE ANGLE Sera is in focus, Ben is asleep. SERA (voice-over) I guess I was intrigued by him... There was a lot of stuff that I wanted to ask him about but didn't because I didn't want to sound too interested in a trick. But I felt as if a relationship was being forged very quickly. 65 INT. DOCTOR'S OFFICE - DAY Improvised scene. (3) CUT TO: 65A EXT. SERA'S APARTMENT COMPLEX - DAWN Sera gets out of a cab and makes her way towards her apartment, changing out of her high heels as she walks. 66 INT. SERA'S HOUSE - DAWN Sera lets herself in. Yuri is standing in the shadows. She gets a fright when she sees him. YURI Where have you been? SERA It was a slow night. I went to a hotel for a few drinks. Yuri holds out his hand for her bag. She gives it to him. He finds the money and counts it. YURI A full night on the street and this is all? SERA Like I said... it was a slow night... I'm sorry. It was hard to score. Yuri slaps her. SERA Don't hit me. YURI What do you think... you are sixteen years old on Hollywood Boulevard? Yuri talks in Russian, becoming angrier, and slaps her again. He spits on the floor. Sera falls against the kitchen table and picks up a lethal- looking knife. Yuri stops. SERA Maybe nobody wants to fuck a chick with a cut on her cheek. She throws the knife to Yuri, who catches it. She bends over the table and pulls up her skirt. SERA There, go ahead! She mimics him. A shower of Russian comes out of Yuri, but he doesn't touch her. He tries to regain his dignity by putting on a coat. YURI I could kill you. You know that. He goes to the door. YURI Work, tonight, bring me money, no matter the hour. And he exits. Sera is still on the table. SERA I will Yuri. I will. CUT TO: 67 INT. PAWN SHOP - DAY The proprietor is handling over some cash to Yuri, whose jewelry is on the counter. He pockets it and as he turns to leave, Ben comes in. They pass without taking much notice of each other. Ben removes his Rolex and shows it to the man. CUT TO: 68 EXT. STREET, LAS VEGAS - DAY Yuri is walking in the hot sun, sweating. We see him through long-lens heat haze. The camera wanders into the traffic and we see the black Town Car crawling along behind him, three men inside. CUT TO: 69 INT. DOCTOR'S OFFICE - DAY Improvised scene. (4) CUT TO: 70 INT. MAIN BAR, HOTEL - NIGHT A lounge singer belts out a fair rendition of a Tony Orlando number. Sera sits at the bar, an empty seat on either side of her. She watches a younger hooker in the final moments of pulling a dangerous-looking man. The girl is aware of Sera without even looking at her. The guy she is with looks around and sees Sera. The girl shoots an icy look. A man sits next to Sera: a conventioneer. CONVENTIONEER About ready for another drink? SERA Yes, that would be great. Are you her for the convention? CONVENTIONEER Do I look that obvious? My name's Paul. They shake hands. SERA No, of course not, just a wild guess. I'm Sera and that's a margarita. The barman is already pouring. The young hooker leaves with her dangerous guy. She pauses long enough to give Sera a nasty smile. The conventioneer pays for the drink and is a little lost for words. Sera tries to help. SERA So... are you alone, or are you just using me to make someone else jealous? CONVENTIONEER (laughs nervously) Alone. Alone. I'm here alone. SERA (friendly) Where are you staying? CONVENTIONEER (suspicious) Right here at the hotel. Why? SERA (moving a little closer) Well... I thought you might be looking for a date. CONVENTIONEER (shocked) A date. What, are you a hooker? (voice getting louder) What do you mean a date? (and louder) I've got a wife back home. I just came over to talk for a few minutes. SERA (quietly) I'm sorry, I guess I misunderstood. She looks around. SERA Please don't raise your voice. I won't bother you about it again. CONVENTIONEER (calmer) Sorry. Look... you seem like a nice girl. I'm just sick of everyone in this town trying to get my money. He gets up. CONVENTIONEER Here, have another drink. I gotta go. He leaves. Sera is uncomfortable. People are watching her, aware that something has been going on. The Barman comes over to where Sera is sitting. BARMAN Maybe you should give it a miss for this evening. He walks away. Sera finishes her drink and leaves. CUT TO: 71 EXT. THE STRIP - NIGHT Sera at work is looking more carefully than usual, hoping to see Ben. A huge silver limo pulls up and, after some negotiation, she gets in. CUT TO: 72 EXT. THE STRIP - NIGHT Long-lens shot of Ben, very drunk on the street. He falls and lies still for quite a long time before getting up. He falls into the road and tries to hail a cab, but none stops. A cop car cruises to a halt and Ben more or less imitates a normal person as he walks out of shot. 73 EXT. THE POOL, MOTEL - DAY Ben dives in and swims a length under water. He pulls himself out and sits next to the large Midwestern family. The father says hello and introduces his family to Ben. They are all very friendly. It's a nice atmosphere around this pool and for a moment Ben even looks healthy. CUT TO: 74 EXT. THE STRIP - NIGHT A limo pulls up and Sera gets out. She sees something. SERA'S POV Ben sitting at a bus stop, drinking out of a cocktail glass. When he sees her he gets up, a little unsteadily. BEN I couldn't remember what happened last time. I was afraid that I might have been rude, or mean to you. He looks at her. BEN If I was I'm sorry. SERA No, just drunk... but that's OK. Where's your car? BEN I sold it this morning. I'm going to take cabs from now on in. Sera looks up and down the strip. BEN Don't run away. SERA (defensive) Why should I? I know you're not a cop, so what is it tonight? Another two-fifty to watch you sleep? Ben sits down, a little hurt. SERA What's up? BEN I was looking for you tonight. I don't know if you have a boyfriend... He thinks. BEN ... or a girlfriend, but if you have some free time... maybe we could have dinner. SERA (tough again, but pleased) Are you serious. BEN (deadly serious) I think you know I'm serious. I'll pay you if you like... but I'd like to see you. SERA No, I can't have dinner with you. And she hails a taxi, which stops immediately and she gets in. SERA The Mojave Hotel, please. Ben watches the cab drive off. CUT TO: 75 INT. CORRIDOR OF HOTEL - NIGHT Sera walks along, checking numbers on the doors. She finds the right one and knocks firmly. YURI (v.o) Yes? What? SERA It's me, Yuri. The door opens a crack and Yuri peers out. YURI Sera! It's... He looks around for a clock. YURI ... it's late. 76 INT. YURI'S ROOM - NIGHT Sera comes into the room, takes her purse out and counts out seven hundred dollars. SERA Sorry, Yuri... good night... lots of tricks... I think things are picking up. Yuri sits on the bed. He looks unwell and disoriented. His face is covered with a thin film of sweat. He seems to be listening for something, because he stops her talking by putting his fingers to his lips. He looks at her and then beckons her to the bed. Sera is nervous. As she walks to the bed, she begins unbuttoning her blouse. Yuri stops her with a wave of his hand. Sera is puzzled and frightened now. Yuri seems to be deranged. YURI Have you told anyone that I'm here? SERA No. Yuri suddenly hears something. He grabs Sera's hand and takes her to the wall. He presses her head to the wall. YURI Do you here that? He looks at her. YURI They're talking about me. He pulls himself together. YURI Go, Sera. (whispers) Go. Stay at home. I will call you tomorrow. SERA Yuri... are you... YURI (patiently) Sera... please go. He indicates the wall. YURI This is very important... and I must listen. Now go. They face each other for a moment and then Yuri does an almost comic gesture to tell her to go. He hustles her to the door and shoves her out as she is still buttoning up her blouse. He slams the door. YURI (through the door) Goodbye, Sera. Don't come back here. I will not see you again. Sera stands there for a while, almost in shock, and then she begins to walk. The camera follows her as she makes her way down the endless corridor of doors. Ahead of her, three men are walking towards her, checking the door numbers as they make their way. Sera doesn't take them in. They pass and turn a corner. We recognize them as the men from the black Town Car. ANGLE The men have stopped outside Yuri's room. The camera pans and we see Sera down the other corridor getting into the elevator. FADE OUT: 77 INT. BEN'S ROOM AT THE MOTEL - NIGHT Ben is lying on the bed watching a game show, drinking. A coughing fit hits him. He is very short of breath. We see how ill he really is. There is a tap at the door. BEN No thanks... I'm fine. The tapping persists and eventually Ben gets off the bed and unlocks it, but keeps the chain on. It is Sera. SERA Still want to have dinner? Ben stares at her for a while. BEN Yes. SERA I have to change and take a shower first. If you want to come home and wait. Ben opens the door. SERA We should pick up a bottle of tequila on the way. I owe you one. BEN You do? CUT TO: 78 INT. SERA'S HOUSE - NIGHT Sera is finishing in the shower and Ben is sitting at the kitchen table. He gets up and walks around the house, trying to get a sense of her. The furniture is very plain and there is spartan quality about the hose. He looks with interest at the bookshelf, which has a good selection of literature. BEN (to himself) This is the home of an angel. SERA (off-screen) You OK out there? BEN Yes. Take your time. I'm fine. He pours himself another drink. SERA (off-screen) Pour yourself another drink. He sots down and she comes in, toweling her hair. SERA You OK? BEN Of course. Wow... you look extremely beautiful. SERA Thank you. What time is it? BEN Don't know. My watch went the way of the car. He holds up his empty wrist for her to see. Then looks up and sees her watching him. BEN I'm rambling. I really like you. You make me want to talk... I don't know what time it is. SERA I like hearing you talk. (businesslike) If you feel up to a short walk, there's a place to eat around the corner. All the food in Vegas is terrible so the place doesn't really matter. How does that sound to you? BEN Do they have drinks? CUT TO: 79 EXT. THE STRIP - NIGHT Ben and Sera walk and talk. 80 INT. RESTAURANT - NIGHT Ben and Sera are eating. He plays with his food, eating very little of it. Finally he pushes it away and orders another drink. SERA I'm from the East. I went to college, did an arts course. I now live in Vegas. I think of it as home. I came here deliberately to carve out a life. I was in LA before, but I'll come back to that later. (pause) The tough times are behind me now. I can deal with the bad things that happen. There will always be dark characters. But my life is good. It is as I would want it to be. So, why are you a drunk? BEN Is that really what you want to ask me? SERA Yes. BEN (worried) Well, then I guess this is our first date... or our last. Until now, I wasn't sure it was either. SERA Very clever. Sera thinks for a while and decides to give in to him on this. SERA First. It's our first. I'm just concerned. So... why are you killing yourself? BEN Interesting choice of words. I don't remember. I just know that I want to. SERA Want to kill yourself? Are you saying that you're drinking as a way to kill yourself? And she leans across the table to be close to him, listening intently. Ben becomes uncomfortable and tries to joke it off. BEN Or killing myself as a way to drink. Sera continues to stare at him, wanting to know the real answer. He takes a slug from his drink. She sits back. BEN We'll talk about it some other time maybe. OK? Sera relaxes and continues with her food. We hear her thoughts for a moment. SERA (v.o) It wasn't so important to me. I mean, he never asked me why I was a hooker, sand that was impressive. I really liked him. So I decided to just play my part. I mean... it's good to help someone once in a while., it's a bonus to being alive, and that was my plan... to stay alive. I suddenly came to a decision. BEN What are you thinking? Are you angry with me? SERA (decides something) Ben, why don't you stay at my place tonight? I mean... look, you're so drunk. I like you. I trust you. BEN That's astonishing. Sera, look... SERA I hate to think of you in that cheesy motel. I mean... And she folds her arms and grins at him. SERA Let's face it, what the fuck are you doing in Las Vegas? BEN (overwhelmed by her) I'm going to move to a smart hotel, tomorrow if it'll make you feel better. (looks at her) Let's talk about tomorrow. Wanna do something? SERA (warmly) Sure... tonight. Then please stay at my place. BEN Sera... you know I'm not much good in the sack. SERA It's not about sex, Ben. I'll make you up a bed on the sofa. Do it for me. We can talk till late and then sleep till late. As you know, I am my own boss. Ben laughs loud, the most animated we've seen him, and his laugh as infectious, and Sera join in. Other diners turn to stare at them. They seem like a couple. CUT TO: 81 EXT. THE STRIP - NIGHT Ben and Sera walk and talk, holding hands. 82 EXT. DESERT - DAY A wide shot. The black Town Car makes its way across frame. Left to right. CUT TO: 83 INT. SERA'S house - day Ben is asleep on the sofa. As he wakes up, he becomes aware that Sera is watching him from across the room. They smile at each other. BEN How long have I been her? SERA Three nights, two days. When is your rent coming up at the motel? BEN I don't know. (sits up) I'll go and sort it out today. Why don't you come?... We'll find a real room for me. You can pick it out, a tower on the strip. SERA There's no reason to blow all your money on a hotel room. BEN What do you mean? SERA What I mean is that you should bring your stuff over here. We're spending all this time together... what the fuck! BEN Sera... SERA Let's face it, Ben, we're having fun here. I've never done so much talking in my life. BEN Me neither. SERA So! Let's dispense with the formalities. I want you here... now! BEN Sera you are crazy. SERA So... I'm not too concerned with long term plans. BEN Don't you think you'll get a little bored living with a drunk? SERA That is what I want. Why don't you go and get your stuff? BEN You haven't seen the worst of it. These last few days I've been very controlled. I knock things over... I throw up all the time. (looks at her) Now I feel really good... You're like some kind of antidote that mixes the liquor and keeps me in balance, but that won't last forever. You'll get tired of it really quickly. Believe me. They sit in silence for a while. SERA OK, you go back to your hotel and I'll go back to my glamorous life of being alone. She walks out of the room, and into the bathroom, where she sits on the toilet to pee. SERA (to herself) The only thing I have to come home to is a bottle of Listerine to wash the taste of come out of my mouth. I'm tired of being alone... that's what I'm tired of. She finishes, wipes herself and flushes the toilet. Pulling up her panties, she walks back into the bedroom, where Ben is putting on his shoes. SERA Don't you like me, Ben? BEN (devastated) Don't be silly? Ben is unable to deal with the fact that he is absolutely in love with her. He walks out of the room. She foolows. SERA We gotta decide this... right now. Before we go any further. You either stay here with me or... Ben turns to look at her. SERA ... we can't see each other any more. Ben and Sera look at each other for a long time. BEN Sera... what you don't understand is... SERA What? Ben is deeply troubled. He comes to a decision. BEN You can never... never... ask me to stop drinking. Do you understand? SERA (dead serious) I do. I really do. (smiles) OK. I have to do some shopping alone. You go out for a few drinks and then pick up your things. Don't hurry and I'll be back before you to let you in. Sera grabs him in a big embrace that knocks him off balance and into the wall. She kisses him all over his face and squeezes his skinny frame. CUT TO: 84 INT. BEN'S ROOM AT THE MOTEL - DAY Ben is packing his liquor into his suitcase. The almost-empty bottles he pours into a large cup, which he drinks from. The suitcase is now full and Ben suddenly realizes that he hasn't packed any clothes. They are all in a pile on the bed. He talks to himself. BEN Maybe this isn't a good idea after all. He tries to put clothes in with the bottles, but the lid won't close. He sits on the bed and has an imaginary conversation with Sera. BEN Listen, angel... the thing is that I'm nuts about you and this is a bad thing... because my real plan is to die here and you were never even part of my plan... but like I said, I'm nuts about you... wait a minute, I have an idea, angel. And he opens the closet and finds some plastic laundry bags, which he puts his clothes in. 85 SCENE CUT. CUT TO: 86 EXT. SERA'S HOUSE - DAY Sera's neighbors, a husband and wife, are standing outside her house. They stop her. They are also her landlord. HUSBAND We didn't know whether to call the police or not. And they indicate the sleeping figure of Ben, in the doorway, clutching a bottle of bourbon, using hi suitcase as a pillow. WIFE He's been there for about half an hour. My husband thought he'd seen you two together, but I thought it best to wait until you got home. SERA Yes, he's my friend. I guess he just had a little too much to drink. (smiling uncomfortably) I'll help him inside. (puts down her packages) Thanks for the concern. Sorry to trouble you. HUSBAND (gallantly) Well, call me if there's anything I can do. They go to their own house. Sera opens the front door, kneels down next to Ben and shakes him gently. SERA Can you wake up? Ben opens his eyes and looks around with a pleasant, cheerful expression. BEN Hi! SERA Why don't you go in and sit down. I have some gifts for you. BEN Right... OK... Ben stands and almost loses his balance. He picks up his suitcase and attempts to pick up her packages as well, but she stop him. SERA Don't worry... I got'em. Ben staggers in with his case. As Sera enters, she looks around and sees Husband and Wife at the window, still watching. BEN (off-screen) Want a drink? Great nap. Wanna go out tonight? SERA Seriously, Ben... I need to keep pretty low-key around here. Maybe next time you could nap this side of the door. That was the landlord. BEN Of course. She reaches into her purse. SERA Gift number one. And she gives him a newly cut key. He takes it and tries it in the lock, then drops it into his pocket. BEN I used to carry a lot of keys, but one by one they all fell victim to the great condensation. Now I have just this one... which is... And he tails off and stares at the floor. She waits for him to continue and then comes to him and touches him on the arm. 87 INT. SERA'S HOUSE - DAY SERA Ben? BEN Sorry. He shakes his head. BEN I was miles away. He sees the parcels. BEN Ah... more gifts. I have to sit down for this. He strides into the living room and flops on to the sofa. She follows. BEN Sera, I love that name... S.E.R.A. Before we proceed onwards, there is something I need to say. OK? SERA OK. BEN I've come this far... here I am, in your house. I want you to let me pay the rent for this month. All right? And he stares at her as if to say that nothing can happen until this matter is resolved. SERA Why? BEN Because... it's better for me that way. OK? SERA Well... OK... She is uncomfortable. They sit in silence for a while. BEN Sera... I hope that you understand how I feel about this. First of all, you're welcome to my money. We can buy a couple of cases of liquor and you can have the rest. But I don't think you're talking to me right now about money. SERA (smiling) No? BEN No. I think you're talking about you. I'll tell you right now that I'm in love with you... but, be that as it may, I'm not here to force my twisted life into your soul. SERA I know that... BEN ... and I'm not here to demand your attention to the point where it changes your life. We know I'm a drunk... but that seems to be all right with you. And I know that you're a hooker. I hope you understand that I'm a person who is totally at ease with this... which is not to say that I'm indifferent or that I don't care... I do... it simply means that I trust and accept your judgement. What I'm saying is... that I hope you understand that I understand. SERA Thanks, I do understand. I was worried about how that would be... but now I'm not. And you should know that included with the rent here is a complimentary blow job. BEN Ah, yes... I suppose sooner or later we ought to fuck. SERA Whatever that means. Open your presents. She hands him the larger of the two parcels. SERA Open this one first. Ben awkwardly unwraps the present, a large, colorful shirt. A genuine smile comes on to his face. BEN Very nice. He holds the shirt against himself. BEN This should work very nicely with my suit, which, by the way, is the only item of clothing I brought over from the motel with me. Sera raise an eyebrow. SERA Right... the suitcase was clinking. So what did you do with your clothes? BEN (laughing) I threw them into the garbage., which was perhaps immoral, but I wanted to come to you clean, so to speak. I thought we could go shopping and pick up a pair of jeans and forty-five pairs of underwear and just throw them out each day. SERA (smiling) Nice talk, Ben. Keep drinking. In between the hundred and one proof breath and the occasional drool, some interesting words fall from your mouth. She hands him the last present. SERA Now, try this one. Ben unwraps the smallest gift. It is a silver hip flask. He is very touched and a little tear trickles down his cheek. BEN Well... looks like I'm with the right girl. He turns it in his hands. BEN I must say that I'm very impressed that you would buy this for me. I know you wouldn't do this without thinking about it. Funny... you did just what I would have done. Ben stands and tries the flask in his pocket for fit. It is fine. He walks to the door. BEN I'm going to fill it right now. SERA Do you want to go gambling tonight? We could go out and play for a few hours. Ben comes back into the room, takes the flask out of his suit pocket and has a drink. BEN I hadn't planned to gamble... but if you would keep the bulk of my money here, then I could safely blow a couple of hundred bucks. He takes out all of his money, peels off a few hundreds and then gives her the rest. BEN Giving you money makes me want to come. SERA Then come. (pause) I'm going to change. Watch TV. I'll be half an hour. And she leaves. There is a slight edge to her voice and Ben is not sure if he offended her or not. He watches through the small angle of the door as she changes. SERA I am planning to go out and do some work. BEN When? SERA Tomorrow night as a matter of fact. 88 EXT. THE STRIP - NIGHT Ben and Sera walking. The camera follows them. He is wearing his new shirt and looks good in it. She is wearing a green dress and mismatched earrings and looks great. They walk and talk. BEN I like your earrings. He changes sides. BEN I like women who wear mismatched earrings. SERA Well, then... I hope we don't run into any tonight. BEN (laughs) What do you mean? SERA I expect some kind of loyalty here. Just because I fuck for money doesn't give you cause to start picking up women and leaving me looking silly. And she stops and looks at him, smiling but serious. BEN And I only have eyes for you. And we both know that you would never become romantically involved with a trick, right? 89 INT. CASINO - NIGHT They walk around the huge space, which is full of people and energy, and suddenly Ben grabs Sera and pushes her against a slot machine and kisses her deeply. At first she resists and then she gives in to him and responds. They knock over some change, which falls to the floor, and Ben pulls from her a beat to bend down and scoop up all the change and hand it to the bemused player, before returning to Sera's mouth or more. They break for air and then Ben leads her towards the bar. As he waves to attract the barman's attention, she squeezes his arm. SERA (quietly) I love you. But he doesn't hear her. ANGLE ON CASINO ACTIVITY On long lens we see Ben and Sera at the bar. Suddenly Ben seems to fall asleep. Sera tries to wake him and then he goes crazy and falls backwards off his stool, knocking a waitress and her drinks over. Security Guards appear and begin arguing with Sera. CUT TO: 90 INT. SERA'S HOUSE - NIGHT Ben wakes up on the sofa, fully dressed. A night-light gives a soft glow. He rolls off the sofa, landing on all fours on the floor. He crawls to the kitchen , opens the fridge door and takes out a vodka bottle and carton of orange juice. With difficulty he gets to his feet, finds a glass and pour s a drink. He swallows the mix and then stands over the sink just in case he has to vomit. 91 INT. SERA'S BEDROOM - NIGHT Sera wakes and Ben comes in and gets into bed with her. SERA How are you doing? BEN Very well... umm... I never expected to have to ask you this again... but how did our evening go? I remember getting to the casino... I remember kissing you... that was really nice but everything after that is a blank. SERA Well - I was prepared for worse, but it wasn't so bad. We were sitting at the bar, talking about blackjack. You seemed just fine, a little drunker than usual, but nothing really strange, but then your head started to droop and I put my arm on your shoulder and then, wham, you swung you arm at me, and fell backwards off your stool into a cocktail waitress. You smashed everything on her tray, it was a real mess. You kept yelling and yelling. BEN Oh, and what did you do? SERA I tried to shut you up and help you to your feet but you kept swinging at me - not like you wanted to hit me, but more just waving me away. Security came and when you saw them you stopped yelling. They wanted to carry you out and dump you on the street, but I talked them into letting me walk you out. BEN That's impressive. How did you do that? SERA I told them you were an alcoholic and T would take you home. I also promised that we would never come in there again. BEN We? SERA Yes, we. BEN (holds her hand) What happened then? SERA You were OK for a while, so we walked for about a block and then you said you wanted to go home and fuck, but I think even you knew that wasn't going to happen. We got a cab and you asked him to stop at a liquor store, even though I told you that we had plenty at home. In the store you gave the kid a hundred and told him to keep the change. I asked you if you knew it was a hundred. You said you did, so I let you do it. We got here, you fell asleep on the couch and I covered you up and came to bed. BEN I warned you... (kisses her hand) ... but I'm sorry. SERA Here's my speech... (kisses his hand) ... I know this shouldn't be acceptable to m, but it is. Don't ask me why. I sense that your trouble is very big... and I'm scared for you... and so I'm doing what I think you need me to do. Falling down in casinos is little stuff. It doesn't bother me. It has nothing to do with us. BEN That's amazing. What are you? Some sort of angel visiting me from one of my drunk fantasies? How can you be so good? She turns away to the wall and curls up like a small girl. SERA I don't know what you're saying. I'm just using you. I need you. Can we not talk about it any more, please. Not another word. He thinks about this. He gently pushes her until she is lying on her front and then he pulls up her nightdress and strokes her naked back. He kisses her in the small of her back. BEN Why don't you go back to sleep. I'll go out and buy us some breakfast. SERA Be careful. He stands and goes to the door. BEN Don't worry. As he leaves the room, she calls after him. SERA Ben, I'm working tonight. He opens the door and smiles at her. BEN I know. CUT TO: 92 EXT. SIDEWALK - EARLY MORNING Ben gets out of his cab and walks up to the doorway of a grocery store. It is locked. Ben looks at his wrist and then remembers that he no longer has a watch. He looks around, sees something and exits frame. CUT TO: 93 INT. ROUGH ENGLISH BAR - EARLY MORNING Ben enters and makes his way to the bar. This is a dirty, dark place. An ageing blonde in leather hot pants is dancing by herself at the jukebox. A very drunk Biker Couple argue noisily in a corner, slurring their words. There ins not much gambling taking place at the eight slot machines. Ben sits at the bar and the Bartender slaps down a paper napkin. BEN A beer and a double kamikaze please. BARTENDER Sure thing. Anything to eat? BEN Not quite yet. First I have to drink myself sober, then... a few crackers, maybe an egg and toast... The Bartender walks away to get Ben's drinks, Ben continues anyway. BEN ... then I'll go home with the groceries and we'll have breakfast together, and that'll make her feel better about my condition... Ben is interrupted by the arrival of the Biker Girl. She is young tough and pretty. She puts an arm around him and presses against him. BIKER GIRL Who the fuck are you talking to, Mr? (laughing) Why are you all dressed up, honey? My, don't you look fine. She runs her tongue around her mouth. BIKER GIRL I am very bored with my date. Would you like to buy me a drink? Ben looks around and sees the Biker staring at the two of them. BEN (loudly) Do you mind if I buy her a drink? BIKER Fuck her. I don't care what the fuck you do with her. BEN Maybe I could buy you both a drink? BIKER Fuck you. Don't fuck with me, motherfucker. Fuck off. Go to it, she's waiting for her drink. The Biker walks over to the slot machine and begins dropping in quarters, never taking his eyes off Ben and the Girl. BIKER GIRL See what an asshole he is. (big smile) I'll have a rum and Coke. BEN Barman? A rum and Coke, please. The Girl leans with her back to the bar, closer to Ben , who is facing the bar on a stool. She brings her face closer to his. BIKER GIRL Can I stay with you for a while? BEN You mean move in with me? Isn't this a bit sudden? BIKER GIRL Oh, I don't have a lot of stuff. BEN (smiling) I don't think my wife would dig it too much. She moves to his ear to whisper. BIKER GIRL Maybe we could just go find a room and fuck all day. You wouldn't have to tell your wife about that, would you? I could suck you like this. And she begins sucking on his lobe. Behind them. At the slot machine the Biker is still watching. His face fills with a drunken rage. BEN See, the thing is... fucking you would be wonderful, but I am deeply in love with Sera... The Biker throws down his beer can and walks towards the bar. BEN ... and it's almost impossible for me to imagine being with someone else... The Biker arrives at the bar and grabs Ben. BIKER Now listen, asshole, I'm not gonna just sit around and watch her suck on your ear. The Biker is about to hit Ben then holds back. He leans in and puts his face next to Ben's. BIKER Now, I know that she came over to you, like she does, so I'm gonna pretend that you're innocent and give you one chance to walk out of this place... right now. BIKER GIRL (to biker) Get lost, jerk. The Biker slaps her and then grabs Ben by the collar. BIKER What do you say? Ben shakes his arm free from the Biker's grip. He thinks about it for a couple of beats and then decides. BEN I'm sorry... but she and I have decided to spend a few hours together in a mo - The Biker headbutts Ben in the face, sending him crashing off his stool to the floor. His head cracks against the tiled floor. The Biker walks over to him, picks him up by his shirt front and punches him in the nose. Blood sprays on to his face. The Biker walks out of the bar. The Girl follows him quickly. The Bartender takes a wet towel and walks over to where Ben is struggling to get up, holding his face. BARTENDER You're quite a fighter. He gives him the towel. BARTENDER This may sound silly, but I'm going to have to ask you to leave. It's what we do around here when there's a fight. Men's room is around the back. CUT TO: 94 EXT. SERA'S HOUSE - MORNING Ben lets himself in with his key. He is carrying a big bag of groceries. His clothes are bloodstained. The Landlady watches from poolside. BEN I'm back. He walks into the living room and finds Sera reading on the couch. She looks up and sees his face and his bloodstained shirt. SERA Oh, no! Oh, fuck, Ben, look at your face. You get in a fight? I thought you didn't fight. Goddammit. How do you feel? Wait here. Sit down. She goes to the bathroom and we hear her rummaging in the medicine cabinet. SERA (off-screen) Did you stop at the bar? She comes back into the room, armed with bottles and cotton wool. SERA Did you say something stupid to someone stupid? She goes to work on his face, dabbing an open cut with some mercurochrome. BEN Absolutely not... ow... I was defending the honor of some poor wayward maiden. She thinks about this for a moment and then kisses him on the forehead. SERA Why don't you go and finish this in the bathroom. Take a shower and put on your other shirt. I'll fix breakfast and then we'll go shopping and get some new clothes. I think this suit must be unlucky. CUT TO: 95 INT. MALL - DAY Ben and Sera come out of a clothing store. Ben is wearing black jeans, red socks and a white dress shirt. They go up the 'up' escalator. SERA Very creative. Now we can get you a black bow tie and you can look like one of those casino dealers. BEN OK, but remember that they wear it because they have to. I wear it because I want to. That'll make me look different. Let's get a drink. Ben somehow gets on the 'down' escalator, leaving Sera on the higher level. SERA Ben? CUT TO: 96 INT. SHOPPING MALL BAR. DAY Ben needs a drink badly but this is not the best place. Mothers with children, old people and a Waitress with attitude. Ben tries to order but becomes angry when she doesn't bring it straight away. People begin staring. At the next table a dignified older man sits alone. Ben hands Sera a small package. CLOSE ANGLE BEN There was no time for me to write a card, with you breathing down my neck all day., so you'll just have to wing it, baby. He laughs and this induces a coughing fit. He downs his drink and holds up the empty glass to let the waitress know she should bring another. BEN Open it. She does so. It is a pair of onyx earrings. Black onyx set in white gold. SERA (pleased) Your color. BEN I think you should wear one at a time. One of these... and one of your others. In fact, I was going to buy just one, but I didn't think it would fly... as a gift, I mean. His new drink arrives and he takes a swallow straight away. SERA I'll wear them tonight... one of them. She looks at him, aware of what she has said, wondering how he is reacting. She smiles and Ben takes a deep swallow, finishing his drink. His mood suddenly changes. BEN Yes... tonight. Put it on. She does so. Ben helps her, bringing his face down close to hers. BEN You'll be able to feel it, sharp and hot under your ear, as one of the brothers is driving your head, face down into one of the penthouse pillows. They are both suddenly deeply shocked by what he has said. They sit in silence for a while. Sera is close to tears. Ben gets up suddenly, puts down a couple of bills and walks away from the table. When he is almost at the door Sera gets up and quickly tries together up all of the packages. SERA Ben, wait... please wait for me. ANGLE ON THE DOOR The dignified older Man stands in Ben's path and places his hands on Ben's shoulders. MAN Maybe you should wait for her, sir. BEN Why? MAN Because... you can hear in her voice that she really wants you to. Sera catches up and the Man lets go of Ben. Ben takes the packages from Sera and the two of them step out into the mall. 97 INT. MALL - DAY They walk together. SERA What was that all about? BEN Can we just forget it? SERA I don't understand any of that. BEN Can we just ignore it? They stop and look at each other. The PA system gives an inane message. BEN Please! SERA Yes... I'll give you that. BEN Thank you, Sera. SERA Do you want me not to go tonight? BEN No... we already talked about that. CUT TO: 98 INT. SERA'S BEDROOM - NIGHT Sera is preparing for work. In the background we can hear the TV next door. She dresses carefully. Black underwear, stockings, heels, a tight black skirt. 99 INT. LIVING ROOM - NIGHT Ben is watching TV and drinking. 100 INT. SERA'S BEDROOM - NIGHT Sera at the mirror, putting on her make-up. Her make-up is more pronounced than we have seen it before . Everything is more extreme. 101 INT. LIVING ROOM - NIGHT Sera comes into the room. Ben looks up at her and sucks in his breath. BEN Wow. She walks over to him and takes his head and places it between her breasts and kisses the top of his head. BEN Maybe I should follow you around and ask one of your tricks what it's like to sleep with you. SERA They wouldn't know. She comes on to him. SERA Maybe you should ask me sometime. I'd be happy to show you. She goes to the door. SERA I'll be back home around three. If you're back by then we can watch TV or something... I guess what I'm saying is... that I hope you are back when I get home. Please be careful. BEN You be careful to. I'm going to miss you. SERA Shall we go away for a couple of days? BEN Yeah... I'd like that. CUT TO: 102 INT. SMART HOTEL - NIGHT Sera walks through the lobby, looking for business. 103 EXT. A STREET - NIGHT Ben lying down with people walking past and over him. ANGLE ON BEN'S FACE A big smile appears on his face. He starts to laugh. FADE OUT: FADE IN: 104 EXT. DESSERT - DAY A blue car drives across frame. The sun is bright. 105 EXT. DESERT MOTEL, POOL - DAY Sera is a very good swimmer and we see that Ben must have been quite an athlete. They look at each other under water. They're under water for a long time. Ben exhales. Sera pushes him towards the surface. Ben and Sera come to the surface. Ben has swallowed water and has a coughing fit. Sera hugs him until the fit passes. The camera moves in tighter on them and music gives the moment a strange chill. SERA Don't do that to me. Don't frighten me like that. CUT TO: 106 EXT. POOL - NIGHT Ben and Sera are watching the TV next to the poll. They are sitting in reclining chairs. Inn the distance a coyote howls. SERA Years ago, in LA, I turned a trick on Sunset and Western. The guy was polite and didn't argue about the price. He parked his car and I took him to a house that I had an arrangement with. A fat Mexican woman was watching a TV and I told him to give her the twenty for the room. There were three or four small naked children playing on the floor and we had to step over them to get into the room. The room had a bed and a dresser. He lay on his back on the bed and I put a rubber on him and sucked him for a while until he was hard and then I eased on to him. About twenty minutes later there was a knock on the door and it was the woman saying our time was up. I felt kind of guilty because he hadn't come and I offered to reason with the woman and get another ten minutes, but he said it was all right and began dressing. When we were ready to leave the room he stopped me and... hugged me and kissed me on the cheek. He gave me an extra hundred as a tip and went back to his car. I remember being relieved that I wouldn't have to work again that evening. BEN Last spring I happened to walk past a house that I had once patronized. There was a cool breeze blowing off the ocean and through the window I could see a bare leg. The girl must have been taking a break between customers. It was a strange moment for me because it reminded me of my mother and despite the fact that I was late for something already I just stayed there, loving the atmosphere of it and my memory and... the reason I'm telling you this epilogue is that I felt that I'd come full circle. SERA Where was that house? The one in LA, I mean. BEN Fifth and Mayflower. You know it? SERA Yes. One of my friends was there. I wonder if you ever clipped her. They watch the TV in silence for a while. Sera holds his hand. BEN I like it here with you. SERA Let's stay for a while. BEN OK. CUT TO: 107 INT. MOTEL ROOM - DAY Ben mixes a cocktail for himself, then one for Sera. The camera follows him as he goes... 108 EXT. POOL-SIDE - DAY ... to the side of the pool, where Sera is sunbathing. He lowers himself unsteadily into the chair but avoids spilling a drop of the drinks, which he puts down on to a glass-topped table. He is pretty loaded. Sera turns over and moves out of his shadow. SERA I've missed the best sun. Why did you have to pawn your watch? BEN I didn't know I'd ever need it again. Sera gets up, takes a drink and then walks to the diving board. As she takes a position at the end, she pulls the bathing suit out from her bottom, does a very natural dive into the pool, swims a length under water and then comes out near Ben, pulls herself out of the pool in one move and bends down and kisses Ben for a long time. Ben responds and kisses back. There is no one else around the pool. The kiss becomes heated and urgent and Sera sits on Ben, making him wet from her. He pushes the top of her suit down and kisses her breasts. She picks up the glass and drinks, letting the alcohol spill from her mouth, over her breasts. Ben drinks from her. BEN Take this off. He tries to pull her swimsuit down. SERA Maybe we should go inside. Come on. She stands up, covering herself. Ben stands up, laughing, loses his balance and slips on the wet concrete. He falls backwards, half on to the chair, which he breaks, and then on to the glass table. The table goes over and it and the glasses all shatter on the concrete. Ben falls on the broken glass and cuts himself all over his back and his arms. Glass goes into the pool. Blood mingles with the water on the steaming cement. BEN Whoops. Sera picks up her towel and lays it down next to him. She kneels and helps him up, trying to pullout the little bits of glass sticking to him. Ben stands unsteadily. BEN I'll go and clean up. Perhaps you could take care of this. He indicates the mess, then walks to their room. Sera begins carefully picking up the broken glass. The desk clerc appears with a broom and a dustpan. DESK-CLERK (cheerfully) Everybody OK? SERA Yes, fine. Don't worry. We'll pay for the chair, and I'll clean all this up, the pool too. DESK-CLERK Don't worry. He begins sweeping the broken glass into the pan, cheerfully ignoring Sera. SERA You seem prepared for accidents. DESK-CLERK (still smiling) Yeah... we get a lot of screw- ups here. He looks directly at Sera. DESK-CLERK Now, you two keep you loud talk and your liquor to your room. Check out first thing tomorrow and after that I don't want to see either of you here again. I don't need you paying for the chair or cutting your pretty hands on the glass. Let's leave it at that. Nodding firmly, he goes back to the mess, indicating that the conversation is over. DESK-CLERK See ya in the morning. CUT TO: 109 INT. MOTEL ROOM - DAY Sera comes into the room. SERA Ben? She sees that he is already asleep on the bed, his half-naked body covered with countless bits of bloodstained tissue. The image has an almost religious feel to it. The TV is on and a sitcom is playing. Something funny catches Sera's attention. She laughs and sits on the bed next to Ben. SERA (voice-over) I think we realized that we didn't have long and accepted it. My charm, for him, was that I accepted him exactly as he was and didn't expect him to change. I think we both realized that about each other. Ben needed me and I liked his drama. I loved him. CUT TO: 110 EXT. DESERT LANDSCAPE - DUSK We see Las Vegas lighting up. The blue rental car passes through frame and drives towards the town. FADE OUT: FADE UP ON: 111 INT. SERA'S BEDROOM, LAS VEGAS - NIGHT Ben wakes from a dream. He is fully clothed and very agitated. BEN Sera? 112 INT. KITCHEN - NIGHT Sera is cooking. SERA I'm in here. You probably don't want to hear about it right now, but I bought some plain rice. I thought it might be something you could eat. So if you get hungry later on, just let me know. Ben comes in from the kitchen and takes vodka bottles from the fridge. 113 scene cut. 114 scene cut. 115 INT. BATHROOM - NIGHT Ben's hands are sweating and it's difficult for him to keep hold of the bottle as he drinks. He gets most of it down and then he hunches over the sink and immediately vomits. He takes the second bottle and tries again. CUT TO: 116 INT. SHOWER - NIGHT Still holding the bottle, Ben stands in the shower. He drinks some more and closes his eyes. CUT TO: 117 INT. KITCHEN - NIGHT Ben enters, smartly dressed and smiling. BEN I think I'm ready for the rice! CUT TO: 118 INT. DINING ROOM - LATER THAT NIGHT Ben and Sera sitting opposite each other. He has a bowl of rice, which he is pretending to eat in between sips of vodka. She has a bowl of vegetables and rice. She sits, silently for a while, and then puts down her chopsticks. SERA You're pretty sick. Ben looks away. SERA What are you going to do? She folds her arms. SERA I want you to go see a doctor. He thinks for a while and then turns to meet her gaze. They look right into each other's eyes. BEN Sera... I'm not going to see a doctor. Sera continues to look at him almost defiantly. BEN Maybe it's time I moved to a hotel. SERA And do what... rot away in a room? (becoming angry) We're not going to talk about that. Fuck you! I will not talk about that. You're staying here. You are not moving to a hotel. BEN Will you lighten up, please? SERA (close to tears) One thing... one thing... this is one thing you can do for me. I've given you gallons of free will here! You can do this for me. She leans right forward. SERA Let's face it. Sick as you are, I'm probably the only thing that's keeping you alive. She stands up SERA I have to go to work now. Ben doesn't say anything. He just stares a hole in his bowl of rice. CUT TO: 119 INT. CASINO - NIGHT Ben walks by himself. He is deep in thought. CUT TO: 120 INT. CASINO - NIGHT Ben recklessly bets two hundred dollars at the craps table... and wins. As he leans forward to collect his winnings, he sees... ANGLE: ... a Blonde in a very low-cut outfit. She smiles at Ben and walks around the table to pick him up. Ben puts all of his winnings on one bet and wins again. This pattern repeats a few times and drinks are on the house. BLONDE Hey... that was quite a play. You in for the convention? Ben gets to the point. BEN I'd like to fuck you. A few people hear Ben and the Blonde is almost put off, but he does have about eight thousand dollars in winnings and so she leans in very close so that she can talk quietly. BLONDE I'm very expensive. BEN How much to lick your pussy? The Blonde picks up a sizeable stack of chips and looks at Ben. CUT TO: 121 INT. SERA'S HOUSE - LATER THAT NIGHT Sera lets herself in, looks around and opens the bedroom door. ANGLE: In one fluid movement the naked blonde gets off the semi- conscious Ben, pulls her dress over her head and walks past Sera. Moments later we hear the front door slam. Ben comes to and looks at Sera. He is more or less unaware of what has just happened. BEN Hello... ANGLE ON SERA Her eyes are wet. SERA There are limits. BEN (remembering) Yes... I guess I knew that. Ben gets out of the bed. He picks up the bottle on the bedside table and stands. BEN Perhaps I could crash on the couch for a few hours... and then I'll leave. He walks out of the room and closes his the door. Camera moves in on Sera. She covers her face with her hands. She drops her purse and slides down the wall to the floor, weeping quietly. SERA (v.o) I heard the door slam a couple of hours later and he was gone. FADE OUT: FADE IN: 122 EXT. STREET - DAY Ben coming out of a liquor store with a large brown bag. CUT TO: 123 EXT. STREET - NIGHT Sera getting out of a car. The car drives off. Sera examines her face in a pocket mirror. Puts on more lipstick. CUT TO: 124 INT. MOTEL ROOM - DAY Ben is on all fours in the bathroom trying to vomit. His thin frame is heaving. Bottles everywhere. CUT TO: 125 EXT. THE STRIP - NIGHT Three college boys with beer bottles walk the The Strip. They are all wearing the same numbered jersey. Nice middle-class boys looking for an adventure. They see Sera and go into a huddle before walking over to her. TALLEST COLLEGE BOY How much will it cost us to fuck you? The other two College Boys titter. Sera starts to walk away and then hesitates. SERA Sorry, guys, but I don't know what you mean. Anyway, I never date more than one guy at a time. SMALLEST COLLEGE BOY Come on... we got money... show her the money. The other College Boy gets out his wallet and opens it to show her. Sera hesitates, not somehow comfortable with the situation, then goes ahead. SERA How much of that money did you guys want to spend? TALLEST COLLEGE BOY How much you want? How about two hundred for an hour? SERA (becoming annoyed with them) Don't your friends talk? (no answer) Try three-hundred for a half hour. OTHER COLLEGE BOY (nervous) Three hundred for the hour. SERA OK... three... and we'll see how it goes. Where are you staying? TALLEST COLLEGE BOY The Yukon, room twenty-four. SERA I'll see you there in fifteen minutes. You can pay me then. Why don't you all take a shower while you're waiting. OTHER COLLEGE BOY A shower? In fifteen minutes? SERA Look... I'll only need one of you at a time. RIGHT? UNDERSTOOD? So... the other two can shower while I'm there. OK? They walk off in a huddle, giggling - three small boys. CUT TO: 126 EXT. YUKON MOTEL - NIGHT Sera drinks from a beer bottle as she approaches their room. She talks to herself. SERA Where are the boys this weekend, Frank? Why, hell, Charlie, I sent 'em off to learn the one thing I couldn't teach 'em. She looks at the numbers and finds the room. She knocks and a moment later the Tallest College Boy opens the door in his jockey shorts. 127 INT. MOTEL ROOM - NIGHT Sera steps in. One boy is coming out of the bathroom wearing a towel and the third is sitting in a chair smoking a cigarette, which he passes to the boy in the towel. The other boy is fooling around with a video camera. The atmosphere is weird and Sera is suddenly alert. The Tallest College Boy hands her the money. He is very well built, a football player. Sera hesitates, holding the money. The Tallest College Boy closes the door and then leans against it. They are all staring at her now. No one says anything. Sera smiles suddenly and puts the money in her purse. All business. SERA OK... where's the bedroom, and who's first? They all look at each other. SMALLEST COLLEGE BOY I want to fuck her in the butt... He looks at the other. SMALLEST COLLEGE BOY ... you too, right? SERA Forget that. No one's doing that. You'll all go one at a time. I f you want I'll suck you instead, but that's all. Then I'm out of here. SMALLEST COLLEGE BOY (looking at tallest) You said I could fuck her in the butt. OTHER COLLEGE BOY Shut up. SMALLEST COLLEGE BOY (shouting) It's my fucking money) SERA That's it... Take your money back. I'm leaving. The Smallest College Boy gets off the bed and comes over to Sera. SMALLEST COLLEGE BOY No... don't go. The Tallest Boy is still standing in front of the door and things are getting strange. The Other Boy turns on the video camera. Sera loses her cool. SERA (to the Smallest Boy) Maybe you'd like to fuck one of your friends in the butt instead. The room goes very quiet. The kid tears up. Sera tries to back-pedal. SERA Hey... I'm sorry... The kid punches her hard in the stomach, knocking her to the ground. CUT TO BLACK: QUICK FADE IN: Close-up on Sera's face pushed into a bloodstained pillow, her body being pounded from behind. The naked legs of two of the boys behind her. We hear voices, filtered, from a long way off. VOICE Go on... fuck her ass... OTHER VOICE Look at me... look at me... look at me. A hand comes into frame and pulls her head up by the hair. A pair of legs moves in. There is the sound of a punch. FADE OUT: FADE IN: Sera's body on the floor. In the background trousers being hastily pulled on to legs. The boys exit with sport bags. The last one turns out the lights and closes the door. FADE OUT: 128 INT. MOTEL ROOM - DAWN In the half-light Sera gets up and walks with difficulty to the bathroom. 129 INT. BATHROOM - DAWN She clicks on the mirror light. Her face is awful. One eye is swollen almost shut. Her top lip is cut. CUT TO BLACK: 130 INT. CAB - EARLY MORNING Sera gets into the cab with considerable difficulty. The cab driver is a cynic. CAB DRIVER What's the matter, honey, get a back-door delivery you weren't expecting? You gonna be able to pay the fare? Without speaking she takes out a twenty, leans forward and drops it on the front passenger seat. He drives. Looks at her in the mirror. CAB DRIVER Oh, don't wanna talk to me, unh? Well, don't take it out on me, I'm just covering my ass. What the hell do you expect, stuttin' around like that... dressed like that? You oughta be glad the creep didn't nail ya. CUT TO: 131 EXT. SERA'S HOUSE - MORNING As the cab drives off, Sera walks slowly to the door. Her Landlord's wife passes and takes in her face. CUT TO: 132 INT. SERA'S SHOWER - DAY Sera is slumped on the floor of the shower, her arms hugging her legs, the water pounding down on her. CUT TO: 133 INT. SERA'S HOUSE - DAY Sera opens the door and we see the Landlord. Behind him, on the sidewalk, we can see his wife. He is embarrassed. ANGLE Sera, wearing dark glasses. She looks terrible. Her mouth is swollen and some of the bruising around her eye is visible. LANDLADY I'm sorry... but we'd like you out by the end of the week. CUT TO: 134 EXT. WHOLE YEAR INN - DAY Sera gets out of a cab and goes into reception. She is wearing huge dark glasses to hide the black eye and the bruising. CUT TO: 135 INT. HOTEL - DAY The desk clerk is wearing a shirt of Ben's that we recognize from an earlier scene. DESK CLERK I'm sorry, ma'am. He never checked back in. CUT TO: 136 EXT. THE STRIP - NIGHT Sera walks alone. She's dejected as she looks for Ben. 137 INT. CASINO - NIGHT Sera comes to an elevator and waits. She is wearing a thin black top without a bra. Her bruised face makes her suddenly very conspicuous and vulnerable. A big man in a white stetson stands next to her. He looks at her and grins. She smiles, coldly. He takes from his pocket two black, hundred dollar chips, places one in each hand and deliberately places each one against her nipples. Other people see this and stop and watch. Sera looks down at his hands and stares until the man becomes uncomfortable. STETSON MAN What's the problem, honey?... You on strike? And he walks away laughing. CUT TO: 138 EXT. 7-ELEVEN - DAY Sera is sitting on a freshly-painted red kerb. She smokes a cigarette and doesn't give a damn that her short skirt is somewhat revealing. Opposite her a bum is sleeping on the pavement. For a moment it looks like Ben. The camera comes in tight on to her face. She looks more lost that we've ever seen her. She drinks coffee from a styrofoam cup. The sun is bright and hot and traffic is noisy. 139 INT. DOCTOR'S OFFICE - DAY Improvised scene. (5) 140 INT. CASINO - NIGHT Sera comes in and the camera follows her as she makes her way to the bar. She has covered up much of the bruising with make-up but it is still pretty obvious. In wide shot we see her strike up a conversation with the man next to her at the bar. CLOSE SHOT - THE BAR A hand comes in to shot and grips her arm firmly. We see that it is a casino security guard. SERA Let go. What's the problem. SECURITY GUARD We don't want you in here, that's the problem. Let's go. And he jerks her arm. People are watching now. SERA Don't worry... If you don't want me in here, then I don't want to be in here. Just let go of my arm and I'll walk out of here. SECURITY GUARD Yeah... we'll both walk out now. He steers her firmly across the floor. CUT TO: 141 EXT. CASINO. NIGHT They reach the sidewalk and, without relaxing his grip, he grabs her between the legs with his free hand and says in her ear: SECURITY GUARD Next time it won't be so fucking easy. And he pushes her towards the street and walks back into the Casino. Sera is shocked. She looks around and the group of people who have stopped to watch the event move away. 142 INT. SERA'S HOUSE - DAY Sera is throwing clothes into a suitcase. The phone rings. She thinks about it for a long time and then it stops. She carries on packing and then the phone rings again. She pick it up. SERA Hello... hello... (suddenly alert) Ben? Where the fuck are you? Give me the address. CUT TO: 143 INT. CAB - LATE AFTERNOON The driver is black and friendly. The radio drones quietly - a religious program. The Rev. Ike is taking listeners' calls. BLACK DRIVER What in the hell happened to you, Miss? SERA Oh... it was an argument. BLACK DRIVER Leave him, Miss. Pretty girl like You could get any man that You wanted. 144 INT. BEN'S MOTEL ROOM - DUSK The door opens. Ben is naked. His body looks bad. Leaving the door open, he retreats to the bed. 145 INT. BEN'S MOTEL ROOM - NIGHT Sera comes in, closing the door behind her. The shades are drawn and the room is gloomy. Ben has got back into bed. She comes to the bed and sits. SERA Ben... I've been looking for You. Have You been here since You left? It smells bad in here. It's so dark. She clicks on the bedside light and is truly shocked by his face. BEN I wanted to see you... SERA Oh, Ben... you look so very sick... my love... you're so pale. She goes to the bathroom and returns with a wet face-cloth. She wipes his face. BEN I wanted to see you... you're my angel. He sits up painfully and finds a bottle, summoning up some last strength to drink. His entire body shudders as he drains the bottle. He puts it down and focuses on her for the first time. H sees her damaged face, touches her face, looks at her questioningly. SERA Something went wrong... I'm OK. Ben begins to cry and that sets her off. BEN I'm sorry I put us asunder. She shakes her head, unable to speak for the moment. She gets into bed with him, kissing his face. She caresses his whole body, which is shaking, possessed by an uncontrollable fever. BEN See how hard You make me angel. She excites him with her hand, kissing his face gently. When he is about to come, she straddles him and brings him inside. As he comes, he opens his eyes wide and looks at her. BEN You know I love you... yeah? SERA (she comes) Yes. SLOW FADE TO BLACK: FADE IN: Sera is sleeping. A sudden gasp wakes her. Ben is having a spasm. Suddenly his body relaxes. He turns his head, opens his eyes wide and looks straight at her. BEN Oh... I'm so sorry... He smiles and turns his head away. He is very still. SERA Ben... Ben... Ben? CUT TO: 146 INT. BEN'S MOTEL ROOM - NIGHT In the darkened room we can just make out Sera sitting on the bed, looking at the still form of Ben. CUT TO: 147 EXT. STREET NEAR MOTEL - DAWN Sera walking. A paramedic van goes past with its lights flashing. The soundtrack is empty - silent. We slowly fade in theme music and titles start to roll. [THE END] diff --git a/unformated_scripts/Script_Legally Blonde.txt b/unformated_scripts/Script_Legally Blonde.txt new file mode 100644 index 0000000000000000000000000000000000000000..2f4e123800ceedb8d9dfdc4e9b1a150a58cbc82d --- /dev/null +++ b/unformated_scripts/Script_Legally Blonde.txt @@ -0,0 +1 @@ + LEGALLY BLONDE Karen McCullah Lutz & Kirsten Smith Shooting Draft July 31, 2000 INT. DELTA GAMMA HOUSE - DAY 1 "HEAD OVER HEELS" by the Go-Go's plays as we wind through a flock of abstract, silky, golden strands -- PULLING BACK, to discover that the strands are hair on a BLONDE GIRL's head. But not just any blonde girl, a girl in Delta Gamma, the blondest, most beautiful sorority at USC. We PULL BACK further to see that she's signing a handmade card. She holds it up ~ OVER HER SHOULDER, we see hearts and glitter surrounding and "Good Luck Tonight!" and "Elle and Warner forever!." She carries the card out of her room and we FOLLOW HER across the hall, into the room of -- THREE BLONDE CHEERLEADERS, who stop practicing their pom-pom routine to sign the card. As they finish, we follow the Card Girl out and into the room of -- A BLONDE GIRL IN A TANK TOP and shorts, working out on a Stairmaster as "General Hospital" plays on a tiny TV. She signs the card while continuing to exercise. We move on, to the room of-- A BLONDE GIRL MAKING OUT WITH HER BOYFRIEND who stops long enough to sign the card, as her boyfriend nibbles on her neck. She hands the card back and we head into the room of -- A BLONDE PARTY GIRL who pours a pink frozen margarita into a glass from the blender, then passes it down to ANOTHER BLONDE GIRL, assembly-line style. The card goes one way, being signed, as the drinks go the other. Once the card arrives back in the Card Girl's hands, we follow her out of the room and down the hall until she reaches the very last and biggest door -- She puts a kiss mark on the card, then kneels down and slides the card under the door. INT. ELLE'S DELTA GAMMA ROOM - DAY - CONTINUOUS 2 The CARD slides into the pink room, hitting the feet of UNDERDOG, a tiny chihuahua ~ who picks it up in his mouth and trots it over to a pair of perfectly pedicured feet in strappy sandals. An equally perfectly manicured hand with a "Sisters Forever" charm bracelet dangling from the wrist, scoops up Underdog. (CONTINUED) 2.2 2 As he rises, we RISE WITH HIM, passing toned, waxed, tanned legs in pink Prada pedal pushers and a pair of perky boobs encased in a spaghetti-strap top -- until we finally reveal a magnificent head of long blonde hair and a sweet, beautiful face. This is ELLE WOODS, 21, the Goddess Queen of Delta Gamma. She talks on a pink, fuzzy phone. ELLE (into the phone) I love you, too! Behind her, a "Go USC" banner is pinned to the pink wall. A stack of "Cosmopolitan"s and "Glamour"s teeters on the dresser. The closet overflows with trendy, designer clothes in a predominance of pink. ELLE (CONT'D) (continuing; into phone) I'll see you tonight. She hangs up and lets out a squeal of joy, kissing Underdog's head and taking the card out of his mouth. She reads it, touched. ELLE (CONT'D) (continuing) "Elle and Warner forever". Aww... Underdog yips. 23 INT. DELTA GAMMA HOUSE - LIVING ROOM - DAY - SAME TIME A Delta Gamma/Sigma Chi barbecue in full swing. Beautiful college students drink beer and mingle, trying to figure out who they're going to sleep with next. The main wall of the living room has been designated as a "Model Wall" of Delta Gamma girls -- ELLE smiles at us from a Hawaiian Tropic ad and a Miss June USC calendar photo. A cover of an Italian Vogue shows a blonde sexpot MARGOT; a USC cheerleader poster displays a hard-bodied non-blonde SERENA in a pom-pom pose. Serena walks up, fending off an admirer. SERENA Jeremy, enough! I am not going to formal with you. Jeremy slinks off as Margot arrives, agitated. MARGOT Can someone please tell Rick that he is not the only Sigma Chi with a big penis? (CONTINUED) 3. 3 ELLE (O.S.) You guys are so sweet!ELLE, a vision of fluffy blondeness, runs down the stairstoward Serena and Margot, holding the card. ELLE (CONT'D) But I ' m not positive it's gonna happen to n i g h t -- . SERENA Helloo...he just had lunch with his grandmother. You know he got "The Rock". MARGOT Why else would she have flown in from Newport? It's not like she'd Fed Ex a six carat diamond. ELLE (excited) You think? SERENA I can't believe you're getting engaged! ∑ . .The three girls jump up and down, squealing and hugging. ELLE C'mon ∑-- you have to help me pick out the perfect outfit.As they head toward the door, Elle spots AMY, a shy girl in aDelta Gamma Pledge sweatshirt, standing alone. ELLE (CONT'D) (continuing) Amy, what's wrong? AMY I don't really -- know anyone. ELLE (teasing) That's because you spend too much time in the library. Come with me. (to Serena and Margot) I'll meet you outside.As they go, Elle leads Amy over to a group of jovial SigmaChi brothers. (CONTINUED) 4. ( 2 ) 3 ELLE (CONT'D) (continuing) Bra ndon , Jason, Grant --this is Amy. Why don't you tell her about the time you guys went golfing naked?Elle winks at Amy and.heads off as the guys launch into theirstory. BRANDON It was classic. Jason hit with wood all day. GRANT And we never ran out of balls --Amy laughs.INT. SUNSET PLAZA BOUTIQUE - DAYSerena and Margot watch as Elle stands in front of a mirror,trying on a Herve Leger white mini-dress. Sexy and ultra-tight. ; ELLE Too demure? MARGOT I think you should go with red. It's the color of confidence. ELLE Well, I don't want to look like I know what's coming. . . SERENA I don't understand why you're completely disregarding your signature color.She holds up a tiny pink slipdress. ELLE He's proposing! I can't look like I would on any date. This is the date. The night I'll always remember. I want to look special. Bridal . . . but not like I suspect anything.ACROSS THE STOREA SALESWOMAN looks at her cohort. (CONTINUED) 5. 4 SALESWOMAN (sot.to) There ' s nothing I love more than a dumb blonde with daddy's plastic.She grabs a dress off the Clearance Sale rack, ripping offthe "HALF PRICE" TAG.ON ELLE AND THE GIRLS . SERENA I can't wait to see you wearing The Rock!Elle looks at them, suddenly concerned. ELLE Wh at if -- you know -- it's not the night? MARGOT Why else would he be taking you to The Ivy? You've been dating for a year -- it's not like he's trying to impress you. SERENA Elle, you've heard the man pass gas in his sleep. That practically means you're pre-engaged. '"The Saleswoman approaches with the dress, kiss-assy smile onher face. SALESWOMAN Did you see this one? We just got it in yesterday.Elle fingers the dress, then the new price tag, looking backat the saleswoman, excited. ELLE Is this a low-viscosity rayon? SALESWOMAN Uh, yes -- of course. ELLE With half-loop top-stitching on the hem? SALESWOMAN (smiling a lie) Absolutely. It's one of a kind. (CONTINUED) 6. CO NT I NU E D: ( 2 ) . ∑ 4^ Elle hands the dress back to her, no longer pretending to be excited. ELLE It's impossible to use a half-loop topstitch on low-viscosity rayon. It would snag the fabric. And you didn't just get this in, because I remember it from the June Vogue a year ago, so if you're trying to sell it to me at full price, you picked the wrong girl. The saleswoman slinks off, embarrassed. MARGOT (to the saleswoman) Nice try... Elle shakes her head and turns back to the girls as she slips on her Manolo Blahnik sandals, doing one last mirror check, smoothing down her golden mane. ELLE (dramatically) Girls, this is it. In a few hours, I'll be the future Mrs. Warner Huntington III. 5 EXT, DELTA GAMMA HOUSE - NIGHT An attractive male finger presses the doorbell. 6 INT. DELTA GAMMA HOUSE - FOYER - NIGHT - SAME TIME Amy peeks through the peephole and turns. AMY (whispering) He's here! Elle, standing nearby with Margot and Serena and several other DG's, smooths down her dress and takes a deep breath, o pening the door to find -- WARNER HUNTINGTON, III, 21, tall, chiseled and outrageously handsome. He takes her in, a smile spreading across his face. WARNER You're beautiful. ELLE So are you! (CONTINUED) .7. 6 She looks up at him, blushing and completely smitten. They kiss. After a moment,-Warner extracts himself. WARNER (nervous) You ready? Her face is awash with devotion. ELLE I am so ready.7 EXT. THE IVY - NIGHT Warner and Elle are seated at a cozy table on the patio. Elle takes a sip from her freshly poured champagne flute. Nervous and excited. ELLE Here' s to ~ us. Warner is slower to sip his. WARNER The reason I wanted to come here tonight was to discuss our future. Elle is on the edge of her seat. ELLE I ' m fully amenable to that discussion. WARNER I mean, we're having a lot of fun now -- but things are gonna be different when I ' m at Harvard Law school is a completely different world. I need to be serious. ELLE Of course. WARNER My family expects a lot from me. And I expect a lot from me. I .plan on running for office some day. ELLE And I fully support that. (CONTINUED) 8.7 7 WA R N ER But the thing is, if I ' m gonna be a senator by the time I ' m thirty -- I can't keep dicking around. ELLE I completely agree. WARNER T hat 's why I think it's time for us to-- Elle takes a deep breath, filled with anticipation. WARNER (CONT'D) ( ot n ig . . ∑ > . ' . c n iu n ) I think we should break up. Elle's champagne glass drops from her hand and CRASHES onto the patio. ELLE What? Elle starts to flush, completely caught off guard. WARNER I ' m sorry, Elle, I just -- ELLE You're breaking up with me?! (tearing up) I thought you were proposing. WARNER Proposing?! Elle, If I ' m going to be a politician, I need to marry a Jackie, not a -- Marilyn. ELLE (stunned) You're breaking up with me because I ' m too -- blonde? WARNER T hat' s not entirely -- ELLE Then what? My boobs are too big? WARNER. Elle -- no --∑ your boobs are fine -- Her tears start. (CON TINUED ) .9. i (2) CONTINU ED: ELLE So when you said you'd always love me, you were just "dicking around"? Warner looks around the restaurant nervously. WARNER I do love you, Elle. I just can't marry you. You have no idea the pressure I ' m under. My family has five generations of senators. My brother is in the top three at Yale Law. He ∑ just got engaged to a Vanderbilt, for crissakes. Elle stares at him aghast, tears streaming down her face, then pushes her chair away from the table and walks out. WARNER (CONT'D) (continuing) It's not like I have a choice, sweetheart He follows her out.8 EXT.' STREET - NIGHT 8 Elle teeters down the sidewalk as best she can in her three inch heels, sobbing. Warner pulls up alongside her in his convertible Saab. WARNER C'mon. Let me take you home. ELLE No. WARNER Elle -- it's twenty miles back to campus. Elle stops, thinks a minute, then gets in, still crying. Catching her poofy little purse in the door. She re-opens i t, yanking the purse back in. Warner pulls out.9 EXT. DELTA GAMMA HOUSE - USC - NIGHT 9 Warner pulls up in front. It's a starry, romantic night. Everything should be perfect. It's not. Elle sits, still in shock, as tears continue to eke out. WARNER Elle, believe me, I never expected to be doing this, but I think it's the right thing to do. (CONTINUED) 10. 9 ELLE How can it be the right thing if we're not together? WARNER . I have to think about my future. And what people expect from me. ELLE So you're breaking up with me because you're afraid your family won't like me? (through her tears) Everybody likes me! WARNER East coast people are different. ELLE Just because I ' m not a Vanderbilt, all of a sudden I ' m white trash? I grew up in Bel Air, Warner! Across the street from Aaron Spelling! I think most people would agree that's way better than a Vanderb ilt -- WARNER I told you, Elle. I need someone -- serious. ELLE I ' m seriously in love with you -- Isn't that enough? He looks away. WARNER I ' m sorry. She gets out of the car and drags herself up the stairs to her sorority house. When she's at the top, she turns back to look at him. His perfect cheekbones highlighted by the streetlamp. He meets her eyes, pained, but determined. Then pulls away, leaving her there.10 INT. DELTA GAMMA HOUSE - USC - NIGHT 10 Elle walks down the pink and green carpeted hall, dazed and tear-stained. Margot and Serena emerge from the bathroom, post-shower. Getting ready for a night out. (CONTINUED) . :- 1L10 10 MARGOT Why are you back so soon? Serena sees Elle's bare hand. SERENA . Did he forget the ring? Elle silently walks into her room. Serena and Margot follow, worried.11 INT. ELLE'S DELTA GAMMA ROOM - NIGHT - CONTINUOUS 11 Elle slumps down in an inflatable chair, hugging her knees and cowering in a wretched little ball. Underdog stares at her, concerned. Serena and Margot stand in the door. MARGOT Elle? SERENA Where's the Rock? ELLE ∑. .∑. We're not engaged. It's over! SERENA AND MARGOT What?! ELLE . He broke up with me! Serena and Margot gasp in horror, rushing to her side. SERENA Is it a Kappa? MARGOT It's not a Theta -- ELLE No -- it's just -- not me. I ' m canceling the mixer. We'll blacklist Sigma Chi. ELLE Thank you, Serena, but I don't think it'll do any good. (CONTINUED) 12.11 11 SERENA What happened? Elle starts to lose it again. ; ELLE I don't know! Everything was normal at first and then he said he needed someone mo r e -- (sob-choked) Serious! . MARGOT S e r i o u s ? ! Who the hell does he think he i s ? Y o u ' r e the most popu l a r month on the U S C calendar! S h e points to Elle's "Miss June" page, hanging on the wall. SER EN A O h , he is so over on this campus. ELLE I just don ' t underst a n d what went wrong -- MA RG OT Maybe it's the grandmother. Have you e v e r me t he r ? E l l e wipes her face. ELLE Last month on his birthday. And she liked me! She said I looked like Britney Spears. Why would you say that to someone you didn't like? They shrug, mystified. SERENA How could this happen? ELLE I don't know! I don't know anything any more! (wiping a tear) I just need to be by myself. SERENA Are you sure? Elle nods. The girls rise, hugging her. (CONTINUED) 13.11 (2) 11 MARGOT We still love you. Sisters forever! ELLE (sniffling) Thank you. I love you, too. As they go, Margot looks at Serena. MARGOT Oh, God. What if Josh doesn't think I ' m serious enough? . SERENA Helloo... you let him have anal sex with you. (TV VERSION) Helloo... you let him videotape you diddling yourself. ∑ MARGOT You're right. Phew! As the girls go, they shut the door behind them. Elle gets up and grabs a FRAMED PHOTO of Warner, then lies down on her bed, clutching it to her heart. Underdog leaps up and gives her little doggy kisses.12 EXT. DELTA GAMMA HOUSE - DAY 12 The sun rises on a sad day. "HOPELESSLY DEVOTED" by Olivia ∑ Newton-John plays. . 13 INT. DELTA GAMMA HOUSE - HALLWAY - DAY 13 Amy knocks on Elle's door. AMY Elle? ANOTHER SISTER passes. ANOTHER SISTER ∑ (whispering) Didn't you hear? She leads a reluctant Amy down the hall.14 INT. ELLE'S DELTA GAMMA ROOM - DAY 14 Spread out on the bed are PICTURES of Elle and Warner: The Sigma Chi formal; their Homecoming Queen and King "wave"; (CONTINUED) 14.14 14 a 60's party; Mardi Gras night; beach weekend at Coronado. Next to the pictures are thirty dried Ecuardorian long- stemmed pink roses, remnants of their one year anniversary. In the center sits Elle, wearing Warner's old oversized Sigma Chi t-shirt, clutching a Gund teddybear. Depressed and looking like hell, she speaks to an unseen confidante. ELLE I just love him so much! I loved him the first moment I saw him. He's beautiful and smart and someone I totally respect. And I did everything I could to make him love me, but it wasn't enough. Now what am I supposed to do? I planned my whole future around him. My life was going to be all about Warner. Now what's it going to be about? She looks up -- waiting. Staring back at her is Underdog -- who sadly has no answers for her.15 INT. ELLE'S DELTA GAMMA ROOM - DAY 15 Elle remains in bed, Underdog now clutched to her chest, soaps on the TV. TV SOAP STUD (on TV) "Oh, darling. I'll love you forever." ELLE (teary) Bullshit! Serena and Margot enter, bearing Jamba Juice. MARGOT Honey, stop! You have to leave this room -- it's been a week. ELLE So? + S erena sits down on the edge of the bed, trying to psyche Elle up. SERENA What's the thing that always makes us feel better, no matter what? . MARGOT Cunnilingus? (CONTINUED) 15.15 15 Elle lets out a wail, realizing what she'll be missing. Serena shoots Margot a stern look. SERENA No -- the thing after that, 16 INT. UPSCALE MANICURE SHOP - DAY 16 A row of uniformed manicurists and their classy clients. Chattering away. Therapy in full session. Serena sits in front of her regular nail technician. SERENA It was awful. We all thought she'd be the first to walk down the aisle and now she's totally adrift. The nail technician shakes her head in shared girl-power- angst -- looking over at Elle, who sits in the waiting area, shell-shocked, but showered. Elle picks up the only magazine left on the table -- "Town & Country". She wrinkles her nose. An OLD LADY next to her reads "Seventeen". Elle looks at her, begrudging the access to teen beauty tips, and flips through "Town & Country" n oisily until she freezes on-- the Engagement Section. She gasps. ELLE Oh, my God! . She looks at a PHOTO of a horse-faced YOUNG WOMAN standing next to a THREE-YEARS-OLDER VERSION OF WARNER. She turns to the old lady next to her. ELLE (CONT'D) (continuing) Do you know who this is? The old lady looks. OLD LADY No. ELLE It's Warner's older brother! OLD LADY Who? Elle continues, undaunted. (CONTINUED) 16.16 16 EL LE He just got engaged to this -- this very unfortunate-looking girl. (reading) "Third year Yale Law student Putnam Bowes Huntington III and his fiance Layne Walker Vanderbilt, first year Yale Law." She turns to the old lady. ELLE (CONT'D) (continuing) This is the type-of girl Warner wants to marry. This is what I need to become to be serious. The old lady looks at the picture. OLD LADY Butt ugly? ELLE No -- a law student. Elle rushes out. Serena looks after her. SERENA Elle? (turning back to her nail technician) She'll never get him back with those cuticles.17 INT. COUNSELOR'S OFFICE - DAY 17 Elle sits in front of her ADVISOR. ADVISOR (flummoxed) Harvard Law School? ELLE That's right. ADVISOR But it's a top three school -- ELLE (offended) I have a 4.0. (CONTINUED) 17.17 17 ADVISOR Yes, but your major is Fashion Merchandising. Harvard won't be impressed that you aced "History of Lycra". What are your backups? ELLE I don't need backups. Harvard is the school I' m going to. He decides to humor her. ADVISOR Well, then. You'll need excellent recommendations from your professors, a heck of an admissions essay and at least a one-seventy-five on your LSATs. ELLE (confident) I once had to judge a Theta Chi Tighty- Whitey contest. Trust me-- I can handle anything.18 INT. ELLE'S DELTA GAMMA ROOM - DAY 18 Elle sits on the floor surrounded by piles of LSAT prep books, the framed photo of Warner, and Underdog. There's a KNOCK at the door as Serena and Margot peek inside, gasping in horror at the sight of books. MARGOT What are you doing?! Elle smiles brightly at them. ELLE Reading about the LSATs. Margot looks at Serena, confused. SERENA (in a horrified whisper) My cousin had them. Apparently you get a really bad rash on your -- Elle interrupts her. ELLE The LSATs are an exam. She takes a deep breath. (CONTINUED) 18.18 18 ELLE (CONT'D) (continuing) Girls-- I ' m going to Harvard! ∑ SERENA What, like on va-kay? MARGOT Let's all go! Road trip! . SERENA Wait -- Cecil has a condo in Tahoe. Let's go there! ELLE No -- I ' m going to law school at Harvard. They look at her, confused. MARGOT Why?! SERENA I mean, I know you're upset and all, but can't you just take a sedative? Elle rolls her eyes at their naivete. ELLE Once Warner sees me as a serious law student, he'll want me back. It's a completely brilliant plan! MARGOT But isn't it kind of hard to get into law school? ELLE I have the highest GPA in Delta Gamma! Margot pulls something off her wrist and hands it to Elle. MARGOT Here. You're gonna need this. ELLE Your scrunchie? MARGOT My lucky scrunchie. It helped me pass Spanish. Serena rolls her eyes and looks at Margot disapprovingly. (CONTINUED) 19.18 (2) 18 S ER EN A You passed Spanish because you gave Professor Montoya a hand-job after the final. MARGOT (duh) Yeah, luckily. A MONTAGE OF THE NEXT 3 MONTHS BEGINS WITH...19 EXT. WOODS' BEL AIR BACKYARD - DAY 19 ON VIDEO, Elle sits in a Jacuzzi in her bikini. ELLE (to the camera) My name is Elle Woods and for my admissions essay, I ' d like to tell all of you at Harvard why I ' m going to make an amazing lawyer.20 INT. KAPPA SIG LIVING ROOM - NIGHT 20 The girls watch a horror movie with Kappa Sigs. Eating popcorn and drinking red wine. Off to the side, Elle reads an LSAT Study Guide.21 INT. DELTA GAMMA HOUSE - LIVING ROOM - DAY 21 ON VIDEO, a Delta Gamma chapter meeting takes place. ELLE (V.O.) As president of my sorority, I ' m skilled at commanding the attention of a room and discussing important issues. Elle bangs a gavel, as she sits in front of her sisters. ELLE (CONT'D) ~ It has come to my attention that the maintenance staff is switching our toilet paper from Charmin to generic. All those opposed to chafing, pleas.e say "aye". The sisters "AYE" in unison. Underdog barks his approval. 22 INT. CLASSROOM - NIGHT 22 "LSAT Prep Course" is written on the board. Elle and forty other law school hopefuls take notes furiously as practice questions are reviewed. 20.23 EXT. WOODS BACKYARD POOL - DAY 23 ON VIDEO, FROM ABOVE, we see Elle as she floats on a raft in her pool, in a pink Versace bikini. She addresses the camera. ELLE (to the camera) I ' m able to recall hundreds of important details at the drop of a hat. We reveal Margot on a raft beside her. MARGOT (badly acting) Elle, do you know what happened on "Days of Our Lives" yesterday? ELLE Why, yes, Margot, I do. Once again, we joined Hope in the search for her identity. As you know, she's been . brainwashed by the evil Stefano --24 INT. DELTA GAMMA HOUSE - LIVING ROOM - DAY 24 Elle takes a practice LSAT exam as Serena, Margot and a few other Delta Gammas do their butt-crunches in the Delta Gamma living room. Serena, while clenching her tush, hits a stop watch and Elle starts writing furiously. DISSOLVE TO: Margot is now on all-fours, doing donkey kicks as she grades Elle's practice exam. She writes "143" on top and holds it up to Elle. Elle slumps with frustration.25 EXT. BEACH - DAY ∑ 25 ON VIDEO, Elle is rollerblading in shorts and a tank top. ELLE (to the camera) And the laws and bi-laws of civil obedience are crucial to my life -- Serena skates by and fake-elbows Elle. (CONTINUED) 21.25 25 ELLE (CONT'D) (continuing; calling after her) No shoving on the skate path! City ordinance 22G!26 INT. LIBRARY STUDY ROOM - NIGHT 26 Elle sits in front of Amy, as Amy quizzes her with practice LSAT questions. Books are piled high around them. Elle gazes out the.window to see ---Warner and some BARE- CHESTED FRATERNITY BOYS carrying a keg across the quad. Her eyes light up and she looks at Amy pleadingly. Amy shakes her head no. Elle slumps, then rises and goes to the window, closing the shades and getting back to work.∑27 EXT. USC CAMPUS - DAY 27 ON VIDEO, Elle addresses the camera. ELLE I feel confident using legal jargon in daily life. CUT TO: ON VIDEO, Elle walks across campus with Underdog in her purse, feigning staged innocence. A RANDOM FRAT BOY pinches her butt. She slaps his hand, dramatically. ELLE (CONT'D) I object!28 INT. AUDITORIUM - DAY 28 "LSAT EXAM -- Sections 1-6" is scrawled on the chalk board. Elle sits in an auditorium with about 90 other students, LSAT booklet open, filling in answers. Concentrating so hard she's practically getting a forehead wrinkle.29 INT. ELLE'S DELTA GAMMA ROOM - DAY 29 ON VIDEO, Elle speaks to the camera. ELLE (to the camera) I've seen every episode of "The Practice" and I ' m even on speaking terms with Dylan McDermott. CUT TO: 22.30 EXT. DYLAN MCDERMOTT'S HOUSE - DAY 30 Dylan McDermott gets into his car and pulls out of his driveway. VIDEOTAPING MADLY, the girls follow in Elle's Boxster. SERENA There he is! . MARGOT Pull up next to him! Elle swerves around to pull up next to Dylan McDermott. They scream at him as Serena videotapes. ELLE Dylan! We love you! Dylan McDermott burns rubber as he flees. EXT. USC CAMPUS - DAY 31 "31 ON.VIDEO, Elle jogs while she addresses the camera. ELLE : (to camera) . . I'm totally focused and goal-oriented. Plus I ' m able to sway people with my very convincing arguments. . She turns to Serena, jogging next to her. ELL E (CONT'D) (continuing) Calvin Klein's spring line is atrocious. Don't you agree? SERENA (convinced) Absolutely!32 INT. DELTA GAMMA HOUSE - FOYER - DAY 32 Amy rushes in with a stack of mail, waving an LSAT envelope as she calls out. AMY It's here! Elle rushes down the stairs as the other Delta Gammas gather around. Elle takes the envelope and says a quick prayer. (CONTINUED) 23.32 32 ELLE One seventy-five...one seventy- five... She opens it and stares at it for a long moment. Then turns it to the crowd and raises it above her head in triumph. The girls immediately begin jumping up and down as group joy ensues. Underdog yips with pride. The MONTAGE ENDS.33 INT. HARVARD LAW ADMISSIONS OFFICE - DAY 33 ON THE TV, Elle stands up in the Jacuzzi. ELLE (on TV) And that's why you should vote for me. Elle Woods. Future lawyer. For the Class of 2003. The video is PAUSED, as three ADMISSIONS GUYS in their 4.0's sit at a table piled high with applications, the DEAN OF ADMISSIONS at the head of it. STUNNED SILENCE fills the room. Finally one of them speaks. ADMISSIONS GUY #1 That was certainly a very -- (adjusting himself) Imaginative essay. ADMISSIONS GUY #2 (to the Dean) She does have a 4.0 from USC and she got a one-seventy-nine on her LSATs. DEAN OF ADMISSIONS A fashion major? ADMISSIONS GUY #3 Well, we've never had one before... aren't we always looking for diversity? AMISSIONS GUY #1 Her list of extracurriculars is impressive. The Dean looks at her application. DEAN OF ADMISSIONS (unimpressed) She was in a Ricky Martin video -- ADMISSIONS GUY #2 Clearly, she's interested in music... (CONTINUED) 24.33 33 DEAN OF ADMISSIONS (reading on; skeptical) She also designed a line of faux fur panties for her sorority's charity project -- ADMISSIONS GUY #3 Then she's a friend to animals as well as a philanthropist. . AMISSIONS GUY #1 I think it's obvious that she's a very well-rounded individual. He points to Elle -- freeze-framed in her bikini-top on video, on the TV. The admissions guys look to the Dean. He folds. DEAN OF ADMISSIONS Elle Woods -- Welcome to Harvard. 34 EXT. WOODS' BACKYARD - DAY . 34 Elle's parents -- DANIEL, in tennis clothes, and the face- lifted SAPPHIRE -- stare at Elle over juice by the pool. DANIEL (frowning) Law school? Sapphire puts a hand to her throat in distress. Elle is confused. ELLE It's a perfectly respectable place... DANIEL Sweetheart, you don't need law school. Law school is for people who are boring and ugly and Serious. And you, button/ are none of those things. Sapphire is in agreement. SAPPHIRE You were first runner-up in the Miss Hawaiian Tropic contest. Why throw all that away? ELLE Because this is what I want. I've worked hard for it. Don't you understand that this is important to me? (CONTINUED) 25.34 34 She looks at her uncomprehending parents. ELLE (CONT'D) (continuing) Going to Harvard is the only way I can get the love of my life back! Sapphire looks at her, still not getting it. ∑ SAPPHIRE Can't you just suck his wiener? (TV VERSION) Can't you just get your nose done? Elle reacts to her mother's skewed logic. ∑35 EXT. HARVARD DORM - DAY 35 Pale, studious LAW STUDENTS clad in earth tones, move into their dorm, carrying in their spartan belongings (coffee makers, books, computers). In the distance, a HAPPY POP SONG (perhaps "Heaven Tonight by Hole) is heard. As it gets louder, heads turn to see -- A silver, convertible Boxster driving up, Elle at the wheel,/ MUSIC BLASTING. A large MOVING VAN follows the Boxster. Peop le lean out of their windows, buzzing with interest as-- Elle's car stops in front of the dorm. She hops out, scooping up Underdog and looking every inch the LA-Fred-Segal- glamour-queen, as she looks around with a smile. Elle looks at Underdog. ELLE We're here! She bends down to pour some Evian into his inflatable doggy dish, inadvertently revealing cleavage to a passing BESPECTACLED BOY (several yards away). He trips, dropping his I-MAC. It shatters into a million pieces. Not noticing/ Elle stands and turns to two MOVING GUYS/ who are hauling a pink, faux-fur love seat and a potted palm tree out of the truck. (CONTINUED) 26.35 35 ELLE (CONT'D) (continuing) This way, guys! With a beauty queen smile in place, she strides into the dorm as the other students watch in amazement. HANGING OUT OF THE WINDOW ARROGANT AARON, a Mensa geek with attitude, turns to his roommate. ARROGANT AARON Whose knob did she honk to get in here?36 EXT. LAW SCHOOL QUAD - DAY 36 " W e l c o m e Law Students Class of 2003" banners hang over o r i e n t a t i o n tables manned by second year law students (2L's) w e a r i n g red t-shirts. Club tables with banners that read " H a r v a r d Law Journal" and "Environmental Law Association" are s e t up nearby. E l l e takes a packet from a fuzzy MALE 2L. F U Z Z Y 2L Class schedule, map, book list. ELLE H a s Warner Huntington checked in yet? F U Z Z Y 2L ( ch ec ki ng) U h , no. Maybe you should try the Lido dec k. S h e frowns and starts to move on, but then looks through the p a c k e t with a frown and turns back. ELLE W a i t -- my social events schedule is . mis sin g. F U Z Z Y 2L Y o u r what? ELLE You know -- mixers, formals, beach ∑ trips. (CONTINUED) 27.36 . 36 FUZZY 2L (deadpan) There's a pizza welcome lunch in twenty minutes. Does that count? ELLE (wrinkling her nose) I guess it'll have t o . . . The Fuzzy Guy looks at the red-shirted BALD 2L next to him, as Elle walks off. , FUZZY 2L What the hell.was that? BALD 2L (watching her go) Malibu Barbie lives.37 EXT. HARVARD LAW SCHOOL - OUTDOOR GARDEN - DAY 37 Elle sits at the outdoor table, ignoring her slice of pizza, as she looks around for Warner. Not finding him, she turns her attention to the Group Leader, a BURNED OUT 2L in a red t- shirt. BURNED OUT 2L Okay. Welcome to law school. This is the part where we go around in a circle and everyone says a little bit about themselves. Let's start with you. He gestures at a guy with glasses, DORKY DAVID. DORKY DAVID I have a Masters in Russian Literature, a Ph.D in Biochemistry, and for the last eighteen months, I've been de- worming orphans in Somalia. BURNED OUT 2L Awesome. How about you, Enid? ENID, a militant feminista, looks up. ENID P h.D from Berkeley in Women's Studies-- emphasis in the History of Combat. And last year, I led the march for Lesbians Against Drunk Driving. BURNED OUT 2L Killer. (CONTINUED) 28.37 37 He looks at an intense guy in his late twenties, IVAN. INTENSE IVAN I've got an MBA from Wharton, worked on Wall Street for four years, mushed in three ididarods and I ' ve figured out how to crash the stock market in Sri Lanka if any of you want to get together later. BURNED OUT 2L Sweet. What about you? He looks at Elle. She sits up straight. ELLE I ' m a Gemini. I have a Bachelors degree from USC, where I was Sigma Chi Sweetheart and president of Delta Gamma, and last year '∑ -- I was Homecoming Queen . She smiles, as the group leader nods, waiting. ELL E (CONT'D) (continuing) Oh! (dramatically) Two weeks ago, I saw Cameron Diaz at Fred Segal -- and talked her out of buying a truly heinous angora sweater! Whoever said that orange is the new pink is seriously disturbed. She looks around, pleased. Enid' snickers as the rest of the group stares at Elle, dumbfounded.38 INT. ELLE'S DORM ROOM - DAY 38 A grey, dingy, cell-block style room -- now crammed with Elle's clothes, the pink fluffy love seat and potted palm, along with an Elliptical Cross-Trainer, pink flamingo party lights and a neon pink margarita glass sculpture. Elle tries to shove a large law textbook into her tiny Prada backpack to no avail. She gives up and tosses the book onto the bed where Underdog leaps away to miss being squished. ELLE Wish me luck, Underdog. It's my first class as a serious law student. She kisses him and looks down at her completely inappropriate skimpy Gucci outfit, which she accents by putting on trendy, wire-rimmed glasses. (CONTINUED) 29.38 38 ELLE (CONT'D) (continuing; to herself) I totally look the part!39 INT. LAW SCHOOL HALLWAY - DAY 39 Elle heads for a classroom, amidst a crowd of students who eye her like she's an alien. She rounds a corner, seeing -- WARNER, in all his handsome glory, looking over his schedule. She starts toward him, as if pulled by a magnetic force. Arrogant Aaron sees her passing by. ARROGANT AARON (seductively) H l o t e e. . . . . . . el hr. Elle keeps going, not even noticing him. Eyes only for Warner. Arrogant Aaron stomps away, pissed at the perceived blow-off. As Elle gets closer to Warner, she opts for wandering past him, seemingly oblivious to his presence. WARNER (stunned) Elle?! Elle turns, ultra-nonchalant. ELLE Warner?! Oh my God, I completely forgot you were going here! He looks at her, confused. People walk by, staring. WARNER What're you talking about? You're not here to see me? ELLE No, silly. I go here. WARNER (still confused) You go where? ELLE Harvard. Law school. (CONTINUED) 30. 39 39 WARNERv- y -- Y ou g o t in to Ha rv a rd L aw ? E LL E. (con fuse d at his confusion) W h at , like it's that.hard? W a rn e r stares at her :-- completely discombobulated. She s m i l es sweetly and makes a show of checking her watch. . ELLE (CONT'D) (continuing) Oops! Time for class. Meet me after? On the benches? WARNER Uh -- sure. She sashays off with a confident smile. 40 INT. CIVIL PROCEDURES CLASS - DAY 4.0. Students file in and take their seats. Elle enters, looking around nervously at the imposing auditorium. Arrogant Aaron, next to her, leans over. ARROGANT AARON If you're looking for the best seat, I hear the front row is the place to be. Elle smiles at him. ELLE ∑ Thanks. 41 INT. CIVIL PROCEDURES CLASS - DAY - LATER 41 PROFESSOR ELSPETH STROMWELL, a tough-as-nails Grande Dame in her 50' s , addresses the class. Laptops abound -- except for Elle, who has a fuzzy pink notebook and a pen with a pink plastic heart on the end. PROFESSOR STROMWELL A legal education means you will learn to speak in a new language. You will be taught to achieve insight into the world around you, and to sharply question what you know. Everyone soaks this up. Including Elle. (C ONT IN UED ) 31.41 41 PROFESSOR STROMWELL (CONT'D) (continuing) The seat you've picked is yours for the next nine months of your life. Enjoy it. And those of you in the front row, beware. . .. El le , in the front row, between two UNSHOWERED BRANIACS, ∑ looks around, panicked. One of the braniacs passes her the seating chart and she has no choice but to sign her name. In the back, Arrogant Aaron nudges his friend and smiles. PROFESSOR STROMWELL (CONT'D) (continuing) "The law is reason free from passion." Does anyone know who spoke those immortal words? Dorky David raises his hand. PROFESSOR STROMWELL (CONT'D) (continuing) Yes? DORKY DAVID (confidently) Aristotle. Professor Stromwell approaches him the way Cruella de Ville approaches a puppy. PROFESSOR STROMWELL Are you sure? Now he's not. DORKY DAVID Yes? PROFESSOR STROMWELL ~ Would you be willing to stake your life on it? DORKY DAVID I think so... PROFESSOR STROMWELL H o w about -- She spins around, roughly POKING another student in the head. (CONTINUED) 32.41 (2) 41 PROFESSOR STROMWELL (CONT'D) (continuing) -- his life? DORKY DAVID (scared) I don't know. PROFESSOR STROMWELL Well, I recommend knowing before speaking.. The law leaves much room for interpretation -- but very little for self-doubt. As she turns away -- PROFESSOR STROMWELL (CONT'D) (continuing) And you were right. It was Aristotle. The class half-laughs in relief. PROFESSOR STROMWELL (CONT'D) (continuing) I assume you've all read pages 1- 48 and are now well-versed in subject matter jurisdiction. Elle looks around, surprised, as students open their books. PROFESSOR STROMWELL (CONT'D) (continuing) Who can tell us about Gordon v. Steele? Silence. Stromwell looks down at the seating chart. PROFESSOR STROMWELL (CONT'D) (continuing) Ivan Greenstein? Intense Ivan straightens in his' seat. IVAN Gordon sued her doctors for malpractice. PROFESSOR STROMWELL And what did the dispute entail? (looking at her chart) Let's call on someone in the hot zone. Elle Woods? Elle looks up, distressed. (CONTINUED) 33.41 (3) 41 ELLE Uh... I wasn't aware that we had an assignment. PROFESSOR STROMWELL (looking at her chart) Sarah Knottingham? SARAH KNOTTINGHAM -- a prim and preppy blue-blood brunette, dressed in pearls and a sweater set -- looks up. PROFESSOR STROMWELL (CONT'D) (continuing) Do you think it's acceptable that Ms. Woods is unprepared? Sarah looks over at Elle. Elle gives her a mortified smile. Sarah turns back to Professor Stromwell. SARAH No, I don't. PROFESSOR STROMWELL Would you support my decision to ask her to leave and return to class only when she is prepared? SARAH Absolutely. Elle can't believe that this girl would betray her. Having no choice,, she gathers her purse and goes, completely humiliated. Professor Stromwell returns to the matter at hand. PROFESSOR STROMWELL Now, Ms. Knottingham, did diversity jurisdiction'exist in this case?42 EXT. LAW SCHOOL QUAD - BENCHES - DAY - LATER 42 EMMETT -- a shy and quirkily handsome 28-year-old who could pass for younger -- sits on a bench, going over some papers. He looks up and spots Elle -- sitting across from him -- looking traumatized. EMMETT Are you okay? Elle looks up, snapping out of her stupor. (CONTINUED) 34.42 . 42 ELLE Do they just -- put you on the spot like that? Like, all the time? EMMETT The professors? Yeah, they tend- to do that. Socratic method. ELLE And if you don't know the answer, they just kick you out? He smiles. EMMETT You have Stromwell. ELLE (hopeful) Did she do that to you, too? EMMETT No, but she made me cry once. Not in class -- I waited until I got to my room, but yeah, she can pretty much shrivel your balls -- or you know, your whatevers . ELLE (stricken) Neat . ∑ ' , ' EMMETT Don't worry. It gets better. Who else do you have? Elle looks at her schedule. ELLE Donovan, Royalton and Levinson. EMMETT Speak up in Donovan's class. He likes people with an opinion. Sit in the back for Royalton. He tends to spit when he talks about products liability. Elle makes a face. He smiles. Liking her. (CONTINUED) 35.42 ( 2 ) 42 EMMETT (CONT'D) (continuing) And make sure you read the footnotes in Levinson's class. That's where all her exam questions come from. ELLE Wow. I ' m glad I met you. She smiles at him, grateful. EMMETT Oh, and getting one of Stromwell's daily quotes right is almost as important as acing the mid-term. But you didn't hear it from me. Students trickle out of the building. ELLE " .:. Are you a third-year? Warner walks up, behind Emmett, interrupting. WARNER Hey. Elle looks up, pure adoration on her face. ELLE Hi! Emmett rises and walks off. EMMETT Good luck. ELLE (calling after him) Thanks again for your help! Warner remains standing, still somewhat uncomfortable with her presence here. WARNER S o -- uh -- how was your first class? ELLE Fine. Except for this horrible girl who made me look bad in front of my Civ Pro professor. But no biggie. You're here now. (MORE) (CONTINUED) 36.42 (3) 42 ELLE (CONT'D) (perky) How was your summer? She pats the bench beside her. He doesn't move. ∑ WARNER (distracted) Good. Good. ELLE Do anything exciting? A female hand snakes around Warner's chest from behind. Warner turns and brings the owner of the hand around to his side, presenting her. WARNER (nervous) Urn, hey, have you met Sarah? Sarah, the horrible girl herself, holds out her hand to Elle, full of contempt. SARAH Hi. Sarah Knottingham. ELLE (to Warner; horrified) ∑ You know her? WARNER She 's -- Sarah jumps in. ∑ SARAH . -- I ' m his fiancee. Elle stares at her. Sarah tucks a piece of her mousy brown hair behind her ear and there it is -- The Rock. ELLE (in disbelief) I'm sorry, I just hallucinated. WARNER Sarah was my girlfriend at prep school. We got back together over the summer at my grandmother's birthday party. Elle looks stricken. Sarah gives her a smug smile. (CONTINUED) 37.42 (.4) 42 SARAH Warner told me all about you. You're famous at our Club. She says it in a way that is anything but flattering. In fact, it's completely condescending. SARAH (CONT'D) (continuing; pointedly) But he didn't tell me you'd be here. WARNER I didn't know -- Elle looks from Warner to Sarah. ELLE Excuse me. She rushes off. Sarah watches her go, a smug grin on her ' ∑ ∑ ∑∑ face, ∑ SARAH (to Warner) I thought you said she was pretty.43 EXT. STREET/INT. ELLE'S CONVERTIBLE BOXSTER- DAY 43 Elle drives, wiping the tears from her face. She spots something off to the side and SWERVES her car toward it, a gasp of hope escaping her lips. Her car stops in front of a strip mall salon called "Beauty Oasis". 44 INT. BEAUTY OASIS - DAY 44 A downscale, blue-collar salon, with five hair chairs and two manicure stations. Old ladies and young waitresses get perms. PAULETTE --early 40s, lower-middle class, hard-edged, plus- sirzed -- looks up as a defeated Elle sinks into the manicure chair.(The manicure station is plastered with pictures of RUFUS, a big, slobbering pit-bull). ∑ PAULETTE Bad day? Elle holds out her hands. Paulette dips them into a dish of soapy water. ELLE You can't even imagine. (CONTINUED) 38.44 44 PAULETTE .Spill., Elle lets it all out in a rush. ELLE I worked really hard to get into law school -- I blew off Spring Break and Greek Week to study for the LSATs, I completely neglected my Homecoming Queen duties, I hired a Coppola to direct my admissions video -- all so I could get my boyfriend Warner back and now he's engaged to this awful girl Sarah so it was all for nothing! I wish I ' d never even come to Harvard. Paulette dries Elle's hands and begins filing. PAULETTE After you went to all that trouble? ELLE : Well, what am I supposed to do? He's engaged! She's got the family six-carat on her bony, unpolished finger. PAULETTE You're asking the wrong girl. I ' m with my guy eight years and then one day it's "I met someone else. Move out." ELLE (horrified) What'd you do? PAULETTE Cried a lot and gained twenty pounds. Dewey kept the trailer and my precious baby Rufus. I got jackcrap. She looks at a picture of the pit-bull. PAULETTE (CONT'D) (continuing; re the dog) I didn't even get to go to his birthday party. ELLE No! (CONTINUED) 39.44 ( 2 ) 44 PAUL ETTE What could I do? (shrugging) He's a man who followed his pecker to greener pastures. I ' m a middle-aged high- school dropout with stretch marks and a fat ass. Happens every day. At least to women like me. ELLE . ∑ That's terrible! PAULETTE So, what's this Sarah got that you don't? Three tits? - ELLE She's from Connecticut. She belongs to his stupid country club. PAULETTE Is she as pretty as you? Elle looks down. ELLE (embarrassed) I ' m not pretty -- I ' m genetically blessed. Paulette rolls her eyes, shaking her bottle of polish and starting on Elle's right hand. PA UL ETT E Is sJie.? " ELL E She could use some mascara and some serious highlights, but she's not completely unfortunate- looking. UPS GUY (O.S.) Hello, ladies. Paulette looks up to see the UPS GUY, a strapping hunk of a man in his late 30' s . She blushes and smooths down her hair, knocking over a bottle of nail polish in the process. Trying to play it off as she signs for the package. (CONTINUED) 40.44 ( 3 ) 44 UPS GUY (CONT'D) . See ya later. He goes. Paulette watches him. Elle notices. PAULETTE (hating herself) . Could I be anymore goddamn spastic? (beat) So you're sure, this Warner guy is "the one"? ELLE Definitely! I love him! Paulette looks at her. PAULETTE If a girl like you can't hold on to her man -- then there sure as hell isn't any hope for the rest of us. What're you waiting for? Steal the bastard back. 45 INT. DORMITORY - WARNER'S ROOM - DAY 45 Elle knocks on Warner's door, bottle of wine and two glasses in hand. ELLE Warner? When she gets no answer, she write a message on his memo board -- CLOSE ON-- "Call me! Love, You Know Who". She leaves the wine bottle and two glasses and goes.46 EXT. HARVARD LAW CAMPUS - DAY 46 Elle is in her push-up bikini, reclining in her beach chair, pink frozen margarita in one hand, Underdog in the other, law book in her lap, pretending to study. We PULL BACK to reveal that she's sitting on the sidelines of a touch-football game that Warner is playing with a group of other 1-L's. Warner scores easily because the other male eyes are all on Elle. He shakes his head and smiles. 41.47 INT. CRIMINAL LAW CLASS - DAY 47 Elle sits, glaring at Sarah, who keeps waving her "The Rock" in Elle's direction, as she plays footsie with Warner. PROFESSOR DONOVAN -- 40s, a big fan of himself, salt and pepper hair, no time for bullshit -- stands before the class. PROFESSOR DONOVAN I should warn you that in addition to competing against each other for the top grade in this class, you'll also be competing for one of my firm's highly coveted four internship spots next year where you will get to assist on actual cases. Let the bloodbath begin. Now, let's commence with our usual torture -- He looks around. PROFESSOR DONOVAN (CONT'D) (continuing) Ms . Woods -- Sarah and her bitchy, clone-like friend CLAIRE exchange knowing glances. SARAH This should be amusing. ∑ PROFESSOR DONOVAN Would you rather have a client who committed a crime malum in se or malum prohibitum? ELLE Neither. PROFESSOR DONOVAN Why not? ELLE I'd rather have a client who's innocent. Elle smiles, proud of her answer. The class snickers. Warner frowns. PROFESSOR DONOVAN . Dare to dream, Ms. Woods. Ms. Knottingham? Which would you prefer? (CONTINUED) 42. 47 47 SARAH Malum prohibitum. Because the client would've committed a regulatory infraction as opposed to a dangerous crime. Elle raises her hand. PROFESSOR DONOVAN Yes? Ms. Woods? ' ELLE ' .. I changed my mind. I ' d pick the dangerous one. She looks pointedly at Sarah. ELLE (CONT''D) (continuing) I ' m not afraid of a challenge. Sarah glares back at her. Warner looks between the two of ∑ them, worried. 48 INT. STUDY LOUNGE - DAY 48 The Harvard Public Interest Law Association meeting is O underway. Warner .listens intently, A few seats away, Elle appears to be taking notes. C L O SE ON--her "notes" -- "I'm free for dinner tonight. Meet me at The Cask & Flagon at 8." She folds the note and sticks it in Underdog's mouth, then points him toward Warner. Humiliated but dutiful, Underdog bounds off. CLOSE ON -- Underdog, as he carries forth his mission, arriv ing at Warner's feet. UNDERDOG'S POV -- Warner discreetly takes the note from him, then looks over at Elle, who feigns interest in the meeting. 49 INT. CASK & FLAGON RESTAURANT - NIGHT 49 Elle waits for Warner, alone at a table. Checking her watch to see it's 8:45, she tries not to be sad. 50 INT. HARVARD LAW LIBRARY - DAY 50 Warner and his study group, Sarah and Claire included, sit at a table, going over their outlines. Elle walks up to the table, holding a basket of muffins, bright smile on her face. (CONTINUED) 43.50 50 ELLE ' I ' m here to join your study group. And look! I brought sustenance! She holds up the muffins as the others look up, frowns all around. WARNER (nervously looking at Sarah) Elle, what're you doing here? Elle pulls up a chair from another table and holds up a muffin. ' ELLE Who's first? She sits down next to Warner. SARAH Our group is full. ELLE Oh, God, was this like an RSVP thing? CLAIRE No, it's like a smart people thing. And like Sarah said, we're full. WARNER Come on ~ we can make room for one more. Sarah looks at Warner with evil eyes. SARAH We've already assigned the outlines, and everyone has started theirs', CLAIRE (to Warner) Besides, you wouldn't let the fat guy _ join. WARNER He tried to watch me take'a shower! Sarah looks at Elle. SARAH The answer is no. Warner looks at her, feeling guilty. He shrugs an "I'm sorry", but Elle's perkiness has gone. (CONTINUED) 44.50 (2) 50 She gathers up her muffins and stands, clutching the basket to her chest as she goes. ELLE Then I guess I'll leave you alone. She walks away, completely deflated, passing by the RAGING FEMINIST STUDY GROUP. Enid calls out. ENID Maybe there's a sorority you could join instead. Elle stops and looks at her. ELLE (to Enid) You know, if you'd come to a Rush party, I would've at least been nice to you. ENID Before you voted against me and called me a dyke behind my back? ELLE I don't use that word. Only mean people use that word. You must've heard it from Sarah. . She looks back at Warner's table and walks off. As she does., she's nearly mowed down by a gaggle of NERDS led by DORKY DAVID, who knock the muffins out of her hands. She stands there, even more depressed.51 INT. ELLE'S DORM ROOM - DAY - LATER 51 Elle sinks down onto her bed, deflated. She picks up the phone and dials.52 INT. BRIDAL SHOP - DAY 52 Serena, with a new hairdo, and Margot are surrounded by wedding dresses. Margot talks on her cell phone. We INTERCUT. MARGOT (to Serena) It's Elle! (into phone) Guess what I ' m doing right this second? ELLE Power yoga? (CONTINUED) 45.52 52 MARGOT Picking out my wedding dress! ELLE ∑ What?! MARGOT Josh proposed! ELLE (startled) N o way -- Serena grabs the phone. SERENA (into phone) ;;po you have The Rock yet? Elle lies. ELLE Almost. SERENA Well, hurry up so you can come home! We miss you! ELLE I miss you guys! The people here are so vile! Hardly anyone even talks to me unless it's to say something that's not nice. Law school sucks! SERENA Oh, my God! I completely forgot to tell you! ELLE What? SERENA I got bangs! ELLE (hurt and annoyed) Re a ll y -- Margot grabs the phone back. (CONTINUED) 46.52 (2) 52 MARGOT : (into phone) Keep June first open -- you're one of my bridesmaids. And give Warner our love. ELLE Iwl. il. . . Margot hangs up and Elle follows suit. Even more deflated.53 INT. ELLE'S DORM - HALLWAY - DAY - SAME TIME 53 Sarah and Claire walk past Elle's room, the door of which is ajar. SARAH It's not just any Halloween party. It's a "Come as Your Favorite Defendant" party. CLAIRE That-'s genius. Elle pops her head out of the room. ELLE (excited) No way! Someone at this school is actually having a party? Sarah and Claire turn around. Elle's face falls when she sees that it's them. SARAH No. CLAIRE You must've heard us wrong. SARAH Sorry. Looks like you'll be staying home ton ig ht. Alone. They continue on as Elle goes back into her room, snubbed.54 INT. ELLE'S DORM ROOM - CONTINUOUS 54 Elle shuts the door behind her and looks at Underdog. ELLE I can't believe this. Not only do I not have Warner, but I ' m --unpopular! The realization hits her hard. Underdog barks. She looks at him. ∑.'.∑∑∑ (CONTINUED) 47.54 54 ELLE (CONT'D) (continuing) But I wasn't invited. He barks again. ELLE (CONT'D) (continuing) You really think I should?55 EXT. OFF-CAMPUS HOUSE - PORCH - NIGHT 55 Two feet in high heels and fishnet hose stride purposefully up the sidewalk. . A perfect butt wearing a bunny tail wiggles up the steps.56 INT. OFF-CAMPUS HOUSE - NIGHT 56 A party filled with people who are no fun to party with. NAMETAGS denote which famous defendant everyone is dressed as. Menenedez's, Tonya Harding's, and Buttafuco's pepper the room. Elle, decked out in a Playboy Bunny costume -- looking sexy as hell -- strides in. People roll their eyes and ignore her. Elle continues on. NEARBY -- Enid, dressed as Lizzie Borden, axe in hand/ is in the midst of a tirade against some guy dressed like William Kennedy Smith. ENID The English language is all about subliminal domination. Take the word "semester". It's a perfect example of this school's discriminatory preference of semen to ovaries. That's why I ' m petitioning to have next term be referred to as Winter Ovester. The guy backs up in fright. As Elle passes, Enid looks over. ENID (CONT'D) (continuing) Hey , Elle-- I've been meaning to ask you (re her boobs) -- are those real? Elle snorts. ELLE Enid, please -- silicone is so 90's. (CONTINUED) 48.56 56 She keeps walking.57 INT. INTO THE LIVING ROOM - AT THE BAR -CONTINUOUS 57 Sa rah -- dressed as Hester Prynne -- and Claire --as Joan of Arc -- sip wine. ELLE (continuing; sarcastic) Thanks for inviting me, girls. This party is super fun. They roll their eyes, checking out her Bunny costume. SARAH You're supposed to be dressed as a famous defendant. Elle smiles at Sarah. ELLE I am. Didn't you hear about the Playboy Bunny who slit her ex- boyfriend's new fiancee's throat with a broken wine glass? It was tragic. She grabs a glass of wine and moves on.58 EXT. OFF-CAMPUS HOUSE - BACK PORCH - NIGHT 58 Elle walks onto the back porch and finds Warner --dressed as O.J. in a USC football uniform, number 32, with a ball and chain on his foot. ELLE Hey, O.J. Warner turns. He looks around for Sarah. Not seeing her, he smiles at Elle, admiring her costume. WARNER Wow. You're a walking felony. ELLE Thank you. Having fun? WARNER ( c h e c k i n g her out) Now I am. (CONTINUED) 49.58 58 ELLE (flirty) I feel like we've barely spent any time together since we got here. WARNER That's because I spend all my time with case studies and hypos. ELLE Tell me about it. I can't imagine doing all this and Donovan's internship next year. WARNER (scoffing) Elle, c'mon, there's no way you'll get the grades to qualify for one of those spots . You're not smart enough. She can't believe he's saying this. He realizes he's gone too far, and back-pedals. WARNER (CONT'D) (continuing) I didn't mean -- ELLE (cutting him off) Am I on glue, or did I not get into the same law school you did, Warner? WARNER (covering) We ll , yeah, but -- ELLE But what? We took the same LSAT, we take th e same classes -- WARNER I just don't want to see you get your hopes up. You know how you get. She stares at him. Realizing the awful truth. ELLE I'11 never be good enough for you, will I? When he doesn't answer, she walks back into the house. 50.59 INT. OFF-CAMPUS HOUSE - KITCHEN - NIGHT -SAME TIME 59 One of them holds a salad A group of tipsy ILs stand around. bowl filled with cash. ENID I give her two more weeks. She throws a twenty into the bowl. ' ∑. . DORKY DAVID Two and a half? He throws in his twenty as well. SARAH If she spreads her legs, maybe -- ARROGANT AARON (adjusting his crotch) Only if I ' m feeling generous. ELLE (O.S.) What is this? They turn around to find Elle standing there. CLAIRE We're betting on how much longer you're going to last. ELLE (stung) What? SARAH Look around, Elle. Do you actually think you belong here? They all stare at her. ELLE (hurt) Why wouldn't I? ENID Because the rest of us provide some worthwhile value to society? ARROGANT AARON Hold on, now -- every society needs a bimbo. Who are we supposed to sleep with after we get rich? (CONTINUED) 51.59 59 Elle looks like she's been slapped. The others laugh at Aaron's esteemed wit. ELLE You know what? All of you can just kiss my ass. She yanks off her Bunny tail and throws it at them. Hurt and anger in her eyes. Then walks out of the room.' ELLE (CONT'D) (continuing; to herself) You're about to see just how valuable Elle Woods can be. She stomps out of the house. A GIRL-POWER SONG STARTS TO PLAY AS A MONTAGE BEGINS:60 INT. HARVARD BOOKSTORE - NIGHT 60 A hot pink laptop is yanked off the shelf. CUT TO: Elle, still in her Bunny suit, minus the tail, stands in line, paying for the laptop. People gape at her, but she's oblivious in her resolve. EMMETT walks up behind her in line. He clears his throat, trying not to look at her costume. Elle turns, seeing him. ELLE Don't ask. EMMETT Wasn't gonna. - She marches off. Laptop in hand.61 INT. ELLE'S DORM ROOM - NIGHT 61 A pony-tailed Elle types a brief, coffee next to her. Underdog sleeps nearby, belly-up. Legs twitching in a nightmare. Typing furiously, Elle breaks a nail, then struggles to forge on, despite her instinct to stop and repair it. 52.62 INT. LAW LIBRARY - DAY 62 Elle -- arms full of books -- walks past the Warner/Sarah study group. Sarah and Claire scowl at her, but Elle passes with her head held high.63 INT. STUDY LOUNGE - DAY 63 Enid is surrounded by study materials and notecards. When she gets up to use the ladies' room, Elle casually walks over and slips a notecard into the middle of Enid's stack. Then quickly walks on. '64 INT. BEAUTY OASIS - DAY 64 Pau lett e quizzes Elle from a law textbook as her nails dry. As she waits for Elle's answer, Paulette showers Underdog with kisses, showing him pictures of Rufus. 65 INT. CRIMINAL LAW CLASS - DAY .. 65 Donovan is in the midst of a lecture. He points at Elle. PROFESSOR DONOVAN And the purpose of "diminished capacity" is? She swallows nervously, then speaks. ELLE To negate mens rea? Donovan nods affirmatively and continues. Elle hides a smile.66 INT. LAW LIBRARY - NIGHT 66 Elle reaches for a book on a high shelf, but she's not tall enough. She tries a running start and leaps for it. Still missing it. FROM THE LEFT, she runs and leaps again, missing again. FROM THE RIGHT, she runs and leaps again, missing again. Dorky David walks up and sets down a step-stool at her: feet. Now winded, she smiles her thanks, stepping up to retrieve her book. 53.67 INT. STUDY LOUNGE - DAY 67 Enid flips through her notecards, memorizing, when she comes upon a picture of a NAKED MAN. Oh, the horror. She throws it down in disgust as if her eyes have been burned. Looking around, Enid sees Elle smiling and waving at her from across the room. 68 INT. LAW LIBRARY - DAY 68 Elle walks past Arrogant Aaron, as he sleeps at his study cubicle, head back on the chair. She stops, backs up, and waves her hand over his face. When he doesn't stir, she takes a magic marker out of her knapsack and leans over to write something on his forehead. INT. ELLE1S DORM ROOM - DAY69 69 Elle works out on her Elliptical Crosstrainer as she listens to a lecture tape and watches Court TV on mute. LECTURER (V.O.) "A failure to act can constitute the actus reus for accomplice liability if the defendant has the legal duty to intervene, but fails to do so."70 INT. LAW LIBRARY - DAY 70> Arrogant Aaron wakes up with a start, checks his watch, and rushes off to class. Oblivious to his facial graffiti, which we can't yet read.71 INT. CIVIL PROCEDURES CLASS - DAY 71 Professor Stromwell is in front of the class. PROFESSOR STROMWELL So you've filed a claim. Now what? She looks over to see Elle sitting there, typing on her laptop. PROFESSOR STROMWELL (CONT'D) (continuing) Ms. Woods? ELLE Don't you also need to have evidence? (CONTINUED) 54.71 71 PROFESSOR STROMWELL Meaning? Everyone now stares at Elle. 'ELLE Meaning you need -- reasonable belief that your claim would have, like, evidentiary support? Stromwell is somewhat impressed, but doesn't show it. PROFESSOR STROMWELL And what kind of evidentiary support does this case require? Let's ask Mr. Harriman, who clearly believes that I might be hungry. She looks up at Arrogant Aaron in the back row. Who unknowingly has "Eat Me" written on his forehead. He looks back at her, confused, as the students around him snicker.72 EXT. BEAUTY OASIS - NIGHT 72 A "Closed" sign is on the door. THROUGH THE WINDOW, we see Elle and Paulette sitting in the empty salon, laughing and clinking cans of Pabst Blue Ribbon as they toast Elle's small victory. We PULL BACK, leaving them laughing, as the MONTAGE ENDS.73 INT. CRIMINAL LAW CLASS - DAY 73 "THE STATE V. LATIMER" is written on the board. A pony- tailed, less made-up Elle takes notes on her lap-top, as Warner makes an argument. WARNER . According to Swinney v. Neubert, Swinney, who was also a private sperm donor, was allowed visitation rights as long as he came to terms with the hours set forth by the parents. So, if we're sticking to past precedent, Mr. Latimer wasn't st al ki ng -- he was clearly within his rights to ask for visitation. PROFESSOR DONQVAN But Swinney was a one-time sperm donor, and in our case, the defendant was a habitual sperm donor, who also happens to be harassing the parents in his quest for visitation. (CONTINUED) 55.73 "73 WARNER But , without this man's sperm --the child in question would not exist. He grins and looks around as the class murmurs their agreement. PROFESSOR DONOVAN Now you're thinking like a lawyer. EMMETT enters from the back, holding a file. He stands there quietly, watching. ∑ Elle tentatively raises her hand. PROFESSOR DONOVAN (CONT'D) Ms. Woods? Sarah looks at Claire. SARAH (sotto) The idiot speaks. ELLE Although Mr. Huntington makes an excellent point, I have to wonder if the defendant kept a thorough record of each sperm emission made throughout his life? The class titters. Elle grows annoyed. PROFESSOR DONOVAN (bemused) Why do you ask? Elle's hesitancy is replaced by conviction. ELLE Well, unless the defendant attempted to contact every single one-night- stand to determine if a child resulted in those unions -- then he has no parental claim whatsoever over this child. Why this s p e rm ? Why now? ' Emmett's mouth twitches into a smile. (CONTINUED) 56.73 (2) 73 ELLE (CONT'D) (continuing) For that matter, all masturbatory emissions where his sperm was clearly not seeking an egg could be termed reckless abandonment. Warner's mouth hangs open. As does Sarah's and the rest of the class. Donovan smiles. PROFESSOR DONOVAN I believe you've just won your case. Elle grins. :74 INT. DONOVAN'S CLASS - LATER 74 As the students file out, Elle passes Donovan. PROFESSOR DONOVAN You did well today. She stops. ELLE I did? PROFESSOR DONOVAN You're applying for my internship, aren't you? ELLE I don ' t know -- PROFESSOR DONOVAN You should. Do you have a resume? ELLE (excited)" ∑∑'.' . ∑ ∑. . . i do. ' ' , .''. ∑' . . ∑ ; . . She pulls a resume out of her briefcase and hands it to him.. He looks at it. ∑ PROFESSOR DONOVAN It's pink. ELLE And engraved... Gives it that extra little something, doesn't it? . (smiling) See you tomorrow! (CONTINUED) . 57.74 74 She walks on. Emmett walks up, handing the file to Donovan. EMMETT I brought you the Windham notes. PROFESSOR DONOVAN (watching Elle go) You think she just woke up one morning and said, "I think I'll go to law school today!"? Ei timett looks after Elle, bemused. EMMETT Aside from that lapse in judgement -- she's got potential.75 INT. ELLE'S CAR-DAY 75 Elle drives. Paulette is shotgun. ∑ PAULETTE You showed up Warner in class? You're supposed to be showing up Sarah. ELLE I couldn't help it! It was the most fun I've had since I've been in law school. Not only was I good enough for Warner -- I was better than him. He has to see serious I am now. Even Donovan was impressed, and he's a total hard- ass. Elle stops the car and turns off the ignition. ELLE (CONT'D) You ready? PAULETTE ∑ . No. ' ∑ ELLE Yes, you are. Go -- you can do this. . She points ahead of them. Paulette goes. 76 EXT. DEWEY'S TRAILER - DAY . 76 The door opens. DEWEY(40s) and his beer gut emerge. Paulette is on the porch. Trying to exude confidence, but failing. (CONTINUED) 9/172000 Revision (Blue) 58.16 76 DEWEY (to Paulette) What the hell do yon want? We're eating dinner. PAULETTE I just -- DEWEY You just thought you'd come over and show me what I 'm definitely not missing? 77 INT. ELLE'S CAR - DAY -SAME TIME 77 She watches, frowning. 78 EXT. DEWEY 'S TRAILER - DAY -CONTINUOUS 78 ' Dewey's really having fun now. ; DEWEY ; What the hell happened to you? You get a job at a donut shop? ∑ PAULETTE That's not what -- DEWEY How many times you gonna show up here, beggin1 me to take you back? ' Paulette reddens -- flustered and humiliated. Elle appears next to her. ELLE Dewey Newcomb? DEWEY Who's askin' ELLE . I ' m Elle Woods. Ms. Bonaf ante's ∑ . attorney. Paulette looks at Elle in surprise, Elle keeps going. ELLE (CONT'D) Under state law, you and Ms. Bonaf ante had a common law marriage which entitles her to the benefits of property law and an equitable division of assets. (CONTINUED) 59.78 "78 Paulette watches Elle, mouth hanging open. DEWEY (confused) Come again? ELLE Due to the fact that you retained the residence, Ms. Bonafante is entitled to full ownership of the canine property in question and we will be enforcing said ownership immediately. DEWEY : Huh? ELLE ∑ Tell him, Paulette. A still-stunned Paulette looks at Elle, then turns to Dewey, fire in her ass. '. ∑" . PAULETTE ∑ I ' m taking the dog dumbass. (calling into the trailer) C'mere, baby, Mommy's here! Rufus bounds out, licking and kissing Paulette. The love evident. 79 INT./EXT. ELLE'S CAR - A MOMENT LATER 79 Elle, Paulette and Rufus get in. ELLE W e did it! . Elle high-fives her. PAULETTE God, that felt great! ELLE ∑ Look at him. He's still scratching his head. PAULETTE . Which must be a nice vacation for his bls . . al. She turns to Rufus, hugging him. (CONTINUED) 60.79 79 PAULETTE (CONT'D) And now Mommy's got somebody to eat dinner with again. You don't care what Mommy's butt looks like, do you? Elle looks over at Paulette, heart going out to her. 80 INT. CIVIL PROCEDURES CLASS - DAY 80 Elle turns on her Powerbook as Professor Stromwell faces the class with her morning quote. PROFESSOR STROMWELL "An image and a good hook can get you into a room --∑ but something has to keep you in that room." She looks around as hands are raised. PROFESSOR STROMWELL (CONT'D) (continuing) Mr. Greenstein? INTENSE IVAN Judge Sandra Day 0'Connor? PROFESSOR STROMWELL C ose.. . . l Intense Ivan's face falls. She looks around, seeing Elle raising her hand. PROFESSOR STROMWELL (CONT'D) (continuing) - Ms. Woods? ELLE Madonna? The class rolls their eyes and laughs, watching Stromwell. PROFESSOR STROMWELL Damn. Thought I ' d get everyone on that one. The class can't believe Elle is right.81 EXT. CRIMINAL LAW CLASS - HALLWAY - DAY 81 A THRONG of buzzing students is gathered around the bulletin board. Elle walks up. (CONTINUED) 61.81 81 ELLE What's going on? DORKY DAVID Donovan's firm is defending a major murder case and his caseload is so heavy he's taking on first year interns. ELLE He chose them already? Sarah, at the front of the throng, gasps, then turns to Warner. SARAH We got it! He grins and she kisses him on the cheek. Elle, shoved to the back, tries to get closer, when she hears -- ENID The competition must not have been that '∑ stiff. ∑ Arrogant Aaron pushes his way to the board. . ARROGANT AARON Why? ion .got a spot? ENID Hey! Watch your hands, Mr.Grabass. ARROGANT AARON ' (ignoring her) That only leaves one for -- Elle, now next to him, gets a look at the board. ELLE (shocked) Me?! Everyone REACTS. She turns and faces the throng. They stare back at her in shock. Dignified, she walks through them as they PART for her, stopping in front of Warner and Sarah. EL LE (CONT'D) (continuing; to Warner) ∑ Remember the time after Winter Formal? When we spent four incredible hours In the hot tub...? (CONTINUED) 62.81 (2) 81 Sarah looks away. . ∑ ELLE (CONT'D) This is way better than that. (pushing Sarah aside) Excuse me. I have some shopping to do. As she goes, surprised CHATTER overtakes the hallway.82 INT. SAK'S - WOMENS' DEPT. - DAY 82 ∑ Elle scans the racks of conservative clothes. She holds up a cashmere twinset and wrinkles her nose, but throws it over her arm anyway.83 INT. NORDSTROM'S - HANDBAGS - DAY - LATER 83 Elle admires a trendy handbag, but then promptly sets it down and picks up a practical leather briefcase.84 INT. AUSTEN, PLATT, JARET & DONOVAN - LOBBY - DAY 84 The elevator door opens and Warner and Elle emerge. Elle is sporting her new, boring "lawyer" clothes. Warner is baffled and impressed by her transformation. WARNER You look -- nice. ELLE Thank you. She gives him an aloof smile and walks off. Warner watches her go. Sarah stands in the lobby. None too happy to witness this.85 INT. AUSTEN, PLATT, JARET & DONOVAN - DAY - MOMENTS LATER 85 Donovan strides through the office, his four interns behind him. He points as he walks. DONOVAN There's your office, there's the bathroom, there's the coffee machine. There's Gerard, Dick and1Bobby. GERARD, smarmy and trim, DICK, short and bald, and BOBBY, black and bespectacled, wave as the interns pass by. DONOVAN (CONT'D) (continuing) They're the other associates on the case. Ask them all your stupid questions, save the smart ones for me. 63.86 INT. AUSTEN, JARET, PLATT AND DONOVAN - CONFERENCE ROOM 86 Professor Donovan opens his briefcase as Elle, Sarah, Enid and Warner hang on his every word. PROFESSOR DONOVAN We're defending Brooke Windham, whose very wealthy husband was found shot to death in their Beacon Hill mansion. SARAH Gold digger? PROFESSOR DONOVAN You'd think so, since the stiff was sixty, but she was rich on her own. Some kind of fitness empire. You can buy her exercise tapes on infomercials. Elle frowns. ELLE Wait a minute -- are we talking about Brooke Daniels? Donovan checks his papers. PROFESSOR DONOVAN M a i d e n name--Daniels. (looking up) You know her? ELLE She was a Delta Gamma! Not in my pledge class or anything -- she graduated ,five years ahead of me. But I used to take her class at the LA Sports Club. She's amazing! The others looks at each other and roll their eyes. PROFESSOR DONOVAN Amazing how? ELLE She could make you drop three pounds in one class. She's completely gifted! PROFESSOR DONOVAN Well, in all likelihood, she's completely guilty as well. She was seen standing over her husband's dead body. (CONTINUED) .4. 686 86 WA RN ER B y who? SA RAH (correcting him) Whom? PROFESSOR DONOVAN His twenty-seven year old daughter and the pool boy. ELLE Maybe she found him like that. P RO F ES S OR DONOVAN That's the story she'll be telling the jury. We just have to prove it. Emmett walks in and sits. EMMETT Sorry I ' m late. Elle looks at him, confused. P R O FE S SO R DONOVAN This is Emmett Kerrigan, another associate. Top three in his class and former editor of H a r v a r d Law Review. You've probably seen h i m lurking around campus doing my research. EM ME TT Or napping on the quad. . Elle smiles at him. He smiles back. Almost shy. WARNER (to Donovan) What about the murder weapon? P R O FE S SO R DONOVAN The gun is missing. The coroner said he'd been dead thirty minutes dead when the cops arrived -- giving Brooke plenty of time to stash it. ELLE There's no way Brooke could've done this - - exercise gives you endorphins, endorphins make you happy -- happy people don't kill their husbands! Sarah and Enid snort. ( CON TINU ED) 65.86 (2) 86 PROFESSOR DONOVAN You don't really believe she's innocent? ELLE Of course, I do! Emmett looks at her. EMMETT Then we may actually have a case. He looks over at Donovan, who's not so sure. .∑'.'.87 EXT. BOSTON JAIL - DAY 87 Grey and imposing.88 INT. BOSTON JAIL - DAY 88 Donovan sits at a long table, next to BROOKE, a pretty 26- .year-old blonde with a perfect body and a sad face. The interns and associates sit at the far end of the table taking notes. A cop stands guard at the door. DONOVAN What alibi? ' ∑. .' BROOKE I can't tell you. ' DONOVAN You understand you're on trial for murder ? BROOKE I didn't do it! I walked in, saw my husband lying on the floor, bent down to check his heart, screamed my head off and Chutney and Enrique ran inside. DONOVAN Where they saw you standing over the body covered in his blood. She glares at him. BROOKE Why would I kill my husband? DONOVAN Insurance? A love affair? Pure unadulterated hatred? Believe me, the DA will come up with plenty of reasons. (CONTINUED) 66.88 8E B ROO KE I l ov ed h im ! DO NO VA N He was thirty-four years older than you. That doesn't sound so good to a jury. Now she's pissed. BROOKE Then show them a picture of his cock. They might put a few things together. Everyone stiffens except for Ell.e, who laughs out loud. DONOVAN , . Brooke, I believe you. But a jury is gonna want an alibi. BROOKE I can't give you that. And if you put me on the stand, I'll lie. Donovan takes a moment to look at her like she's an idiot. DONOVAN Were you with another man? BROOKE Go to hell. DONOVAN I'll take that as a no. BROOKE Are we done for today? DONOVAN I believe we are. He stands. As do his minions. As they file out, Brooke sees Elle. BROOKE Hey -- I know you. Elle perks up. ELLE I ' m a Delta Gamma and I ' m a huge fan of yours! (CONTINUED) .67.88 (2) 8£ BR OOKE You took my class in LA. You had the best high kick I've ever seen. Are you one of my lawyers? ELLE Sort of. Brooke looks at Elle as if she's her savior. BROOKE Well, thank God one of you has a brain.89 INT. BEAUTY OASIS - DAY 89 Rufus sleeps happily on the floor. Elle sits in front of . ' Paulette, nails in the soapy water. ELLE I feel so bad for her. I mean, she's in jail! And she's innocent. But I ' m the only one who believes her. Donovan totally thinks she's guilty. . PAULETTE That's because men are big, fat retards who don't -- Oh, my God... ON THE DOOR The UPS GUY stands in the doorway with a package, sun streaming in around him. UPS GUY Afternoon, ladies. O N ELLE AND PAULETTE PAULETTE It's him! Paulette smooths down her hair. ELLE ' It's who? She turns to look as we go to -- BUTT-CAM -- CLOSE ON the crisp brown shorts of a regulation UPS uniform, as they stretch across the taut, muscular buttocks of UPS GUY, as he strides through the shop. (CO NTINUE D) 68.89 89 When the butt stops moving, we WIDEN to reveal the UPS Guy now standing in front of Elle and Paulette. UPS GUY I've got a package. Elle turns to Paulette, eyes wide. ELLE (agreeing) He's got a package. ∑ Paulette is frozen. Blushing and nervous. UPS GUY How ya doin' today? . PAULETTE . ∑ Fine? He waits for her to sign. She remains frozen. Elle takes the pen and signs for her, trying to help. . UPS Guy smiles kindly at Paulette and heads out. UPS GUY . ∑ Take it easy. Paulette watches him go, hand over her heart. Elle looks at her, concerned. , ELLE So, this is the only interaction you two have ever had? PAULETTE No. Sometimes I say "Okay" instead of "Fine". ELLE Have you ever considered asking him if he'd like a cold beverage? Or perhaps a neck massage? ∑'. ' ∑ ∑ .'' PAULETTE What's the point? (matter of factly) Look at me. ELLE I am. And I'm looking at a beautiful, fabulous, sexy woman. (CONTINUED) ∑ . 6 9.89 (2) 89 Paulette snorts. PAULETTE Good one. ELLE Trust'me. You've got the equipment, you just need to read the manual. Elle stands. , ELLE (CONT'D) I ' m going to.show you a little maneuver my mother taught me when I was in junior high. In my experience, it has a 98% success rate in getting a man's attention an d when used appropriately--an 83% rate of return on a dinner invitation. The HAIRSTYLISTS and CLIENTS listen, intrigued. . ELLE (CONT'D) (continuing) It's called the "Bend & Snap". (acting) "Oh, look! There's something on the floor that I need to pick up!" Bend... She slowly BENDS down, as if to pick up something, sticking out her tush, knee cocked. She slids her hand down her cocked leg until her hand touches the floor and she SNAPS back up, boobs a'bouncing. ELLE (CONT'D) (continuing) And snap! Now you try. Paulette stands up repeating the maneuver. PAULETTE Bend...and snap! I t ' s a spastic version of what Elle just did. ELLE Good. Now this time, put a little arch in your back and maybe get your footing more solid. Paulette does it again. This time, getting it right. (CONTINUED) 70.89 ( 3 ) 89 ELLE (CONT'D) (continuing) Perfect! A HAIR CLIENT walks over, head full of curlers. HAIR CLIENT Like this? . She tries. ELLE Good. She adjusts her like a yoga instructor would. ELLE (CONT'D) But cock that knee. ANOTHER CLIENT calls over. ANOTHER CLIENT Am I doing it right? Elle walks over to her. ELLE More snap, less bend. She turns to the rest of the clients. ELLE (CONT'D) C'mon -- everyone try! Clients hop up out of their chairs as someone reaches over and cranks the transistor radio, blaring "BRICK HOUSE" by the Commodores. All the clients and technicians, no matter what their age, or how many foils are in there hair, are up and doing the "Bend & Snap", repeating the mantra as they do. Elle walks around them, continuing to adjust them. ELLE (CONT'D) Now everyone together. They all bend in unison -- going down on "Brick" -- EVERYONE Bend -- And snapping back up -- on "House" . (CONTINUED) .71.89 ( 4 ) 89 EVERYONE (CONT'D) (continuing) And snap ! The frivolity continues as the roomful of ladies perfect the maneuver . . M AU R I C E , a male hair-dresser, comes out of the back room, m i xi n g a bowl of bleach as he walks. He stops when he spots the activity. . MAURICE Oh, my God! The Bend & Snap! (to an old lady) Works every time... INT. AUSTEN, PLATT, JARET & DONOVAN-CONFERENCE ROOM-DAY90 90 CHUTNEY, 27, curly-haired and bitter, sits in front of Donovan, the FEMALE DA, the associates, the interns and a court .reporter, as she's interviewed. CHUTNEY I got out of the shower," walked downstairs, saw her standing over my father, and called the police. DONOVAN Did she have a weapon in her hand? CHUTNEY No. DONOVAN Was there any reason for you to believe she had discarded a weapon? CHUTNEY Uh, yeah, because the bitch shot him. DONOVAN Was there any evidence that Mrs . Windham shot him? CHUTNEY (duh) His dead body with a bullet in it. .91 INT. AUSTEN, PLATT, JARET & DONOVAN-CONFERENCE ROOM-LATER 91 ENRIQUE, 25, Latino and hunky as hell, sits in the seat that Chutney has vacated. (CONTINUED) 72.91 aONTINUED: 91 DONOVAN What did you see when you entered the house? ENRIQUE I saw Mrs. Windham standing over the body of Mr. Windham. DONOVAN Was she carrying a weapon? ∑ ENRIQUE No, she was crying her eyes out. Donovan smiles. DONOVAN So she was distraught that her husband was dead? ENRIQUE Oh, yes. Mrs. Windham is the most sweet, wonderful woman I know. I have loved her since the day she hired me. She could never do something this awful. I know this because we are very close. The others shift uncomfortably, then look at each other. Then., back at Enrique and his shiny, unbuttoned-to-show-his-pecs shirt. The DA smiles.92 INT. STEAKHOUSE - NIGHT .9.2 Donovan, the interns, and associates sit at a large table. GERARD She's screwing the pool boy. Elle gasps and makes a face. ELLE There is no way a Delta Gamma would sleep with a man in a shiny shirt. Warner, back me up here. Warner shrugs, embarrassed. Sarah looks at Donovan. SARAH I hate to agree ~ but I don't see the two of them actually -- (wrinkling her nose) -- doing it. (CONTINUED) 73.92 92 ENID Women like that will screw anything. ELLE So, because she's beautiful and has a good body, she's easy? What book of feminist theory did you read iiiai in, Enid? Emmett jumps in before war breaks out. EMMETT Okay, if Brooke didn't kill the guy, who did? ELLE My money's on the angry daughter or the ex-wife. DONOVAN Chutney has a trust fund. She didn't need the insurance payoff or the inheritance. BOBBY What about her mother? DONOVAN Covered. She was in Aspen at the time. Ten people saw her downing cosmopolitans at the Caribou Club. ELLE Al l I know is-- it's not Brooke. DONOVAN That's touching, Elle, but we need an alibi. Elle thinks about this.93 INT. BOSTON JAIL - LOBBY - DAY ' 93 A--nervous Elle stands in front of the burly CHECK-IN GUARD.. She holds a basket of goodies. ELLE I ' m here to see Brooke Wi'ndham. GUARD Licensed attorney or family member? ELLE Uh -- family. (CONTINUED) 74.93 93 GUARD Relation? ELLE I ' m her sister. GUARD Name? ELLE Delta. Gamma. He makes a note and buzzes her in. '94 INT. BOSTON JAIL - DAY 94 Elle sits at a conference table with her basket. A door opens and a female guard brings Brooke into the room. Wearing a horribly tacky orange jumpsuit. ELLE Are you okay? You look so sad...and so. orange. BROOKE I ' m glad it's you and not Donovan. . ELLE He means well. He's really brilliant and all. Brooke sits, not looking convinced. BROOKE He better be, for what I ' m paying him. Elle pushes her basket forward. ELLE I brought you some necessities. Pink sheets. Aromatherapy candles. Loofah. And The Bible. She holds up a "Cosmopolitan". BROOKE You're an angel. Elle squirms in her seat. (CONTINUED) 75.94 94 ELLE But I have to tell you the real reason I ' m here. Professor Donovan says we really, really need your alibi. Brooke tears up. BROOKE Elle, I can't. You don't understand. ELLE Who could better understand than me? Brooke dabs her eyes with a corner of the pink Ralph Lauren sheets. BROOKE It's so shameful... ELLE Whatever it is -- it could save you. BROOKE That's just it -- it would ruin me! ELLE How? Brooke composes herself. Takes a deep breath. Looks at Elle. BROOKE I have made my fortune on my ability to teach women how to perfect their bodies with the Brooke's Butt Buster workout. ELLE I know! You helped me go from a six to a four! Brooke starts to cry again. BROOKE On the day of Heyworth's murder, I was -- She snorts back a sob. BROOKE (CONT'D) (continuing) -- getting liposuction. Elle gasps. (CONTINUED) 76.94 (2) 94 ELLE No! BROOKE (completely shamed) I ' m a fraud! But it's not like normal people can have this ass! If my fans knew, I ' d lose everything. I've already lost my husband. I rather be in jail then lose my reputation! Elle hugs her to her chest, consoling her. ELLE Your secret is safe with me.95 INT. AUSTEN, PLATT, JARET & DONOVAN - LIBRARY - DAY 95 The associates and interns sit at a table piled high with research, as Donovan goes over his notes. DONOVAN.. We've got two interviews tomorrow that Dick and Bobby are gonna handle, and the ex-wife in an hour. He looks up. DONOVAN (CONT'D) (continuing) Sarah, can you grab me some coffee? Sarah rises, and fetches the coffee from the side table. DONOVAN (CONT'D) (continuing) And according to this communique from the prison, our client apparently had a visit fr om her sister? A Miss Delta Gamma -- He looks at Elle. DONOVAN (CONT'D) (continuing) Anyone you know? Elle looks up, caught. The others looks at her. ELLE I went to get her alibi. Emmett looks over, surprised. (CONTINUED) 77,95 95 DONOVAN Did you get it? ELLE But I can't tell you what it is. Yes. The others can't believe this. DONOVAN Why the hell not? ' ELLE I promised her I ' d keep it secret. I can't break the bonds of sisterhood! Now he's pissed. DONOVAN Fuck sisterhood. This is a murder trial, not some scandal at the sorority house. I want the alibi. Sarah sets Donovan's coffee down. Watching to see what Elle will do. ELLE I can't give it to you. All I can tell you is that she's innocent. An ASSISTANT pokes her head in the room. ASSISTANT Mr. Donovan? Mrs. Windham Vandermark is on line two. Donovan rises, still annoyed. DONOVAN Someone reason with her while I take this. He walks out. The others look at Elle. BOBBY Are you crazy? Tell him the alibi. ELLE , No! DICK We're gonna lose the case if you don't. (CONTINUED) 78.95 (2) 95 ELLE Then we're not very good lawyers. Emmett hides a smile. Warner leans over to Elle. Sarah is nearby, listening. ∑ WARNER (quietly) If you tell him, you'll probably make summer associate. Who cares.about Brooke? Think about yourself. ELLE I gave her my word, Warner. Sarah watches -- seeing both Warner and Elle in a different light. Donovan storms back in. DONOVAN The ex-wife seems to be unconcerned with the fact that her interview is today. She's at a spa in the Berkshires. GERARD A spa? (to Elle) Isn't that like, your Mother-Ship? Elle shrugs and looks at Donovan. ELLE . I can go if you want. ENID Why you? GERARD (to Enid) Have you ever been to a spa? ENID And subscribe to the doctrine of self- hatred imposed upon my gender by male delusions of the way women are supposed to look? (beat) . Twice. Donovan motions toward Elle. Then looks at Emmett with a pointed "Get the alibi" look. (CONTINUED) 79.95 (3) 95 DONOVAN Go with her.96 INT. EMMETT'S VOLVO - DAY 96 Emmett drives, Elle is shotgun. ELLE Explain to me why you're so anti- Brooke. EMMETT Uh, for starters, she won'-t give us an al i bi -- ELLE Aside from that. EMMETT She's completely untrustworthy. ELLE Why? EMMETT She married an old man, she's made a living on telling women they're too fat, she hawks her crap on the Home Shopping Network... ELLE A) He's an old man with a really big penis. B) She never told me I was fat. And C) Victoria Principal sells on that network. EMMETT And D) Brooke is obviously hiding something. ELLE But maybe it's not what you think. EMMETT Bu t maybe it is-- . They're quiet for a moment. She looks at him. ELLE You're kind of being a butt-head right now. (CONTINUED) 80.96 96 EMMETT (amused) How do you figure? ELLE Because people aren't always what they seem to be and you refuse to see that. Have a little faith. You might be surprised. They're quiet again while he thinks about this. He looks over at her. EMMETT I can't believe you called me a butt- head. No one's called me a butt-head since ninth grade. ELLE Maybe not to your face... She gives him a teasing smile. He smiles back at her, shaking his head.97 INT. SPA - LOBBY - DAY 97 Elle and Emmett are at the desk. ELLE We have two o'clock massages. Kerrigan and Woods. DESK CLERK Go on back. . Elle starts to go, then stops. ELLE Oh, and my friend Katherine Windham Vandermark is here somewhere and I ' m supposed to meet her. for a Pilates class. Do you have her schedule? DESK CLERK (checking) She's in the mud room until four. Elle smiles her thanks and walks off with Emmett. EMMETT Damn. We can't see her for an hour? (CONTINUED) 81.97 97 ELLE No, she can't move for an hour. She grabs his arm and pulls him down the hall.98 INT. SPA - MUD ROOM - DAY 98 MRS. WINDHAM VANDERMARK, late 40s, brunette, East Coast hoity- t o i t y -- lies on a table like a corpse, stiff with mud, cucumbers over her eyes. Elle and Emmett poke their heads in. ELLE Mrs. Windham Vandermark? EMMETT We're here from Austen, Platt, Jaret & Donovan -- MRS. WINDHAM VANDERMARK So, you found me. Emmett looks at Elle. EMMETT (sotto) She's naked. MRS. WINDHAM VANDERMARK I ' m covered in very expensive Egyptian mud ∑∑-- hardly naked. ELLE (to Emmett) I'll cover her -- parts. Elle settles on three washcloths, strategically placed. MRS. WINDHAM VANDERMARK So, I hear the tart from California shot - Heyworth. EMMETT Well, that's what we're trying to prove didn't happen. Do you have any reason to believe it did? MRS. WINDHAM VANDERMARK I never met the woman, but from what my daughter tells me, she's quite the cun-- ELLE (interrupting her) She's not! (CONTINUED) 82.98 98 EMMETT Did your daughter ever say anything to you about Brooke and Heyworth's relationship? MRS. WINDHAM VANDERMARK Aside from the fact that he found her on an infomercial? She said they humped like gorillas . Chutney could hear them all the way in the pool house. EMMETT I ' m sure that was very awkward for Chutney. (sotto) Much as it is for me, hearing you tell about it. MRS. WINDHAM VANDERMARK But I guess it wasn't enough for Brooke. EMMETT Why do you say that? MRS . WINDHAM VANDERMARK Haven't you seen the cabana boy? ELLE (uneasy) Ys. . . . e MRS. WINDHAM VANDERMARK Like I said, I've never met Brooke, but I have seen her from a distance. When I ' d come over to pick up the alimony check that Heyworth forgot to mail every month, she'd be out by the pool, with Mr. Hot Pants hovering over her with some pink drink. EMMETT Hovering? MRS . WINDHAM VANDERMARK I didn't stick around long enough to watch him stick his swizzle stick in her mouth, but I ' d bet my next check that that ' s where he was about to put it .99 INT. EMMETT 'S VOLVO - DAY 99 Emmett drives, raving. (CONTINUED) 83.99 99 EMMETT How can you still believe she's innocent? ELLE You're going to trust the word of a woman who named her child after a condiment? She's ly-ing. EMMETT And you know this for a fact? ' ELLE Did you see the icky black color of her hair? EMMETT So? ELLE I never trust a woman who's not blonde. Except for my friend Serena, but that's only because she's a blonde at heart. That's the whole reason I ' m starting the Blonde Legal Defense Fund. He looks at her and laughs. EMMETT The what? ELLE Blondes are discriminated against worldwide! Brooke's a blonde, and people are saying she's sleeping with the cheesy pool boy and shooting her husband. If she was a mousy brunette, it would be, "Oh, the poor widow." EMMETT You're serious? She's fired up now. ELLE You should see the way I ' m treated in class! I'm a complete source of mockery. This is why the Blonde Legal Defense Fund is needed. He goes along with it, won over by her enthusiasm. EMMETT Okay, how would it work? (CONTINUED) 84.99 (2) 99 E LLE It would be a full-service law firm, by and for blondes, providing positive blonde role models and community outreach in high blonde areas. I mean, think about it -- name one blonde intellectual role model. EMMETT -- I can't. ELLE That is a direct result of anti- blonde discrimination! EMMETT Wait -- Hilary Clinton. ELLE If she were a true blonde, she would've left the cheating bastard. Blondes don't let their husbands get fellated by brunettes and live to tell about it. Emmett frowns. EMM E T T . In that case, maybe Heyworth got --- fellated --by a brunette and Brooke caught him. ELLE Exactly how much gorilla sex do you think a sixty-year-old man can take? ∑. EMMETT That's not really a topic that keeps me up at night -- but maybe it should. Elle digs in her purse. ELLE Speaking of that ∑-- I bought you some seaweed cream while we were at the spa. She hands it to him. He keeps his hands on the wheel, not taking it. EMMETT What the hell is that for? (CONTINUED) 85.99 (3) 99 ELLE The bags under your eyes. You're an attractive man, but you need to take better care of yourself. EMMETT I don't -- (gesturing to the cream) Do that stuff. ELLE Well, you should --. I f you look good, you ∑ feel good and if you feel good, you project joy into the world. EMMETT Projecting joy is not my job. ELLE . (sighing) Fine. Sorry I brought it up. She puts the cream back in her purse. They ride in silence fo r a moment. Then -- EMMETT You really think I ' m attractive? ELLE For a butt-head? Yes. She smiles at him. .100 EXT. HARVARD CAMPUS - NIGHT 100 Elle walks down the sidewalk to her dorm, approaching Dorky David as he tries to ask out a FRESHMAN GIRL who thinks she's a lot cuter than she actually is. She stands with her freshman friends. - DORKY DAVID So -- I called your room last night. FRESHMAN GIRL (cold) ' I heard. . DORKY DAVID I was thinking maybe we could go out sometime. (CONTINUED) 86.100 100 FRESHMAN GIRL Uh, n o . . . you're a dork. turns back to her FRIENDS who all laugh at him. Elle winces as she passes. DORKY DAVID (hopeful) I ' m in law school -- The Freshman Girl turns back to him. FRESHMAN GIRL Look -- I ' m not going out with you. I can't believe you'd even ask. Girls like me don't go out with losers like you. Her friends snicker. Elle stops at this and sighs, acknowledging to herself that she has to help this guy. She turns and marches back, SLAPPING Dorky David across the face. Dorky David is stunned, as is the Freshman Girl. ELLE (upset) Why didn't you call me? DORKY DAVID What? ELLE We spend a beautiful night together and then I never hear from you again? DORKY DAVID I -- uh -- Elle signals with her eyes for him to go along with it. DORKY DAVID (CONT'D) (continuing) I'm sorry? ELLE F or what? Breaking my heart or ruining sex for me with any other man? DORKY DAVID U h -- both? ELLE Forget it. I've already spent too many hours crying over you. (CONTINUED) 87.100 ( 2 ) 100 She rushes off. Dorky David and the Freshman Girl and her friends watch Elle go. After a moment, the girl turns to David. FRESHMAN GIRL So, urn, when did you wanna go out? ANOTHER GIRL I ' m free on Friday. W al k in g away, Elle hears this and smiles.101 EXT. COURTHOUSE - DAY 101 P e op le ascend the wide courthouse steps. BA ILIF F (O.S.) Th e first district court is now in session. Th e honorable Judge William R. Ptak presiding.102 INT. COURTROOM - DAY .102 T he DA grills Mrs. Windham Vandermark. D A JOYCE RAFFERTY A nd what was the defendant doing? M R S. WINDHAM VANDERMARK S it ti n g next to the pool topless, while th e Latin boy handed her a drink. C UT TO:103 INT. COURTROOM - DAY 103 DA Rafferty continues her grilling. DA JOYCE RAFFERTY A n d where was she exactly? T h i s time -- Chutney is on the stand. C HU TN E Y St and in g over my father's dead body. CUT TO:104 INT. COURTROOM - DAY 104 CLOSE ON a tiny Speedo thong . DA JOYCE RAFFERTY (O.S.) Mr. Salvatore, can you tell us what this is? (CONTINUED) 88.104 104 We PULL BACK to reveal that the DA is holding it up as she questions Enrique. ENRIQUE My uniform. DA JOYCE RAFFERTY This is the uniform that Mrs. Windham asked you to wear while cleaning her pool? ENRIQUE Yes. DA JOYCE RAFFERTY And are you or are you not, having an affair with Brooke Windham? Enrique shifts in his seat. ENRIQUE Define affair. DA JOYCE RAFFERTY Have you inserted your genitalia into hers? DONOVAN Objection -- DA JOYCE RAFFERTY (to Enrique) Have you and Mrs. Windham had sexual relations? ENRIQUE Y es! Okay? Yes! The courtroom gasps. Elle looks over at Brooke, who's shaking her head, outraged.105 INT. COURTROOM - MOMENTS LATER 105 Everyone files out. As Brooke is being led away, she turns to Elle. BROOKE I'm not having an affair with Enrique -- you know a Delta Gamma would never sleep with a man who wears a thong! I just liked watching him bend over to clean the f i lt e r -- (CONTINUED) 89.105 105 ELLE I believe you! Don't worry. Brooke is taken away.106 INT. ELLE'S DORM ROOM - NIGHT 106 Elle, in sweats and a pony-tail, pours over a mammoth-sized deposition. A KNOCK sounds. ELLE Come in. Sarah enters. SARAH (re the depo) You done with that yet? Elle hands the deposition over. ELLE Take it. I've read it twenty times. She grabs another one off of the stack and begins reading. Sarah lingers. SARAH I believe her, too. I don't think she's having an affair with Enrique. ELLE Too bad you and I are the only ones. SARAH I ' m still can't believe you didn't tell Donovan the alibi. Elle looks up, defensive. ELLE It's not my alibi to tell -- SARAH (interrupting) I know. I thought that was very -- classy of you. . ELLE (surprised) Really? Thanks. Sarah starts to go, then stops. (CONTINUED) 90. 106 106 SARAHy Have you ever noticed that Donovan never asks Warner to bring him coffee? He's asked me at least a dozen times. Elle shrugs. ELLE Men are helpless. You know that. Sarah lingers, leaning on the edge of the couch. SARAH Warner can't even do his own laundry. ELLE I know. He has it sent out. SARAH - Did you know he got wait-listed when he appli ed? His father had to make a call. ELLE (stunned) You're kidding! A KNOCK sounds on the open door and Margot and Serena poke their heads in. MARGOT AND SERENA Surprise! ELLE Oh, my God! ' -. Sarah watches as Elle jumps up to hug the girls, who each have a bottle of Veuve Cliquot in their hands. ELLE (CONT'D) (continuing) What're you doing here?! SERENA We're on our way to the bridal show in New York so we thought we'd rescue you from law school for the night. MARGOT (tempting her) We have a limo downstairs and lots more of these. She wiggles her champagne bottle. (CONTINUED) 91.106 (2) 106 ELLE You guys -- I can't. We're in the middle of a trial. SERENA Where's Warner? SARAH (confused) At the office ~ Margot and Serena look over at her. MARGOT Oh, how sweet! You made friends with a nerdy girl. ELLE Margot! SERENA Bring her, too. (to Sarah) C'mon. You can wear one of Elle's outfits. SARAH T ha t ' s okay -- MARGOT (to Elle) Speaking of which, can you please put on some party clothes? You look like someone rolled you in something sticky and dragged you through a K-Mart. ELLE (torn) I can't believe you guys are actually here -- but this case is important. I'll make it up to you after finals, okay? I -- promise. I really want to do a good job. Margot and Serena stare at her, realizing she means it. SERENA Okay. . . Call us if you change your mind. They start to head out. Margot hands Sa-rah the bottle of champagne. MARGOT Here. (CONTINUED) 92.106 (3) 106 She spots The Rock on Sarah's finger and grabs her hand. MARGOT (CONT'D) (continuing) Jesus. Talk about a Rock. You must be better in bed than you look. Elle hustles them out the door. ELLE I'll call you as soon as it's over, okay? Sisters forever? MARGOT AND SERENA Sister forever. She shuts the door behind them. Then looks at Sarah. ELLE (continuing) Sorry about that. Sarah sets down the Veuve. SARAH Save it. She smiles at Elle. SARAH (CONT'D) (continuing) We'll drink it after we win. Elle smiles .107 INT. BEAUTY OASIS - DAY 107 Paulette arranges a nail polish display by the door. UPS GUY (O.S.) I've got a big one for you. Paulette freezes and slowly turns to find UPS Guy holding out a big package. UPS GUY (CONT'D) Can you sign? He hands her the computerized tablet and as he does, the pen velcroed to the side falls off. Paulette watches as it FALLS IN SLO-MO. Realizing that now is the perfect time to try the Bend & Snap. (CONTINUED) 93.107 107 She bends slowly, tush out, knee cocked. She grabs the pen and as she prepares to Snap back up, UPS Guy leans over to help. UPS GUY (CONT'D) (continuing) Got it? Not realizing he's leaning over, she SNAPS back up -- CLOCKING him in the NOSE with her head. He reels backward, holding his nose, blood flowing as Paulette stares at him-in horror. PAULETTE Oh my God! CUT TO:108 INT. COURTHOUSE - HALLWAY - DAY 108 Elle waits in line for the water fountain, talking on her cell phone. ELLE (into phone) You broke his nose?! We INTERCUT with Paulette as she watches- UPS Guy being carried out by paramedics on a gurney. The ladies of the shop flutter around him, concerned. UPS GUY I 'm okay -- PAULETTE I think he noticed me, Elle -- (sobbing) But only because I maimed him! ELLE (consoling) I'll be over right after the trial, okay? We're about to cross- examine Enrique. And don't worry! My friend Serena barfed on a guy during "The Blair Witch Project" and end up dating him for three months. She hangs up. Enrique cuts in front of her in line for the water fountain. She glares at him, tapping her foot. He finishes getting his drink and turns, looking at her. (CONTINUED) 94.108 108 ENRIQUE Don't stomp your little Prada sandals at me, Miss Thing. He walks past, as.Elle gapes at him. Realizing.109 INT. COURTROOM - DAY - MOMENTS LATER 109 Elle grabs Emmett's arm as he whispers with Donovan. ELLE He's gay! Enrique is gay! EMMETT What?! She grabs Warner as he's passing. ELLE Warner, what kind of shoes do I have on? He looks down at her Prada sandals. WARNER Pink ones. ELLE See? Donovan frowns, not seeing. DONOVAN What are you talking about? ELLE He's gay -- he isn't Brooke's lover! He's making it up. Whoever killed Heyworth is paying him off. EMMETT Back up. How do you know he's gay? ELLE Gay men know designers. Straight men don't. She points at Warner, who shrugs. Brooke leans over. BROOKE What's going on? ELLE Enrique's gay. I ' m sure of it.' (CONTINUED) 95.109 109 BROOKE He did leave a Cher tape in the pool house once -- Donovan scoffs. DONOVAN While I appreciate your masterful legal theory, I have a murder trial to attend to. He grabs Emmett's arm and pulls him aside as they confer on more serious matters. Emmett looks at her as if to say "Sorry", before he looks back at Donovan. Brooke looks at Donovan, then back at Elle, rolling her eyes. Elle sits down, pissed. Warner is next to her. ELLE Thanks for the backup. WARNER How was I supposed to know what kind of shoes you had on? She looks at him like he's a complete idiot, as the judge takes his seat.110 INT. COURTROOM - MOMENTS LATER - DAY 110 Donovan is in front of Enrique, who is at the stand. DONOVAN Mr. Salvatore, do you have any proof that you and Mrs. Windham were having an affair? ENRIQUE Just the love in my heart. Women in the audience openly sigh. Elle makes a puke gesture. Enid concurs. Donovan smiles a smug smile. DONOVAN If that's all the proof that he has, your Honor, I think I'm done here. Emmett stands. EMMETT I have a couple of questions, Your Honor? (CONTINUED) 96.110 110 Donovan glares at him. EMMETT (CONT'D) (continuing; sotto to Donovan) Give me two minutes. He approaches Enrique and starts firing questions at rapid speed. EMMETT (CONT'D) (continuing) Did you ever take Mrs. Windham on a date? ENRIQUE Yes. EMMETT Where? ENRIQUE A restaurant in Oakland. Where no one would recognize us. EMMETT And how long have you been sleeping with Mrs. Windham? . ENRIQUE Three months. EMMETT And what is your boyfriend's name? ENRIQUE Chuck. The audience lets out a gasp. Elle looks up, shocked, then delighted. Enrique begins to sweat. ENRIQUE (CONT'D) (continuing) I ' m sorry, I misunderstood. Chuck is just a friend. CHUCK, scrawny and angry, stands up in the audience. CHUCK If I ' m just your friend, why have we been doing the slippy-slap every night for the past six months? (CONTINUED) 97.110 (2) 110 The courtroom ERUPTS and the judge bangs the gavel. Elle smiles victoriously from her seat. Emmett grins back at her. Donovan shakes his head, smiling in amazement.111 EXT. COURTHOUSE - DAY 111 Elle and Emmett walk down the stairs together in high spirits. Donovan catches up. DONOVAN Good work today, Ms. Woods. ELLE Thank you! He walks on. She looks at Emmett, excited. He high-fives her.112 INT. BEAUTY OASIS - NIGHT 112 Paulette is closing up as Elle follows her around. PAULETTE (in a giddy, rush) And after they set his nose, he came back for his truck and I offered to drive for him since he was still on pain-killers and we spent the whole afternoon together! He was unconscious for part of it, but it was really fun! ELLE (hugging Paulette) I ' m so happy for you! PAULETTE How'd it go at the trial? ELLE Great. Donovan actually said the words "Good work, Ms. Woods". He takes me seriously! Can you believe it? PAULETTE Of course I can believe it. You're going to make a great lawyer. Paulette looks at Elle. Emotional. (CONTINUED) 98.112 112 PAULETTE (CONT'D) (continuing) Elle, you've changed my life. You are the kindest, most wonderful angel. Without you, I wouldn't have Rufus or a dinner date. Now go and share your goodness with the world while I stay here and have my hoo-hoo waxed.113 INT. AUSTEN, JARET, PLATT AND DONOVAN - HALLWAY - NIGHT 113 Elle passes Sarah, who carries a stack of depos into the conference room to Dick and Bobby. SARAH Donovan asked to see you before you ∑ ' leave. ELLE (excited) Really? SARAH He's already got his coffee -- maybe he needs a donut. They share a smile as Elle walks over to Donovan's glass- walled office and knocks on the door. Nervous. DONOVAN Come on in. He beckons her inside, and she goes, shutting the door behind her.114 INT. DONOVAN'S OFFICE - NIGHT 114 He's behind his desk. He motions for her to sit in one of the two chairs opposite him. DONOVAN Sit down. ELLE Is everything okay? DONOVAN You followed your intuition today and you . were right on target. I should"ve listened. (CONTINUED) 99.114 114 ELLE (stunned) Thank you. DONOVAN Ab ou t the alibi -- She sighs, ELLE I ' m sorry, but -- DONOVAN (cutting her off) I ' m impressed that you took the initiative to go there and get it. That's what makes a good lawyer. And on top of that, you gained the client's trust and kept it.. That' s what makes a great lawyer. You're smart, Elle. Smarter than ∑∑ . most of the guys I have on my payroll. Elle is overwhelmed by his praise. ELLE Wow. That means so much to me to hear you say that. Donovan walks around his desk and sits in the chair opposite her. DONOVAN I think it's time discuss your career path. Have you thought about where you might be a summer associate? ELLE (still overwhelmed) Not really. I know how competitive it . ∑. a l l is -- He smiles. DONOVAN You know what competition is really about, don't you? Eager for his knowledge, Elle is on the edge of her seat. He leans in. DONOVAN (CONT'D) (continuing) It's about ferocity. Carnage. (MORE) (CONTINUED) 100.114 (2) 114 DONOVAN (CONT'D) Balancing human intelligence with animal diligence. Knowing exactly what you want and how far you'll go to get it. How far will Elle go? As he says the last sentence, he SLIDES his hand UP HER THIGH.115 OUTSIDE DONOVAN'S OFFICE 115 Sarah walks down the hallway, glancing in Donovan's office to see -- H E R POV -- Donovan's hand sliding up Elle's skirt. She shakes her head in disgust, & heads off- NOT SEEING116 INT. DONOVAN'S OFFICE 116 Elle stares at Donovan in horror, then grabs his hand -- stopping its journey upward. ELLE (upset) You're hitting on me? DONOVAN You're a beautiful girl, Elle. ELLE So everything you just said --? DONOVAN I ' m a man who knows what I want. Elle rises, stung. She stares at him for a beat. ELLE And I ' m a law student who's finally realized her professor is a pathetic asshole. She walks out. DONOVAN (calling out) Too bad. I thought you were a law student who wanted to be a lawyer. Elle keeps walking. 101.117 INT. AUSTEN, JARET, PLATT ETC. - ELEVATOR - MOMENT LATER 117 Elle is in the elevator. Flushed and upset. As the doors start to close, Sarah sticks her arm in, blocking them. SARAH You almost had me fooled. ELLE What? SARAH Maybe you should sleep with the judge too. Then we can win the case. Sarah steps back, letting the doors shut. 118 INT. BUILDING LOBBY - NIGHT 118 Elle stomps out of the elevator, as Emmett gets in. EMMETT (smiling) He y -- ELLE I'm quitting. She marches past. He follows, catching up. EMMETT Whoa -- Why? ELLE Law school was a mistake. Getting this internship was a mistake. EMMETT What're you talking about? You earned it- She snorts. ELLE I didn't earn anything. I got this internship because Donovan liked the way I looked. Which he made clear .tonight when he tried to feel me up. Emmett looks pissed as he processes this. (CONTINUED) . 102.118 118 EMMETT (mind reeling) So now you're --? . ELLE Going back to LA. Maybe I can fulfill my destiny as a useless bimbo and join the Swedish Bikini Team. No more navy blue suits. No more panty-hose. No more trying to be something I ' m not. EMMETT What if you're trying to be something you are? The hell with Donovan. Stay. She stops, giving him a sad smile. ELLE Thanks for not treating me the way everyone else here does. Call me if you're ever in California. She walks out. Emmett watches her go, hating it.119 EXT. BEAUTY OASIS - NIGHT 119 Elle's Boxster, packed with suitcases and the potted palm, pulls up.120 INT. BEAUTY OASIS - NIGHT 120 Elle sits in front of Paulette, dejected. Not even bothering with a manicure. PAULETTE (upset) You can't go home! ELLE What's the point of staying? All people see when they look at me is blonde hair and big boobs. No one's ever going to take me seriously. The people at law s chool don't, Warner doesn't -- I don't even think my parents take me seriously. They wanted me to grow up and become a Victoria's Secret model who marries a rock star. Now, for the first time, it seemed like someone expected me to do something better with my life than wear underwear for a living. But I was kidding mys elf -- Donovan didn't see me as a lawyer. He saw me as a piece of ass. (MORE) (CONTINUED) 103.120 120 ELLE (CONT'D) Just like everyone else. It turns out, I am a j oke. She stands up. ELLE (CONT'D) (continuing) The hell with law school. I just came to say goodbye. IN A NEARBY CHAIR Professor Elspeth Stromwell spins around, nails drying, facing Elle. PROFESSOR STROMWELL If you let one stupid prick ruin your life, you're not the girl I thought you were. Elle looks at her, shocked, as Professor Stromwell stands and goes.121 INT. JAIL WAITING ROOM - NIGHT 121 CLOSE ON A TV -- Donovan is being interviewed is on the evening news. DONOVAN ON TV Enrique Salvatore has been discredited as a witness. REPORTER #2 ON TV Did you go in there knowing how you were going to discredit Mr. Salvatore? DONOVAN ON TV Absolutely. It's a little thing I like to call strategy. He gives the reporters a smug smile. IN THE WAITING ROOM Brooke looks away from the TV. Emmett is next to her, prepping her for the following day. BROOKE Is he always such an ass? EMMETT (containing himself) He's the top defense attorney in the state. Of course he's an ass. (CONTINUED) 104. 121 121/" " "^ BROOKE^.. ..J But is he an ass that's gonna win my case? EMMETT He's an ass that's gonna try. BROOKE He thinks I ' m guilty, doesn't he? EMMETT That's not what's important. BROOKE To me it is. He doesn't trust me. Why should I trust him? Emmett thinks for a moment. Then looks at Brooke. EMMETT You're right. Why should you? 122 EXT. COURTHOUSE - DAY 122 People enter. Reporters set up their cameras. Dorky David passes by in a suit and tie. 123 INT. COURTHOUSE - HALLWAY - DAY 123 Donovan and Emmett head into the courtroom. DONOVAN Keep that bitch away from me. EMMETT She's our client. DONOVAN Not Brooke. Elle. EMMETT (blatantly pissed) Funny how a woman can turn into a bitch just by saying "no". Donovan glares at Emmett as they continue in. Behind them -- SARAH stops in her tracks, having heard all of this. 124 INT. COURTROOM - MOMENTS LATER 124/∑""""∑', Donovan takes his seat next to Brooke. She smiles at him.v_ J (CONTINUED) 105.124 124 DONOVAN What're you so happy about? You're on trial for murder. BROOKE Get up. DONOVAN What? BROOKE You're fired. I have new representation. DONOVAN Who? The door of the courtroom BANGS open and ELLE STRIDES IN, dressed in a Prada mini-dress, Underdog in her purse. She blows a bubble, lets it pop, then sets her briefcase down next to Donovan's. ∑ ' ELLE (to Donovan) Excuse you. You're in my way. She nudges him aside. Donovan looks at Brooke. DONOVAN She's a law student. She can't defend you. Dorky David steps up, holding out a marked casebook. ∑ DORKY DAVID Massachusetts Supreme Judicial Court Rule . 3:03. ELLE (to Donovan) - See? JUDGE Counselors, approach the bench. Elle starts to head up. DONOVAN You're not going up there. ELLE Yes, I am. (CONTINUED) 106.124 ( 2 ) 124 BROOKE (to Donovan) I don't think you heard me. You're fired. She's my lawyer. JUDGE Counselors, now. All of you. Elle, Donovan and Emmett head up, as does the DA. Elle hands the judge the case book. ELLE Elle Woods, your honor. Rule 3:03 of the Supreme Judicial Court states that a law ∑ student may appear on behalf of a defendant in criminal proceedings. DA JOYCE RAFFERTY (stoked) I have no problem with this. DONOVAN I do. I'm not allowing it. ELLE (pointedly) But you agreed last night. In the office? When we were discussing my "career"? The implication lingers in the air, as Donovan glares at her. JUDGE (reading the casebook) The ruling also states that you need a licensed attorney to supervise you. Mr. Donovan? DONOVAN That, I won't agree to. Emmett steps forward. EMMETT I ' m supervising, Your Honor. Elle smiles at him. Donovan looks from Emmett to Elle, completely derailed. JUDGE Well, then, Ms. Woods. Proceed. Elle walks back to the table with a grin. Warner looks shocked. (CONTINUED) 107.124 ( (3) 124 IN THE AUDIENCE Paulette beams, the UPS Guy in the nose brace, next to her. Serena and Margot, now in attendance, STAND clapping and squealing in a completely inappropriate way. SERENA Go, Elle! Donovan takes a seat in the audience. As he passes by Brooke: DONOVAN Enjoy prison. The judge looks at Brooke. JUDGE Mrs. Windham, you do realize what you're doing? BROOKE Absolutely. As Donovan sits, Margot leans over. MARGOT Don't fuck with a Delta Gamma. AT THE DEFENSE TABLE Sarah leans forward to Elle, who gathers her notes. SARAH Kick some butt. Elle looks at her, surprised. JUDGE Ms. Woods, call your first witness. ELLE I'd like to recall Chutney Windham as a defense witness. The crowd murmurs. Donovan rolls his eyes.125 INT. COURTROOM - DAY - MOMENTS LATER 125 Chutney takes her hand off of the Bible and sits. JUDGE Ms. Woods, begin your questioning.. (CONTINUED) 9/18/2000 Revision (Pink) 108.125 125 ELLE First, your Honor, I ' d like to point out that not only is there no proof in this case, but there's a complete lack of mens rea, which by definition tells us that there is no crime without a vicious will. The DA rolls her eyes, as do the lawyers present. JUDGE ∑ I am aware of the meaning of mens rea. What I am unaware of is why you're giving me a vocabulary lesson instead of questioning your witness. Flustered, Elle turns to Chutney. ELLE Okay -- Ms. Windham, when you uh arrived back at the house? Was your father there? CHUTNEY Not that I saw. But like I said, I went straight upstairs to take a shower. ' , ELLE And when you came downstairs, what happened? CHUTNEY I saw Brooke standing over his body, drenched in his blood. ELLE But Mrs. Windham didn't have a gun? CHUTNEY No, she'd stashed it by then. Brooke rolls her eyes. EMMETT Move to strike that from the record, your Honor. Speculation. JUDGE Stricken. Elle mentally kicks herself for not doing this herself. Eirimett gives her a reassuring nod. She takes a deep breath, ∑ then continues on. ELLE Did you hear a shot fired? (CONTINUED) 9/18/2000 Revision (Pink) 108A.125 (2) 125 CHUTNEY No. I was in the shower. ELLE So at some point in the -- twenty minutes? -- you were in the shower, your father was shot? CHUTNEY I guess. Elle paces a bit. Underdog watches from her purse on the table, intrigued by her line of questioning. (CONTINUED) 9/18/2000 Revision (Pink) 109.125 (3) . 125 ELLE Your father was shot while you were in the shower? Gerard looks at Emmett. GERARD Where's she going with this? EMMETT Have a little faith. ELLE But you didn't hear the shot, because you were in the shower. CHUTNEY (annoyed) Yes. I was washing my hair. Elle's onto something, but not sure what. . ELLE Miss Windham, can you tell us what you'd been doing earlier in the day? CHUTNEY I got up, went to Starbucks, went to the gym, got a perm, and came home. ELLE Where you got in the shower. CHUTNEY (impatient) Yes. JUDGE I believe the witness has made it clear that she was in the shower. People start to murmur. Donovan snickers. Sarah looks worried. ELLE Yes, Your Honor. Had you ever gotten a . . perm before, Miss Windham? CHUTNEY (confused) Yes. The beginnings of a smile start to spread across Elle's face. (CONTINUED) 9/18/2000 Revision (Pink) 109A.125 ( 4 ) . 125 ELLE How many, would you say? CHUTNEY Two a year since I was twelve. You do the math. (CONTINUED) 110.12 5 (3) 125 ELLE You know, a girl in my sorority, Tracy Marcinko, got a perm once. Even though we all told her not to ~ curls really weren't the right look for her -- (chummy) She didn't have your bone structure. Chutney almost smiles. ELLE (CONT'D) (continuing) But, thankfully, that same day, she entered the Pi Kap wet t-shirt contest where she was completely hosed down from head to toe. Donovan shakes his head at her incompetence. DA JOYCE RAFFERTY Objection. Why is this relevant? Emmett clears his throat, worried. Elle turns around, giving him a "trust me" look. Then turns back to the judge. ELLE (to the judge) I have a point. I promise. JUDGE Then make it. Elle looks at Chutney. .. ELLE Chutney, why is it that Tracy Marcinko's curls were ruined when she got hosed down? CHUTNEY Because they got wet. ELLE That's right. Because isn't the first cardinal rule of perm maintenance that you are forbidden to wet your hair for at least twenty-four hours after getting a perm at the risk of de-activating the ammonium thiglycolate? Chutney pales. (CONTINUED) 111.125 ( 4 ) 125 CHUTNEY Yes -- Elle continues. ELLE And wouldn't someone who's had -- thirty perms ? -- throughout her lifetime, be well aware of this rule? Chutney doesn't answer. She just glares at Brooke. ELLE (CONT'D) (continuing) And if you, in fact, were not washing your hair, as I suspect you were not, since your curls are still intact, wouldn't you have heard the gunshot? Chutney continues to glare. ELLE (CONT'D) (continuing) And if you in fact, heard the gunshot, then Brooke Windham wouldn't have had time to hide the gun before you got downstairs. Which would mean that you would've had to have found Mrs. Windham with a gun in her hand to make your story sound plausible. Isn't that right? CHUTNEY She's younger than I am. Did she tell you that? How would you feel if your father married someone younger than you? ELLE You, however, had time to hide the gun, didn't you, Chutney? After you shot your father? Brooke looks at Chutney in horror, realizing. CHUTNEY I didn't mean to shoot him -- ∑ (to Brooke) I meant to shoot you! Pandemonium erupts. The gavel pounds. BROOKE .'..' I knew it! (CONTINUED) 112.125 (5) 125 Elle looks at Emmet t., elated at what's just happened. ELLE (shocked) Oh, my God! EMMETT (even more shocked) Oh, my G^d.! ! 126 INT. COURTHOUSE FOYER - DAY 126 Reporters mob Elle and Brooke as they make their way out of the courtroom. REPORTER Elle, how did you know Chutney was lying? BROOKE Because she is brilliant. ELLE (humble) The rules of haircare are simple and finite . Any Cosmo girl would ' ve known . The reporters laugh as they snap pictures of her and a happy Brooke. 127 INT. WOODS' BEL AIR HOME - GYM -SAME TIME 127 CLOS E ON THE TV -- the channels change: golf -- a commercial - - Elle in the courthouse. DANIEL (O.S.) What the --? Daniel, Elle 's father, watches TV as he does his morning workout on the treadmill. DANIEL (CONT'D) Honey, stop! (proud) Bile's on TV! He looks next to him, where Sapphire is upside down on a yoga inversion machine. SAPPHIRE'S POV -- the upside-down television with Elle on it. SAPPHIRE Oh, my God! What happened to her tan? ' - 113.128 INT. COURTHOUSE FOYER - MOMENTS LATER 128 As the reporters continue to mob Brooke, Elle steps aside to talk to Serena and Margot. . SERENA I wish we could stay longer, but I have a game. ELLE I can't believe you're a Laker Girl! MARGOT Hello! You're like, a lawyer. ELLE (grinning) Not yet. Enid walks up to the girls. ENID (to Elle) Even though you knew your shit today -- you're still a product of the patriarchy and a creation of the male-dominated media. And so are your friends. She looks at Serena. ENID (CONT'D) (continuing; to Serena) Although -- you're kinda hot. Call me. She walks off. Serena looks alarmed. ELLE (hugging them) Don't worry. She's harmless. I'll see you guys soon! Thanks for coming! She air-kisses them as Margot leads a still shell-shocked Serena away as Emmett walks up to Elle.129 EXT. COURTHOUSE STEPS - DAY - LATER' 129 Elle looks up at the courthouse as the sun sets behind it. She smiles, proud of herself. ∑ WARNER (O.S.) You were amazing today. She turns and finds Warner. (CONTINUED) 114.129 129 ELLE Thank you. He moves closer. WARNER It made me realize something. I ' m an idiot. ELLE . Really? He turns on the charm. WARNER I want to be with you, Elle. Forever. He pulls her close, hand around her waist, kissing her. She looks up at him, a trace of the old love in her eyes. For a moment, she melts. ELLE . ' I want to be with you, too, Warner. After a moment, she steps back, removing his hand from her ' waist and wrenching it behind his back. ELLE (CONT'D) In court. On opposing sides. WARNER (shocked) Are you serious? ∑ ELLE Huh. Imagine that. Looks like I am. She walks down the steps. Warner watches her go, then turns to see Sarah, who's witnessed the entire episode. She glares at him, then walks past. WARNER . Sarah -- hold on. . She shoves him, knocking him on his ass, then rushes to .catch up with Elle. SARAH (calling out) El le , wait up -- Elle turns. (CONTINUED) 115.129 (2) 129 SARAH (CONT'D) (continu ing; sheepish) I ' m a bitch. ELLE Yes, you are. SARAH And Donovan's a-scumbag for coming on to you. ' ELLE Yes, he is. ∑ . They look at each other in a silent truce. SARAH So -- can we drink that champagne when I get back from the pawnshop? She pulls off her engagement ring. ELLE .. . You're pawning The Rock?! SARAH ∑ Hell, yes. We've got finals to study for. In Jamaica. She smiles and heads off. Elle smiles, processing this as Em me tt approaches Elle. . EMMETT ∑ Up for a celebration dinner? ELLE Are you asking me on a date? EMMETT - As long as you realize I'm not just some man-toy you can show off like a trophy. ELLE ' (joking) Then, forget it. Besides, I have an early class tomorrow. . EMMETT So Friday at eight? She smiles at him. . (CONTINUED) 116.129 ( 3 ) 129 ELLE Perfect. She heads down the stairs, stops and thinks a moment, then runs back up -- -- Grabbing Emmett in a hellacious KISS. He kisses her back. We CRANE UP as they embrace on the courthouse steps. FADE OUT: FADE IN: 130 EXT. HARVARD LAW SCHOOL QUAD - DAY 130 "Welcome Law Students Class of 2004" banners hang over orientation tables. Nervous first year students stand in line. We PAN ACROSS a row of club tables -- passing "Harvard Law . Journal" and "Environmental Law Association" ∑-- until we reach a table that proudly bears the banner of "Blonde Legal Defense Club". Elle, in a red 2L t-shirt, stands behind the table, straightening some flyers. UNDERDOG is plopped down on top of the stack. Elle turns to see EMMETT next to her. '∑ ' ∑ ∑ ' .:. EMMETT (re Underdog) Someone missed you. ELLE Is he the only one? EMMETT What do you think? They kiss. EMMETT (CONT'D) (continuing; re the crowd) Looks like you're pretty popular. Elle smiles, turning back as A NERVOUS 1L GIRL steps up. NERVOUS 1L GIRL Do you have to be blonde to sign up? (CONTINUED) 117.130 130 ELLE Only blonde at heart. (to the girl next to her) Right? Elle smiles and looks down at -- the NEWLY BLONDE SARAH. Sarah returns the smile as we PULL BACK to see a CROWD of first year girls gathered around Elle's table, rushing to sign up. Ready to be as blonde as they can be. FADE OUT: \ No newline at end of file diff --git a/unformated_scripts/Script_Legend.txt b/unformated_scripts/Script_Legend.txt new file mode 100644 index 0000000000000000000000000000000000000000..ffffff4a3f665720c36a597f145cec13f9a63443 --- /dev/null +++ b/unformated_scripts/Script_Legend.txt @@ -0,0 +1 @@ +LEGENDORIGINAL SCREENPLAY by WILLIAM HJORTSBERG2nd Draft Revised 10 March 19841EXTERIOR FOREST NIGHTHuge trees taper upward like columns supporting the roof of heaven. Moonlit dewdrops spangle a delicate spiderweb. The setting is tranquil and utterly majestic.Over the brow of a distant hill, a pair of brilliant light beams scintillate in an etheral ballet.Numerous small animals gather to behold this wonder. They stand on the hillcrest, staring down as if at the Nativity.Squirrels, quail, hedgehogs, mice, pheasants and badgers, natural enemies untied by the radiant LIGHT. A magnificent stag watches, numbers of tiny songbirds perched in his branching antlers.1A EXTERIOR FOREST NIGHT PULL BACK: from the hilltop, through ferns and brambles to a steep embankment where umbrella-sized toadstools cluster. A snarling face APPEARS under a mushroom cap. This is BLIX a brigand goblin hunter. Clad in decrepit armor and slung with savage weapons, he is a terrifying figure. Blix WHISTLES. The SOUND is unexpectedly lovely, a nightingale's call. Further back, three other goblins return the BIRDCALL. They bristle with weaponry. POX is a pig-faced fop wearing tattered lace and flithy brocade. Tiny BLUNDER and TIC are both masked by grotesque helmets. Swarms of gnats drone above their hidden heads. They creep forward to join Blix. 1B GOBLIN'S POV : HILLTOP The distant animals silhouetted by dazzling LIGHT. 1C EXTERIOR FOREST NIGHTBlix signals an advance and the goblins creep through the forest towards the hilltop.A moth lands on a twig two feet from Tic's head. He turns. His incredibly sticky tongue uncoils from within the helmet seizing the moth and retracting with it, quick as a flash.As the goblins near the hilltop, the fantastic LIGHT gradually illuminates their hideous features. A tiny mouse runs out of the eye-slits on Blunder's helmet, circles the crest, and runs back in on the other side. Blix signals silently for the other goblins to spread out.The goblins crawl separately through the underbrush.Pox comes snout to snout with a wild piglet. Terrified, the little shoat SQUEALS and scampers off. 2 DELETED2A CLOSE : ANIMALS Alerted by the NOISE, they face the impending threat. The startled animals run for cover down the hillside. 3 DELETED 3A EXTERIOR FOREST NIGHT Blix charges forward, brandishing his crossbow. BLIX: Kill. . . . ! Blix runs over the top of the hill and down into the gully beyond, closely followed by Tic, Pox, and Blunder. Brilliant clumps of forget-me-nots are everywhere, like disgarded jewels. 3B GOBLIN'S POV : DISTANT FOREST The pair of shining LIGHT BEAMS race away between the trees. 4 DELETED 5 DELETED5A EXTERIOR FOREST NIGHTThe goblins watch the LIGHT BEAMS disappear. Blix GROWLS in frustration. BLUNDER(musing): . . . . Fast as a hound dog with his ass on fire. . . . Blunder spots a SHINING silver hair caught on the bark. He reaches up and plucks it free. POX: What's that . . . . ? L-l-let me see, old chap. BLUNDER: No! It's mine! Blunder hides the hair behind his back, but Pox quickly grabs the other end. POX: Give it to m-m-m-me! Both goblins pull on the hair. Miraculously, it does not break, but stretches between them like spun steel. BLUNDER: Turn loose, anus features! POX: Hard cheese! A furious tug of war. Pox pulls his knife and tries unsuccessfully to cut the hair. BLUNDER: It's mine you rectum! Mine! Mine! Blix marches up and furiously bangs their heads together. Pox and Blunder fall dazed to the ground. Blix holds the silver hair shining above his head and studies it. BLIX: Disgusting and pure, like a prayer. . .. There be magic in this hair.The beast ran off, faster and faster. We must take this to our Master. 6 EXTERIOR VAST LANDSCAPE NIGHT An incredible landscape, fantastically contoured hills rise above the monnbright mist. The four goblins dismount, tie up their devil steeds, and disappear over the brow of a hill. 6A EXTERIOR HILLSIDE NIGHT The goblins scramble down a steep hillside towards a desolate wasteland below. A mysterious malevolant shape looms on the far horizon. 7 EXTERIOR SINISTER EVERGLADE NIGHTA miasmic Jurassic swamp. Stunted trees rise like amputated limbs from the fetid water. The goblins pick their way across the bog towards a distant island, stepping from submerged logs to crumbled chunks of masonary to floating lily pads.A cracked marble plinth juts out of the water. The goblins creep by a towering skeletal statue playing a bone violin. 7A EXTERIOR BOG NIGHT A v-shaped ripple undulates past them like the wake of a submerged crocodile. Blix unhooks a dead rat from his game belt and tosses it from his game belt and tosses it onto the scummy surface. There is an angry swirl and it is gone. Blix waves the goblins on and they climb onto a huge root twisting out of the water like a petrified serpant. The ominous wake cruises back and forth like a shark. Blunder follows its progress with fear-widened eyes. BLUNDER:Wish i was still a leprecaun. . . .Stay clear of nasty placeslike this and do nothing all day but sing and dance and guzzle wine in the sunshine. . . .Furious, Blix turns on him, his finger to his lips. BLIX: Shhhh! Unchastened, Blunder whirls on Pox and repeats the gesture: BLUNDER: Shhhh! Pox follows suit with Tic: POX: Shhhh! Not to be outdone, Tic turns to silence whoever might be behind him. TIC: SHHHHH! 7B EXTERIOR BOG NIGHT HAIRY MEG MUCKLEBONES rises out of the bog, huge and hideous. The water hag is half corpse, half serpant. She seizes Tic and disappears beneath the foul surface. The goblin's final CRY trembles in the chill night air. 7C EXTERIOR BOG NIGHTBlix, Pox, and Blunder are terrified. They scramble over the twisted root in a wild panic, leaping onto a floating log. BLUNDER: Run. . . . ! Panic. . . . ! Emergency. . . . ?The log rolls beneath their frantic feet. They barely keep their balance. POX: Frog spit!BLUNDER: Snail Sperm!BLIX: All together. . . .now or never!The goblin co-ordinate like tiny lumberjacks, running in unison. The rolling log drifts forward.POX: J-j-jolly good! Team spirit and all that!The log runs against the island and the goblins hop ashore.8 EXTERIOR GREAT TREE NIGHTAn enormous blasted tree crowns the ruins of a forgotten castle. Tangled roots grip the anicient stones like the tenacles of a malformed sea monster. An atmosphere of eternal evil hovers over the site. The goblins stare back across the bog. BLUNDER: Poor Tic. . . .BLIX(growling with anger): Forget Tic! Less is always more.POX: Better we spilt three ways than four! Blix hurries up the crumbling steps. Pox and Blunder follow. The steps lead under gigantic twisting roots. Blix finds a small opening and slips inside. Pox and Blunder like this less and less but follow their leader without complaint.9 INTERIOR GREAT TREE NIGHT The three goblins tumble down a steep slope. The giant tree is a vast hollow stump, open to a moonlit sky, surrounding a smaller tree transfixed by a curved bronze horn, an instrument of unspeakable evil. Pox and Blunder stare up like open-mouthed tourists. Blix is impatient. BLIX: Boost me. . . . ! Hurry. . . . ! We must sound the summons before the dawn. . . . The three goblins form a teetering ladder with Blix wobbling at the top and Blunder crushed at the bottom. Blix blows into the horn with all his might. Nothing happens. Suddenly, he breaks wind! Pox and Blunder grimace. Blix blows again into the horn.There is no sound. Dead leaves and dust puff out of the bell, followed by three SQUEALING bats. The supporting goblins wobble. Pox steps on Blunder's head. Blix blows a third time into the great horn. The unholy SOUND reverbarates like the wailing of all the doomed souls in Purgatiory. 10 EXTERIOR FOREST(VARIOUS ANGLES) NIGHTAs the evil SOUND moans, the forest creatures react with terror. Squirrels, rabbits, and mice dart fearfully for cover. Birds flock to their nests. Only the night creatures, the wolves, weasels, and owls perk up thier ears to listen.11 INTERIOR GREAT TREE NIGHTThe three goblins cower terrified among the gnarled roots.BLUNDER: Now what. . . . ?BLIX: We sit. . . . We wait. . . . That be our fate! 11A EXTERIOR GREAT TREE NIGHTThe goblins wait up on the upper platform of the ruined castle. Blix sits apart from the others, staring out across at the bog. The light of a campfire casts their shifting shadows against the huge trunk of the hollow tree.Blix plays with the silver hair.BLIX(to himself): Moving silent like the breeze.Soft as shadows, still as trees,Darkness be in all we sees. He lives in silence, he lives in fire, He lives in all that's dark and dire. A mysterious floating shape approaches out of the distance. It is a black cloak, wafting through the mist like an airborne manta ray. 12 EXTERIOR BOG NIGHT The flying cloak wraps about the statue of the skeletal fiddler. The wind presses it tight, revealing the skull through the cloth. Suddenly, the statue's head turns to look at the great tree. 13 EXTERIOR GREAT TREE NIGHT Blix walks to to the edge of the platform, peering into the night. BLIX: Look in the gloom, search out the tomb. That be where you find our sire.The pedestal is empty. The statue of the fidder has vanished! Blix gets down on his knees, genuflecting, toward the the open bog. The black shadow of the LORD OF DARKNESS falls across him. Darkness towers over the ruined castle platform, a huge horned figure drpaed in bacl cloth. An awesome silence ensues. Blunder and Pox kneel, heaping ashes and dirt upon thier heads. BLIX: Hail O great One. . . . divine and dark! Strong like a lion, swift like a shark. Blix offers the silver hair up to Darkness. BLIX: Though I'm not worthy of the task Great Lord, I found this for your amusment. Blunder leaps to his feet and grabs the hair from Blix. BLUNDER: Don't listen to them mealy-mouthed lies boss. . . . I'm the one who found it. . . . Me! Blunder the Bold! There is a bight FLASH OF LIGHT. Blunder HOWLS with pain. Blunder stares at his arm in dismay. His hand is gone, magically replaced by a grotesque birdclaw. BLUNDER(stunned): Thank you, Lordship . . . . Blunder experimently clenches and unclenches his new bird claw. POX: Quite stylish, actually. . . . Darkness dangles the shining silver hair in front of him. DARKNESS: Where. . . . ? BLIX: In the woods, six leagues back, 'Tween Twin Oaks and the Dragon's Track. DARKNESS: Did my bold hunters chance to see quarry whichcast this spoor? BLIX: I stalked it, Sire, but much too slow, What beast it be I do not know. DARKNESS: This hair is from an angel of light. . . It comes this way rarely. . . I must have this creature!BLIX: Oh Divine Dark One, teach us how to catch this creature. POX: Your instruction would be m-m-most ap-p-preciated. BLUNDER: Amen! I wants to learn! I craves knowledge! DARKNESS: No trap of yours will work. . . . There is only lure for such disgusting goddness. . . .one bait which never fails. . . . BLIX: Name the bait, Lord. . . . DARKNESS: Innoncence! 14 EXTERIOR COTTAGE MEADOW DAY A beautiful flower-spangled meadow alive with songbirds.Baby rabbits frolic in the tall grass where industrious squirrels forage for acorns and nuts. A delicate fawn gambols under the watchful eye of the doe. Clouds of multi-hued butterflies swirl overhead. Waist-deep in flower, a young princess skips SINGING across the meadow. Her name is LILI. She wears splendid brocades and carries a bouquet wrapped in a lace napkin. Like these blossoms, she is beautiful and fresh and innocent. Tiny birds fly down and land on her head and shoulders. She laughs as a warbling wren takes a seed from her lips. LILI(singing): Come down sparrow, sing me good morning. Rise up sun, light the arch of the sky. Living river, turn light to diamonds,When I look in my true love's eyes. Lili runs towards a distant thatched-roofed cottage. 15 EXTERIOR BOULDER AT EDGE OF WOODS DAY Blix, Pox, and Blunder hide behind a boulder, watching the girl. BLIX(whipering): Darkness say the perfect lure Always be a virgin pure. . . . 15A EXTERIOR COTTAGE AT EDGE OF WOODS DAY The WOODCARVER'S WIFE is hangin up the washing when Lili sneaks from behind the cottage. Grinning micheviously, Lili unfastens one end of the clothes-line and lets it drop. The laundry flutters onto the new-mown grass, A sheet drpaes around the outraged wife. WIFE: Dad-blamed faeries! 16 INTERIOR COTTAGE DAY The cottage is snug and homey with smoke-blackened beams and hand-pegged furniture. A WOODCARVER sleeps by his bench surrounded by wood-shavings and roughed-out toys. Lili steps into the sunlight streaming through the open doorway. Her beauty is etheral, an angel descending. Finches peck at newly-made tarts laid on a trestle table to cool. They rise to the rafters as at Lili's approach. The Princess peeks around the room. She tiptoes to the hearth and lifts the stewpot lid, dipping a finger in for a taste. Spying the tarts, she grabs one and eats it hurriedly, leaving a telltale crumb on her upper lip. The clock tolls the hour. A carved wooden maiden piroettes from the interior, pursued by a skeletal fiddler playing a bone fiddle. Lili is fancinated. The Woodcarver's Wife enters. She curtsies to the Princess. WIFE: God Bless Your Highness. A royal visit is ever a joy. LILI: I've not come to visit, Nell WIFE: Won't you stay for a tart? Nell pulls a tray from the oven. WIFE(cont): They're fresh-baked. LILI: I've no time today. WIFE(teasing): The Princess must have a sweetheart waiting. LILI: Nonsense! WIFE: Surely the king forbids such folly LILI: What my father doesn't know won't hurt him. WIFE: The wilful heart invites despair, Like blind men creeping in a dragon's lair. With Nell's back turned, Lili steals another tart, hiding it among the flowers in her bouquet. LILI: Neither country provebs nor king's command can keep meout of the woods today.WIFE: Then it's common sense ought. These woods be thickwith spriggen and banshee!LILI: Is that why you've hung a bell over the door? WIFE: Aye, and spread the floor with flax and salt. My babe won't be stole by faeries. The Princess starts merrily for the sun-bright doorway. LILI(laughing): More salt, Nell. . . .! You'll worry yourself to death if you're not careful. Lili runs out like a naughty child. The Woodcarver's Wife leans against the door jamb and calls after her:WIFE: Beware of toadstool rings and willow trees. . . . ! Stay away from old oaks! 17 EXTERIOR FOREST PATH TO GLADE DAY Hiding behind a moss-coverd log, Blix, Pox, and Blunder watch Princess Lili run SINGING through the woods, oblivous to any sign of danger. BLIX(scowling): May be innocent. . . . May be sweet. . . . Ain't half as nice as rotten meat. . . . ! 18 EXTERIOR JACK'S FOREST GLADE DAY A lovely glade surrounded by tall trees, Breathlessly, Lili runs in from the woods. She is familair with this spot. It is her trysting place LILI(calling): Jack. . . . ! I know you're here. . . . Jack! Lili looks around in exasperation. Behind her, something wild and mysterious swings through the trees like an animal. LILI(cont): Jack? Where are you. . . . ? Answer me! Lili is apprehensive at getting no reply. She hears the RUSTLE of the leaves but does not see the sun-dappled figure leaping from limb to limb overhead. LILI(frightened)(cont): Oh, Jack. . . . please say something if you're here. . . . JACK O' THE GREEN, a legendry "Green Man" who lives the free life of a hermit in the woods, drops down from a tree behind the Princess, landing without a sound. He is barefoot, about sixteen, and wears woven ivy leaves and skins. Startled, Lili SCREAMS. LILI(cont): Jack! You scared the life out of me. Jack says nothing, staring at her shyly. Lili hands him the flowers. A JAY flies down out of the greenery and lands RASPING on Jack's shoulder. He imitates the bird expertedly, The Jay answers him in English: JAY: She brings a gift as fair as herself. Lili LAUGHS, It all seems magic to her. LILI: You're so clever, Jack. . . . See what you can find in the flowers. Jack pokes in the bouquet and discovers the stolen tart. He stuffs it immediately into his mouth. JACK: Mmmmmmm. . . . LILI: Sweet? JAY: Sweets from the sweet. JACK: I know someone sweeter.Lili blushes. 19 EXTERIOR ANOTHER PART OF THE FOREST DAYConcealed behind the trees, Blix, Pox and Blunder watch the Green Man and the Princess wander down a meandering path.Pox picks a spider from his web, pops it in his mouth, and crunches it down with a happy smile.19A EXTERIOR MEANDERING PATH DAY Several birds perch on Jack's head and shoulders. Squirrels, rabbits and hedgehogs play about his feet. Jack feeds them nuts and berries from his pouch, answering their chatter expertedly. Jack understands the language of all wild creatures. When a frisky wren flies warbling overhead, Lili hesitantly returns its call. JACK: That was very good. . . .just right. LILI: Teach me rabbit like you promised.JACK: Rabbit is much harder than wren. LILI: Let me try. I'm a very good student. . . . My father thinks I'm brilliant. . . Lili toys with the silver madallion pendant she wears, causing reflected sunlight to shine in Jack's eyes. LILI(cont): See how brilliant I am! JACK(laughing): Stop it. . . . ! I can't see! LILI: Don't I dazzle you with my wisdom? Lili seems to glow with sunlight. Jack stares at her, rapt with love. JACK: Much more than wisdom dazzles me. Lili LAUGHS and hangs her madallion around his neck. LILI: Then teach me rabbit. JACK: Not today. . . . There's something really special I promised to show you. LILI(delighted): Oh, Jack. Do you mean it? JACK: If it pleases you. LILI: More than anything! JACK: This is their season. They won't pass here again for a long, long time. . . . If you want to see them, you must do everything I tell you. LILI: I swear. . . on my honour! JACK: I'm taking you to a very special place. . . it's sort of sacred. Nobody but me knows where it is, and, well. . . . LILI(impatient): What? Tell me! Jack unwraps the lace napkin from Lili's bouquet. JACK: You'll have to wear a blindfold. LILI(coyly): Don't you trust me, Jack? JACK: I'll always trust you, Lili. . . . 20 EXTERIOR FOREST PATH, GLADE TO STREAM DAY Jack holds Lili's hand, leading her blindfolded along a path through the woods. Distant thunder RUMBLES. JACK: Storm's coming. . . .LILI: Who cares? Haven't you a cosy place to hide? JACK: Many places. . . .None fit for a princess. . . . LILI: In these woods you are the prince, Jack. . . . I am only a pauper here. . . .Jack turns to face a radiantly smiling Lili. He bends towards her, closer and closer, and, for a moment, seems about to steal a kiss. She waits, smiling, sensing what is about to happen. In the end, Jack's innoncence and timidity get the best of him and he turns away. Without his knowledge Lili lifts a corner of the blindfold and mischievously peeks. 20A EXTERIOR BEHIND A TREE NEAR THE PATH DAYThe three goblin peer around a mossy trunk. BLUNDER: Yuck! Did you see what he was gonna do? Makes me want to puke!BLIX: I swear by all the bats above, Nothing's quite so foul as love!21 EXTERIOR UNICORN STREAM AND GLADE DAY A sun-glided amphithtre within the darker confines of the forest. Sparkling like a ribbon of diamonds, a stream flows down the middle. Jack leads Lili out of the woods and unties the napkin from around her eyes. LILI(aewstruck): Oh, Jack. . . .! It's magic! 21A EXTERIOR STREAMSIDE SHUBBERY DAY Some time has passed. Lili is uncomfortable and restless.LILI: How much longer? JACK: Be patient! Lili kneels by the bank of the streem, cupping water into her hands. Jack stops her from drinking. LILI: I'm thristy! Jack points at a huge viper moving sinously along the bank. JACK: It's poisened the brook. No animal will drink here now. LILI(indignant): I want some water. JACK: Shhh! LILI: Don't tell me to be quiet. . . .! I'm a princess!Jack pulls Lili back into hiding. JACK(very softly): Just watch! True royaltyapproaches. . . .22 EXTERIOR THE STREAM (JACK & LILI'S POV) DAY The radiant LIGHT BEAMS GLEAM through the trees. A moment later, a splendid white unicorn moves down the hillside to the edge of the stream. This is a stallion. He holds his head proudly. His mate stands at the edge of the woods. LILI(OS): Ohh....They're so beautiful.... The unicorn dips his horns into the stream. JACK(OS): The alicorn purifies the water. . . . The stallion watches his mare approach to drink. She is slighter and more delicate, but every inch as mignificent. JACK(cont)(OS): There's no creature with more power or magic. . . . As long as they roam the earth, evil cannot harm the pure of heart. . . .23 EXTERIOR LARGE BOULDER OPPOSITE CLEARING DAYThe three goblins crouch hiding.BLUNDER(disgusted): Ugly one-horned mules!BLIX: Shhh! 24 EXTERIOR CLEARING DAYThe Princess is entranced.LILI: Such grace. . . . Can you speaktheir language?JACK: A little. . . .it's very hard.Unicorns talk only of love and laughter. Dark thoughts are almost impossible for them to express.LILI: Oh Jack. . . I must touch one.JACK(alarmed): No!LILI: I want to!Jack restrains the Princess when she attempts to get up from hiding.JACK: It is forbidden. These are sacred animals.LILI: Nothing is forbidden me!JACK: Don't ever say that! You riskyour immortal soul. Lili pulls free and steps into the clearing.LILI: You sound like my confessor. . . . I only want to touch one.The Princess strides defiantly into the open meadow.The unicorns watch the girl from across the stream. They snort and paw the ground.Lili stands alone, holding her arms to the unicorns.LILI(singing): Like a child feels watching a rainbow.Like a brid feels the first time it fliesI feel magic stirring within me,When I look in my true love's eyes.The Stallion's nostrils flare. His strong neck arches. Sunlight gleams on his horn as he charges.From Lili's POV the stallion is terrifying as he thunders towards her acroos the stream.The stallion rears and prances, racing around the Princess as if drawn foward on an invisable lead.Jack watches from the underbrush, his outrage tinged with more than a touch of jealously.25 EXTERIOR BOULDER DAYBlix, Pox and Blunder peer from their hiding-place. Evil leers brighten their impish features.POX(whipering): M-m-might as well be fishin a barrel. . . One would hope for a t-t-touch more sp-p-port. . . .Blix clamps his hand over Pox's mouth.BLIX: Pox! Shut your yap!26 EXTERIOR CLEARING DAYThe lureof the virgin is too strong for the unicorn to resist. Lili makes no move as the trembling stallion stands before her, the rapier tip of his horn pressed against her breast. It is obvious he could kill her is an instant.The Princess calmly reaches out and caresses his muzzle. LILI(singing): When the darkness falls like a curtainAnd the rivers and streams turn to ice,I have summer and daylight foreverWhen I look in my true love's eyes.Across the stream, the mare paces back and forth, obviously agitated.27 EXTERIOR BEHIND THE BOULDER DAYBlix pulls a long black flute from his quiver. He takes a dried hornet from a black snail-shell with a hinged lid and slips it into his flute, aiming the instrument like a blowgun.BLUNDER: Steady....take your time....Don't miss...Blix silences the foolish golbin with a ferocious scowl. His cheeks puff. There is a soft PHUT of expelled breath.28 EXTERIOR CENTRE OF CLEARING DAYThe poisened hornet sails the air and strikes the hornet on the haunch.Stung, the unicorn bolts through the clearing, disappearing into the undergrowth with the mare hard on his heels.The Princess stands be confused and bewildered.Distant THUNDER disturbs the tranquility.Jack rushes to Lili's side.LILI: Oh, Jack, it was so lovely...like a dream.JACK(angry): You're lucky it wasn't a nightmare!LILI: Don't be such a scold.... Come,I'll chase your fears away.The Princess takes Jack by the hand and leads him from the clearing.29 EXTERIOR FOREST (UNICORN HUNT) DAYThe unicorns plunge through brambles and fern clumps. Leaping a deadfall log, the stallion stumbles. He struggles to his feet and continues running.The three goblins gallop pell-mell on their devilish steeds. There is nothing comical about them now.30 EXTERIOR RING POND DAYJack and Lili sit atop a high promontory jutting over a crystalline pond.LILI: Sweet William did a-hunting go,In the wood where faeries dwell.From dawn to dusk roamed he to and fro,Lost, O lost, all under thier spell.31 EXTERIOR FOREST (UNICORN HUNT) DAYThe stallion stagger, his gait increasingly unstable as the poisen takes effect.The mare nuzzle his flank where the envenomed hornet struck. It is a virulent ound, red and swollen.The war-like SHOUTING of the goblins grows even closer.The unicorns pause at a fork in the trail. The stallion motions with his head. Sadly, the mare compreheads and flees down the divergent path to safetly.The stallion stands his ground. When the three goblin hunters gallop towards him, he turns and limps into the woods.32 EXTERIOR RING POND DAYJack lies beside Lili, listening raptly to her poem.LILI(reciting): Came he at last to where bluebells grow,He heard them ring, 'tis true to tell.He lay him down and did not knowThe flower's sound was his own death knell.And while he slept came teh lady fair,And gathered him up behind her saddle.Now, all young hunters of bluebells bewareSweet William rode straight through the gate of Hell.Jack is lost in Lili's smile.JACK: When I get to heaven, I know justhow the angels will sound.LILI(enjoying it): Do you flatter all the girlslike that, Jack?JACK(embaressed) It's the truth.Lili kisses Jack sweetly. He doesn't respond.LILI(smiling): Are you afraid of my kiss?JACK: I'm afraid you'll break my heart.LILI: Then still your heart... Youare dear to me as life itself.JACK: Only because I amuse you...Like sometrained bear!LILI: That's not true! I do loveyou, Jack. You must believe me!JACK: And if I so....no good can comefrom it. I am only a Green Man, withoutland or title...no name or wealth to bring you.The Princess her golden ring on and off her finger.LILI: What does it matter. I don't careabout any of that.JACK: But it does matter....! If not now....Someday. What about when the time comes for you to marry?LILI: I want to marry you.JACK: That's impossible!LILI: Not if it's what you really want, Jack.Lili shows Jack her ring.LILI(cont): Don't you wish this was ourwedding ring?JACK: What if I say yes...? Will my wishcome true?LILI: It is my right as a princess toset a challenge for my suitors.Lili throws her ring high over their heads. It glitters through the air, tumbling over and over in the long drop to the pond.LILI(cont): I will marry whoever finds this ring.The ring spalshes into the cnetre of the pond. Jack strips off his leafy cloak and dives headlong from the cliff.33 EXTERIOR UNICORN DEATH ARENA DAYSweat-streaked, the unicorn staggers out of the tree onto a sweeping green meadow brilliant with pink bloosoms. Froth bubbles on his nostrils. His wide azure eyes betray his panic.The goblins ride onto the flower-bright meadow. They jump down from their mounts in a frenzy.BLUNDER(excited): We got him now....!We got him now!The stallion stumbles forawrd, making a last futile effort to attack the goblins. Limbs leaden, head hanging, the noble animal settles against a sapling and slides to the ground.Thunder RUMBLES overhead. A wild wind whips the pink blossoms into the air.34 EXTERIOR UNDERWATER RING POND DAY The golden ring drifts down, tumbling in a lazy spiral.Jack's pale form stabs through the crystal water. The distant glint of the sinking ring lures him on.The ring settles into the mud at the bottom, concealed by waving weeds.Jack searches blindly as clouds of silt billow about him.35 EXTERIOR UNICORN DEATH ARENA DAYThe three goblins advance towards the fallen unicorn through a pink blizzrd of wind blown blossoms.35A EXTERIOR SKY DAYThe black clouds boil and CRASH, thunderheads mounting one upon another in a dark maelstrom.36 EXTERIOR UNICORN DEATH ARENA DAYThe goblins stands around the fallen unicorn. Blunder turns away as Pox seizes the end of the alicorn, lifting it off the ground. Blix swings an evil battle-axe high up over his head.Jagged lightning splits the raging darkness as the black blade falls.Blix waves the severed alicorn in triumph.The whirling pink petals turn instantly into white snowflakes.37 EXTERIOR RING POND DAYApolcalyptic winds SCREAM through the forest. Lightning FLASHES.The world is plunged into winter darkness.Lili clings to a tree trunk.LILI(in desparation): Jack! Help me!The Princess can't maintain her grip. The icy blasts knock her to the ground and she crawls to the cliff edge.LILI(cont)(screaming): Jack!The her horror, Lili sees a skin of ice form over the surface of the pond.LILI(cont) (sobbing): Oh, dear God.... Jack.....no....Fighting the raging winds, Lili stumbles to the pond and pounds on the ice in frustration. It is no use.LILI (cont): ....got to get help!Frantically, Lili runs off into the storm-whipped woods.38 EXTERIOR UNDERWATER RING POND DAYJack turns and looks up at the dark surface. He storkes upwards, only to bump his head into something solid at the top. The pond is covered by a sheet of ice!39 EXTERIOR RING POND DAYJack's contorted face is seen through the ice.He breaks the frozen surface with his fist and his gasping head thrusts into the air.JACK(shouting): Lili....!His words are lost on the wind.40 EXTERIOR COTTAGE MEADOW DAY Winter shrouds the tiny homestead. Immobile goats, chickens and ducks stand silent as snow statues in the farmyard.Lili runs from the frozen forest and stumbles up the cottage steps. 41 INTERIOR COTTAGE (FROZEN) DAYThe Princess barges in, wild-eyed and distraught.Frost rimes the walls and furnishings. Everything glisten like sugar candy. The Woodcarver and his wife are frozen solid.LILI: Nell....! Arthur....!Lili touches the wife's gelid cheek.LILI: Nell....? Oh, nooooo!Lili is shocked to discover the wife is frozen.The Princes throws herself sobbing across the bed.SOUNDS of SNORTING and SHOUTING come from outside. Lili scratches the frost off the window pane in the sleeping alcove.42 LILI'S POV : THROUGH WINDOWThe noisy goblins ride up on a makeshift sleigh of lashed animal bones. They stop outside and clamber out. Blix has the alicorn tucked under his arm.43 INTERIOR COTTAGE DAYTerrified, Lili runs wildly across the cottage and clims the ladder to the loft.43A INTERIOR COTTAGE LOFT DAYBarrels and chests are stored here. Cured bacon and hams hang from the rafters. Lili hides in a corner with several twig brooms and a butter churn. She wraps herself in an old quilt snatched from an open trunk.Snows blows in through a hole in the roof, covering the floor timbers. Three-inch gaps between the planks permit a view into the cottage interior.43B LILI'S POV : BETWEEN PLANKSThe front door slams open and the goblins stumble laughing inside.BLIX: Mortal world turned to ice,Here be goblins' paradise!43C INTERIOR COTTAGE DAYBlunder sinks his handaxe onto the kitchen table as he saunters past the frozen tarts.BLUNDER: Lots to eat!Pox runs forward to the cradle and seizes the frozen baby, baring his tusks for the feast.POX: I s-s-simply adore m-m-milk-fed meat!BLUNDER: What're you....? Some kinda animal?Horrified, Lili GASPS (OS) in the loft.The goblins cock their ears to listen. Pox SNARLS and drops the baby back in the cradle.Curious, Blunder starts up the ladder to the loft, but changes his mind half-way, more interested in what Blix is doing.BLIX: Why eat cold? It's better hot!Blix points the alicorn at the frozen stewpot on the hearth. It begins to steam and bubble, magically boiling without a fire underneath.POX: Am-m-mazing! How did you d-d-d-do that, old, ch-ch-chap?Blix is equally surprised by the alicorn's power. He CACKLES and aims it at the clock on the mantle.The clock's hand spin wildly around backwards, the carved figures darting in and out at fives times their normal speed.Blix launches on an orgy of destruction, waving the alicorn like a magic wand. Plates shatter, the cradle rocks. furniture topples, Toby mugs come WAILING alive, painted wooden toys dance and caper.The goblins SHRIEK with impish joy.43D INTERIOR LOFT (FROZEN) DAYLili watches the havoc through the gaps in the floor.Blix points the alicorn straight up. Snow flies wildly around the crouching Princess.The broom and the butter churn begin a mad dance across the crowded loft.It is all the Princess can do to keep from screaming.43E INTERIOR COTTAGE (FROZEN) DAYAs a grand finale, Blix points at Nell's frozen figure, blowing her skirts above her waist.POX(languidly): M-m-most amusing Blix....mostterribly amusing.BLUNDER: This is sure our lucky day.Killed that ugly one-horn dead as a cowplopon a birthday cake!BLIX: Prattle, prattle like a priest!(pointing to himself)It was me who shoot the beast!POX: Without the p-p-princess for bait,you'd never gotten close....B-b-beauty brought the b-b-beastto bay.BLUNDER: She's so sweet....I couldeat her brains like jam!43F INTERIOR LOFT (FROZEN) DAYLili slumps against the wall, aghast at what she's just overheard.43G INTERIOR COTTAGE DAYBlunder and Pox fill a sack with frozen tarts.POX: I'd like such her b-b-bones!Blix points the alicorn at the cottage door. It flies open with a CRASH.BLIX: Better hurry! Can't be late!Blix marches out of the door. The other two goblins follow, darrging their sacks of tarts.BLUNDER: When we deliver that horn, Pox ol' buddy, Darkness gonna give us a humongous bigreward.Blunder and Pox leave, slamming the door behind them.After a long pause, Lili creeps sobbing down the ladder from the loft.LILI: Oh, God.... God....The Princess stumbles across the cottage towards Nell.LILI(cont) What have I done...? I didn'twant the unicorn to die.... All I didwas touch it....Lili pleads with the frozen Wife, as if begging for her forgiveness. She is interrupted by the gruff voice of a House BROWNIE.BROWNIE(OS): You're a wicked, wicked girl!Lili looks up and sees a long-bearded Brownie standing next to the clock on the mantle.43H LILI'S POV : BROWNIEBROWNIE: The world is in a fine messbecause of you.43I BROWNIE'S POV : LILIbr LILI(desperately) : I'll make it somehow....I swear it...! I don't care what happens tome.43J LILI'S POV : BROWNIEBROWNIE: Words...mere words.... Boldsdeeds be needed now! Look at you!Pampered and soft! Never done a day'swork in your life....LILI(OS): Who are you?BROWNIE: Me...? I'm the house brownie...I keep dust devils under the bed and allthe china cracked.... You know how a watched potnever boils? I do that...and I'ma wizard at turning sweet milk sour....The front door CRASHES loudly open.43K INTERIOR COTTAGE (FROZEN) DAYLittle Blunder swaggers into the cottage.Lili covers her face with the quilt and holds herself rigid as if frozen. The Brownie ducks out of sight.Blunder stalks to the kitchen table and pulls his axefree. He does a double-take on spotting the Princess. The tiny goblin can't remember can't remember if he saw her earlier or not.He pokes her and lifts her skirt to peek at her legs. He is stopped short by Blix's angry CRY outside:BLIX(OS): Blunder! Move your butt! On the double!Blunder hurries to the door.Lili relaxes when she hears it SLAM.LILI: Thank God....Lili looks up at the mantle.LILI(cont) (sobbing): Can you....help me?437 LILI'S POV : BROWNIEBROWNIE: Can I what?LILI(OS): Help me....BROWNIE(sadly): I'd like to....but I'ma domestic sort of chap....no good at allwhere demons are concerned....43M BROWNIE'S POV : LILILILI: Then I'll do it myself! I'll follow those goblins....somehow.....even if it costs my life!43N LILI'S POV : BROWNIEBROWNIE: I like your spirit! There's always hope when a brave heart back a noble cause....but what chance have you? They have the alicorn!The power is theirs!43O BROWNIE'S POV : LILIThe Princess resolutely hurries about the cottage, gathering things to eat and other useful items.LILI: I will do it! You'll see....Ifooled them now, didn't I.... Well,I'll do it again easy as pie....Lili starts for the door.BROWNIE(OS): Wait....! Take this....!Lili turns back.43P LILI'S POV : BROWNIEThe Brownie pulls a golden feather from his cap and tosses it down to Lili.BROWNIE: 'Tis from the tail of the cockatrice....Make you as fleet as a running deer. And better, whenthings seem at their darkest, 'twill remindyou always that hope is alive....43Q BROWNIE'S POV : LILIThe Princess tucks the feather into her bodice.LILI: Thank you....Hope is just whatI need.Lili rushes from the cottage back into the snow.44 EXTERIOR FOREST (SNOW TRAVELER) DAYA full-scale blizzard drives down through the naked tree limbs. Jack slogs forward, near frozen.JACK(calling): Lili....! Lili....!Jack sees a tiny bird, frozen solid on a branch. He takes it tenderly down, trying to warm it with his breath.JACK(cont): What's happened....Standing rigid all around him are numbers of frozen animals.He can do nothing for the bird and trudges on into the storm.JACK(cont)(calling): Lili....! Up ahead, the figure of a man is barely discernible.Jack runs to the man, thinking himself saved..Jack discovers the man is frozen, like the bird. His initial shock gives way to releif. The man is his salvation after all.Quickly, he unties the stranger's travel bags and cloak.JACK(cont): God rest your soul.... I know youwon't mind if I borrow your things.Jack wraps himself in the claok and finds a tinder box in the travel bag.He scrapes together a pile of twigs, striking sparks with the flint and steel to start them smouldering.45 DELETED : TRANSPOSED TO 46D46 EXTERIOR FAERIE CIRCLE NIGHTA campfire blazes. Jack sleeps beside a tiny fire, shivering under his new cloak.A tiny glowing LIGHT streaks out of the woods. It circles around Jack. The LIGHT touches the fire and it BLAZES up like a bonfire, waking Jack.JACK: What....?46A JACK'S POV : LIGHTJack stares at the radiant buble hanging above him. He sees a tiny woman-child with delicate dragonfly wings trapped inside. This is LUNA.JACK (cont)(OS): Who're you?46B EXTERIOR FAERIE CIRCLE NIGHTLuna ZOOMS off into the treetops.Jack grabs a flaming brand and jumps to his feet.JACK (cont): Who's there....?Watching him through the drifting smoke in GUMP, an elf no more than the waist high. Slightly built, he is near-naked in spite of the cold. His face is that of a child, yet his eyes shine with a wisdom centuries old.GUMP(smiling mysteriously): Here you be a forestchild and not know the Gump....JACK: Gump, is it?GUMP: Aye, Jack.... Honeythorn Gump at your service.....The air is filled with frenzied CLICKS and SNAPS: stones tapping, stick's rubbing, logs being thumped, etc.Numbers of green-glowing eyes stare at Jack out of the shadows.JACK (frightened): How d'you know my name?GUMP: How does a migrating swallow know the way south in winter....? Or a spawning salmon find the tiny freshet ofhis birth from the black cold depths of themysterious sea....? I know everything, Jack!JACK: Everything....? Why has thishappened? Why is it winter now?GUMP: I'd be a powerful wizard indeed could I answer....(shrewdly): Suppose you tell me , Jack.Jack in uncomfortable.JACK: Me? How can I do that?GUMP: You know these woods as well asany elf.... Did you not see something odd today? Any strange spirits?Did nothing untoward happen?JACK: No....well.... I took Lili to seethe unicorns.....GUMP (furious): You did what?Numbers of elves and faeries appear out of the dark woods. They come in all sizes, from sprites no larger than squirrels to plump hobmen as big as small children.BROWN TOM is a plump, tipsy leprechaun, draped with pots and pans like a tinker; SCREWBALL, a tiny pixie wearing an ill-fitting cap and garments tassle with flowers.FAERIES (whispering in chorus): What....? Codfish and cockles....! Never....! Pewterpots and....pumpkins....! Poo-poo pudding....! Doo-doo dumplings....! Shit-willy whatnot....!GUMP: Silence!The whipering stops. All eyes are on Jack. He writhes with guilt under thier scrunity.JACK(deepling ashamed): Oh God, she touched him....A GROAN rises from the crowd of faeries. They are outraged. Gump is the maddest of all. His face darkens. His eyes glow. He trembles with banshee fury.GUMP: Touched it! A mortal laid hands on a unicorn?BROWN TOM: Bad....terrible bad!JACK: We meant no wrong.GUMP (screaming): What was it you did mean, Jack!JACK: Nothing....GUMP (cold and hard): Nothing, he calls it!JACK: I wanted to share something special with her.GUMP: Well.... I have something now to share with you....a lively reel to warm your bones!Gump magically pulls a violen out of thin air.JACK: I'm in no mood for dancing.GUMP(screaming with wrath): Squawk! Squawk!No more talk.... Do you think you canupset the order of theuniverse and not pay the price?Brown Tom produces ancient bag pipes, Screwball a tambourine. The other wee folk tune up an incredible variety of oddly-shaped instryemnts : seashell trumpets, acorn cellos, gossets, serpentines, blossom-bell horns, bone flutes, all manner of drums and rattles.A wild and haunting overture begins. The rhythm is complusive.Jack cannot control his body. His feet move against his will.JACK(frantic): No! I want no part ofyour nonsense.Gump leers demonically.GUMP: Time to dance, Jack!Playing his fiddle, Gump is possessed, demonic.Screwball beats on a log with a pair of shin bones. The faerie orchestra breaks into an other-world melody. Jack leaps and jumps like a zombie.JACK: No...! Please....!BROWN TOM(chanting): Round and round and round and round,Before you're lost, you must be found. The tempo increases. The musicians leap and cavort.Jack twists and capers, dancing against his will.SCREWBALL(chanting): In and out and up and down, Behind each smile there lurks a frown.Gump leaps wildly, fiddling like a demon. Jack is a prisoner of the frenzied music.BROWN TOM(chanting): Spin and spin and spin and spin, To learn to lose you first must win.Gumps hops into the fire, dancing and playing as sparks leap about him. The music grows wilder. Jack will never survive.SCREWBALL(chanting): Twist and reel and toe and heel,The end to pain is to learn to feel!Jack's face is a mask of agony. With supreme effort, he hurls himself onto the ground, his body jerking spasmodically to the music.JACK(screaming):Enough!The faerie orchestra falters, their tempo broken.GUMP(angry): Is the music not to your liking?JACK(gasping): I....won't....go....on...Takemy life, if you must.... What I didis unforgiveable....(boldly) But, I did it for love! And I'd doit again! I love Lili with all my heart andwould sooner die than break a promise!Gump stares at Jack. A tender expression softens his flinty eyes.GUMP: Hmmmm..... Love, you say....? Love is another story....JACK: I meant no disrespect....GUMP: Answer me this riddle andall is forgiven.JACK: And if I cannot?GUMP: Why, Jack....then 'tis yourdeath song I'll be playing.JACK: Ask away, and pray God my answerpleases you.GUMP: What is a bell that does not ring,Yet, its knell makes the angels sing?Gump laughs, knowing Jack can't solve his riddle. Jack frowns in concentration, then grins, as the memory of Lili's song rushes back.JACK: Bluebells!GUMP: What?JACK: The flower. Bluebells. To hearthen ringing means your life isat an end.Gump hurls his violin to the ground and stomps on it.GUMP: Damnation! Codfish and cockles!Gammon and trotters!Screwball and Brown Tom run for cover as Gump explodes in an insane fury. He throws himself to the ground, kicking and SCREAMING.GUMP(cont): Rabbot noodles....! Schweinhundtsaukraut mit schlagober....!Piddle-puddles und ka-ka crumpets....!Piss pots and thunder mugs!Demkopf doo-doo brains riddle-widdler!Abruptly, Gump stands and dusts himself off as if nothing had happened. He smiles at Jack and holds out his tiny hand.GUMP(cont): You bested me, Jack....Bested me.... bested me...JACK(modestly): A riddle with an answeris like an empty cup when you're thirsty for wine.GUMP: Well spoke! And if it's wine youwant, it's wine we shall have.Gump claps his hands and four tiny glasses magically APPEAR, floating in the air before them.Another clap and Brown Tom's hat POPS off his head, revealing a wine bottle balanced underneath.GUMP(cont): A small measure of entertainment at best.Gumps snaps his fingers and the wine bottle floats off Brown Tom's head, pausing to in mid-air to fill each bobbing glass.GUMP(cont): Elderberry wine....no finer drink under heaven.Each one takes a glass. Gump raises his in a toast.GUMP(cont): Here's to Jack....riddle-solver....dancing fool, and faerie friend.They all clink glasses. Jack regards his with suspicion.JACK: I'm honoured, Gump....But no more tricks!GUMP(to the others): Here be precious summertime frozeninto a winter memory and the blamed fool won't drink faerie wine for fear ofenchantment.They all drink, Jack with some relunctance. The faeries enjoy the wine. Jack gags, as if he's swallowed fire.JACK(coughing): Pranks....! Is that all you're goodfor....! I've lost Lili....! Gump!Help me! Use your magic to find her....set the world right.GUMP: Changing this frozen hell is beyondmy modest powers.JACK: Is there nothing you can do?GUMP: If you want more tricks, I'm yourman.... but, for big questions, you must go elsewhere.JACK: But don't you care what's happened?GUMP: Course we care.... What good's the world locked in a season of death?No folks to scare on a summer'snight....BROWN TOM: No babies to tickle....SCREWBALL: No lovers to tease....GUMP: No more spells to cast....Does thatsound like an enjoyable prospect?JACK: We must find the answer!GUMP: That we must. But first, we better see that no harm's come to theunicorns.SCREWBALL: I sadly fear the worst....Gumps claps his hands and everyone is magically holdingluminous flower lanterns.46C EXTERIOR DEEP FOREST NIGHTSeen from a distance, the lantern-lit faerie procession glows like foxfire between the massive trees.46D EXTERIOR SNOW (LILI TRACKS GOBLINS) NIGHTPrincess Lili tuns swiftly between the frozen trees, following the tracks of the goblins. The quilt is torn, her hair dishevelled. She pauses at the top of a small, steep hill. The tracks of the goblins' sleigh pass below.Lili jumps from the hilltop, leaving the quilt floating behind like a discarded skin. It is an incrediable leap.She lands with the sureness of a wild woodland creature and runs off, hair streaming behind, following the trail of the sled.47 EXTERIOR UNICORN DEATH ARENA NIGHTThe faerie procession moves out of the woods onto the frozen meadow.FAERIES(singing together): What can you do when there's Nothing to be done?Sing a little songAnd have fun, fun, fun....The silhouette of the unicorn is glimpsed in the glow of the faerie lanterns.Led by Jack, the faeries run towards the recumbent stallion.Wisp stoops and picks up an arrow dropped by the goblins.GUMP: This is goblins' work....Powerful demons are agaisnt us!Jack kneels sadly beside the ice-glazed unicorn.The SOUND of CRASHING HOOFBEATS alerts the faeries as the mare unicorn thunders out of the trees.BROWN TOM: Take cover, laddies!The faeries dive for protection. Only Jack stands his ground.The mare charges straight at Jack. He is knocked to his knees as she gallops past.The unicorn wheels about. Jack scrambles to his feet.She charges again, skidding to a stop on the frozen grass. Her alicorn is aimed straight at Jack's throat.GUMP: Run, Jack!JACK: The fault was mine. I owe her my life.GUMP: Nobly spoken, lad, and nobilityis her gift in return.The mare makes a soft NOISE deep in her throat. It is a cross between whale song and the cooing of doves.Jack responds in kind, imitating the sound exactly.SCREWBALL: What's he saying? What'sit mean?BROWN TOM (shrugging): Search me.... I speaksome rabbit, but not a word of unicorn.The unicorn continues, a SOUND as close to music as anything in nature. Jck listens intently and answers her.GUMP: Come on Jack, don't keep us inthe dark.JACK: The dark is where we'll stay....We're cursed. All warmth and lightwas lost when the stallion died.BROWN TOM: Is there naught we can do?JACK: We must get the alicorn back.Only then will the world return to normal.GUMP: And how do faeries fight a demon?JACK: She says we're to find a champion....a mortal, bold of heart and pure inspirit.SCREWBALL: Look....! Look....!Screwball points to the mare's hoofprints in the snow. Tiny wild flowers spring to life within each indentation.JACK: That is the warmth of her soul.Not even death's icy hand can stopit!SCREWBALL: Little good her soul'll do us now.BROWN TOM: Screwball's right. Where we gonna find a champion when every mortal can swing asword is froze stiff as an icicle?GUMP: Don't give up so quick, lads.(feeling Jack's arm)You sure you're mortal?JACK(indignant): Course I am!BROWN TOM(dubious): What sort of mortalspeaks unicorn?SCREWBALL: Why aren't you frozen then?JACK: I don't know.... I was underwater....and when I came up for air, everythingwas covered with ice.GUMP: You'll do.... We best get yousome weapons.JACK(puzzled): Weapons....? What are they?BROWN TOM (dubious): He's no champion,Gump.GUMP: We'll have to make him one....or kill him trying....!Follow me!Gump leads Jack and the others into the woods. The unicorn follows. FAERIES(singing together): What can you do when there'snothing to be done?Sing a little song And have fun, fun, fun....48 EXTERIOR GREAT TREE NIGHTLili creeps around the base of the tree, making no sound. She moves with the grace of an animal and hides behind a gnarled root where she can watch the goblins.Blix holds court, surrounded by a lantern's glow. Pox sits on a bit of crumbling masonary. Blunder watches Blix gesture with the alicorn.BLIX: Look at us! Waiting around likelackies....and for what? We're the ones with the power!BLUNDER: You shouldn't talk like, Blix.We gets in plenty big trouble!BLIX: I'm not afraid! Not even Darkness lasts forever!Blix aims the alicorn at Blunder, causing a burst of fire to erupt beneath the tiny, helmeted goblin.Blunder YELPS and runs off, clutching his flaming backside.Blix roars with laughte. Power has gone completely to his head.BLIX (cont): Watch out, Pox!Blix points the alicorn at Pox. Fire explodes beneath the pig-faced goblin. He leaps SCREAMING into the air.Blix points the alicorn at the fire he started and it grows larger.BLIX (cont): Higher.... higher....Burning fire! Making musicLike the choir!Blunder and Pox watch Blix make the fire fountain into the air.The heavens blaze. Lili is dazzled.Something very strange is happening within the swirling column of flame. Gradually, a demonic face emerges,Outlined in the fire we see the leering face of Darkness!Pox and Blunder applaud Blix's rebellion.POX/BLUNDER (chanting): Higher.... higher..Burning fire!Making music Like a choir!The three unsuspecting goblins looks up and see the demonic Lord of Darkness flaming above them.Blix tosses the alicorn into the air. Blunder unwittingly catches it.BLIX: Greetings, Worship....POX: W-w-welcome, Great Lord....D-d-darkest of the ....DARKNESS: Your devotion disgusts me? You insignificant strands of toad slobber!Blix and Pox drop grovelling to their knees, covering their heads with leaves and dirt.Blunder can't control himself. He rushes forward and points the alicorn up at Darkness.BLUNDER: Hear me, you angels of light!Your reign is over! A new order begins! All the imps of Hell will dance freely over this dark land....I hold the power....DARKNESS: Enough!Darkness points a burning finger at Blunder. The alicorn is rippef from the goblin's graps and flies up to Darkness. Blunder YELPS in terror.Something terrible happens: the ground around Blunder begins to soften. To his horror, the little goblin sinks under as if into quicksand.BLUNDER: Please.... It was only a joke...I didn't mean it.... Honest....!Blunder is in up to his neck. BLUDNER (cont): Whatsamatter? Have you no sense ofhumour? I hope you choke of faerie breath and flower petals!Blunder's hand points up from the earth. Darkness ZAPS it, turning it to another chicken-claw!Blunder is gone without a trace; sucked under with a disgusting SLURP.Darknesss HOWLS his triumph to the heavens.From her place of concealment, Lili overhears every word.DARKNESS: Did you think this alicorn a mereplaything....? With it my empire is eternal! Before I ruled only the night. Now, my minions willfrolic in darkness until the end of time.Darkness aims the alicorn at the column of fire started by Blix, tracing an arc of flames through the night.Like a mad orchestra conductot with a magic baton, Darkness controls the fire's movements. The blaze twists and swirls across the black night, blazing meteor trails, bright as the aeora.BLIX (fawning): Forgive this intrusion.... Mygoblins are a free-spirited lot.I like to encourage their....initiative. What do you think ofthis policy, Master?Columns of flame shower around the Dark Lord and from within thier incendiary interiors, evil wraith-like spirits emerge, swirling like ghosts.Bright as comets, numbers of etheral flaming spirits orbit their fiery master. Darkness stands in total control within their mighty conflagration, the alicorn his sceptre.Suddenly, with the pure clarity of a BELL CHIME, the presence of DAYLIGHT is detected.The reflected glow of the coming dawn tinges the ground and casts it luminence over Darkness and the goblins.DARKNESS (cont) (writhing): What is this light...?Beams of rising sunlight advance down the tree trunks.Darkness recoils, wrapping his flaming cloak about him.DARKNESS (cont): You killed the final unicorn....Is this not true?Blix and Pox exchange guilty looks.BLIX: This is true....POX: Undeniably t-t-true, Lord.Darkness is on to them. He points with the alicorn.DARKNESS: You lie! Here is dawn!POX: Well.... almost t-t-true....ess-s-sentially true....BLIX: That stallion is dead, dead as dreams,dead as legend....DARKNESS: OUT WITH IT!Sunlight is half-way to the ground. Darkness shrinks, shrivelling like a dying ember.POX: But.... but.... the m-m-mare stilllives...DARKNESS: If even one unicorn walks the earth, my power is not complete....BLIX: Just a female.... She has nopower.... The ground grows very light. Darkness melts into the campfire.DARKNESS: Only the power of creation....?Get that female....! I commandyou.... In the name of Darkness....Sunlight strikes the ground. Darkness is gone! His arm holding the alicorn aloft the fire is the last to disappear.Lili backs silently into the shadows surrrounding the Great Tree.49 EXTERIOR FOREST PATH DAYLili runs straight into a driving blizzard. A distant SOUND alerts her and she pauses to listen.It is Jack and the faeries, SINGING. Jack's voice carries above the others.JACK & THE FAERIES (os): When times are hard and things look bad,Don't feel blue and don't feel sad....A look of astonished joy comes over Lili's face. As the SOUND of singing FADES, she runs towards it, calling eagerly.LILI: Jack....! Ja-aack!50 EXTERIOR PATH TO GUMP'S CAVE DAYJack and the faeries troop march through the blizzard, all SINGING merrily.JACK & THE FAERIES (singing): If your down, wearin' a frown,That's the time to dance like a clown!Jack hears something in the distance and stops to listen.LILI (very faint) (os): Ja-aack.... Ja-aack....JACK (bewildered): Lili....?The SOUND of her distant call is erased by the howling storm. Jack sadly decides it was a trick of the wind and hurries to catch up with the others.51 EXTERIOR FOREST PATH DAYLili stops running. There is nothing but the wailing wind.LILI (softly): Jack....? Oh, Jack....A solitary tear starts from her eyes, only to freeze on her cheek like a diamond beauty spot.LILI (cont): Please God.... help me!Lili drops sobbing to her knees. Through her grief, she sees the unicorn's track in the snow, each hoofprint gay with tiny blooming flowers.Her courage restored, Lili follows this meandering trail of burgeoning life through the forest.52 EXTERIOR ENTRANCE TO GUMP'S CAVE DAYGumps leads the way a huge BOULDER lodged uner the roots of a giant tree.GUMP (proudly): Here's my home, Jack.... Whatd'you think of that for a frontdoor?Jack thinks Gump is pulling his leg.JACK (in jest): Be some job in getting it open.GUMP: Think you so?Gump WHISTLES. Immediately, two eyes blink open on the front of the boulder, and he is seen to have facial features.BOULDER: Morning', Gump....The Boulder stands on a pair of tiny legs and waddles forth from under the tree roots, REVEALING the entrance to a cavern.He promptly trips and rolls over and over in the snows, his tiny stone feet kicking wildly in the air.GUMP (bowing): After you, Jack....Jack enters apprehensively udner the twisting roots.JACK: Thank you....The other faeries follow, leading the unicorn.53 INTERIOR MOUTH TO CAVE DAYAn earthern antechamber under the tree, high enough for Jack and the unicorn. There is a small wooden door at the far end, sealed with a bright brass padlock.GUMP: Brown Tom. Stay here with theunicorn and guard her well.BROWN TOM: Like me own life!GUMP: Better than that! She's the last of her kind.Gump marches to the little wooden door. He inserts a finger into the padlock, twisting it like a key. Instantly, the pops apart. Gump opens the door and enters a low tunnel beyond.54 INTERIOR TUNNEL DAYTree roots twist down like dead men's fingers and clutch the ancient rune stones lodged in the earthen walls.Gump and Screwball walk upright in the damp tunnel, but Jack is forced to crawl on his hands and knees. Luna flies above thier heads like a tiny neon insect.GUMP: Right this way....Gump pauses by another wooden door, sealed with a brass lock. He opens it instantly with his magic touch.SCREWBALL: Home, sweet home!55 INTERIOR GUMP'S CAVE DAYJack and the faeries enter a cost burrw furnished with carved wooden chairs and tables, a porcelain stove and bundles of herbs hanging from the ceiling. The simple furniture is overwhlemed by vat piles of treasure: gemstones, pearls, chests heaped with gold coins.GUMP: Fit for a king's ramsom!Jack in awe as he wades through the ankle-high loot.JACK: Such riches.... I feel I must bedreaming....GUMP: If life is a dream, better you dreadthe waking!Screwball fills a golden helm with rubies and pours them out over his head. He laughs like a child in a sandpit.JACK: ....beautiful....GUMP: Mere trinkets.... Let's find yousomething useful.Luna's golden LIGHT streaks down and whirls around Jack's head. He swats futilely at her.JACK: Stop it....! Go away....!GUMP: Easy.... Luna only seeks a little affection.Luna hovers beside Jack's cheek.JACK: I meant no disrespect, but....ouch! Make her stop, will you,Gump!GUMP: Does your blood run so cold? You'll be a corpse before your time.Gump unstoppers a silver wine decanter and pours three goblets full.JACK: What does she want from me?GUMP: Foolish question....(handing Jack a goblet)Drink, and wamr your heart.The answer's at the bottom of your cup.Jack sniffs his goblet suspiciously. This time, he is careful not to drink when the faeries do.GUMP (cont): Now then.... down to business.Gump pulls a bejewlled broadsword free from its scabbard. It is a remarkably beautiful weapon. JACK: What's this....? Something to cookwith?Gump and Screwball exchange a hopeless look.GUMP(patiently): This is a weapon, Jack.... As finea weapon as you'll ever see.JACK(curious: So, that's a weapon.... What's itdo?SCREWBALL: World is doomed, if you ask me.Screwball goes back to playing with the jewels.Gump pulls a silk handkerchief from his belt.GUMP: A little demonstration.Gump tosses the kerchief high in the air and it wafts slowly down. The little elf is an expert swordsman. He whirls the weapon in a gleaming blur, slicing the drifting handkerchief neatly in half.GUMP(cont): With such a blade you could beheadan ogre as easily as uncapping a soft-boiled egg.JACK: That's really something.... Can Itry?Gump hands the sword to Jack.GUMP: You're the champion, aren't you?Jack picks up half the kerchief off the jewel-littered floor and tosses it into the air. As it flutters down, he swings wildly with the broadsword. Gump has to duck to avoid having his own head chopped off.GUMP(cont): Watch out....! You'll get the hang of it in time.... Now, we best see about some armour..... Screwball!SCREWBALL: Coming right up!Screwball flips open the lid of a chest. Folded inside is a golden chain-mail coat of exquisite workmanship.GUMP: Go on.... see if it fits.Jack slips the coat over his head. It fits perfectly.GUMP (nodding approval): It will turn a broadhead arrowar fifty yards.SCREWBALL: He might pass for a champion in that.GUMP: Have a look at yourself, Jack.(pointing: Use yonder shield for a mirror.JACK(confused): ....Shield?GUMP(exasperated): The round shiny thing over there.SCREWBALL: Clothes never made the man....Gump silences Screwball with a stern look and and stalks over to a small carved desk.There is a loud, MUSICAL CHIME. Gump pulls a remarkable instrument from a pouch on his belt: a wonderous crystal globe filled with whirling miniature worlds.GUMP(studying globe): Hmmm... getting late. Almost half-way past the morning mayfly hatch.... SCREWBALL(sullen): Too cold for mayflies now....'Sides, I ain't got no timepeice.GUMP: You first must know how to tell the time.SCREWBALL: I ain't got nothing....GUMP: No more chatter....! I've got workto do.Gump sits at the desk setting his timepeice beside him and rummaging among his papers.Jack kneels before a brightly polished shield and studies his reflection.Luna round and round his head.SCREWBALL: Think I'll brew some tea.Screwball snatches variosu herbs off the ceiling.SCREWBALL(cont): Colt's foot and sassafrass...Maybe a spot of spearmint....St John's Wort not bad.... anda little foxglove.Screwball feverishly stuffs a silver teapot full of dried herbs.56 DELETED57 EXTERIOR PATH TO GUMP'S CAVE DAYThe unicorn's flowering footprints lead Lili to Gump's cave.She pauses to consider the situation. Snowflakes glisten in her tangled hair. She is fiercly beautiful.Deciding nothing is amiss, Lili stalks silently inside.58 INTERIOR MOUTH OF CAVE DAYA small cooking fire flickers under blackened pots and an iron skillet. The mare unicorn is bedded down on a blanket of straw. Brown Tom lies fast asleep against her flank.The unicorn lifts her head when Lili tiptoes in.Brown Tom is jerked awake as the mare climbs to her feet, snorting with rage.BROWN TOM: What....? What....? Who's there?LILI: I'm Princess Lili.... I.....BROWN TOM: You! You're the cause of all our sorrow!The Princess drops to her knees.LILI: I know it was wrong.... Everythingis my fault.(weeping)Please.... please forgive me.BROWN TOM: I ain't the one ye should be asking.LILI: I want to make it up to her....I followed the goblins! They gave the alicorn to the Lord of Darkness!BROWN TOM: Good lass! You're a pluckylittle partridge at that.LILI: We can't stay here! It's not safe!Darkness sent the goblins to huntthe mare... If I found her, so willthey....We msut go!59 DELETED60 INTERIOR MOUTH OF CAVE DAYBrown Tom looks past Lili to the mouth of the cave.BROWN TOM: Too late!Pox and Blix stand in the entrance, aiming their wicked, barbed arrows straight at the hearts of Lili and Brown Tom.Brown Tom swings an iron skillet back over his head in a warrior's stance.BROWN TOM: If you imps're looking for afight, ye've come to the chapwho'll oblige ye.BLIX/POX: Kill....! K-k-kill...!Kill...!Blix and Pox loose their arrows, renocking the bows with incredible speed.Brown Tom moves like lightning, using the skillet as a shirld to deflect the arrows raining about him.Lili stands in front of the mare, striving to protect the unicorn's body with her own.Brown Tom lepas acrobatically about with the skillet. A fusillade of arrows CLANGS OFF its iron surface.A lucky shot peirces Brown Tom's hat. Dark red liquid streams down his face. His eyes roll up in mortal terror.BROWN TOM: Dick-o-Tuesday's duck! They've donefor me!Brown Tom staggers in a dramatic half-circle, toppling straight over backwards, stiff as a board.The mare unicorn rears WHINNYING on her hind-quarters.The goblin hunters advance. Blix spreads a heavy net wide.The black shadow on the net falls across Lili and the unicorn like an evil spider web.61 INTERIOR GUMP'S CAVE DAYScrewball's teapot steams merrily. He sits stop a jewel cask enjoying a cup. A horned Viking helmet several sizes too large covers his head down to the bridge of his nose.Gump works at his desk, marking out distances on an ancient chart with a pair of golden dividers. Dozens of parchment mps are spread in front of him.GUMP(muttering): Forty leagues from the Dragon'sTrack.... another half-span past the basilisk den.Gump lifts his elbow and the curled parchment rolls together.GUMP (cont)(annoyed): Wirrikows and dopplegangers!SCREWBALL: Spot of tea, Gump....?Help calm your nerves...GUMP: Not now! I'm busy with navigation.On the other side of the cave, Jack practices a variety of thrusts and passes with his sword in front of the polished shield.Luna buzzes around him like a miniature meteorite.JACK: That's not so bad.... What do youthink, Luna?Jack studies his reflection in the shield.There is a BURST OF LIGHT behind him. Luna materialises as a child-sized woman with gossamer wings. She wraps her slender arms around his neck.LUNA: I think you look like a hero.JACK: What! H'd you do that?Jack spins around, but Luna is gone. Only the tiny dot of LIGHT hovers in the air.JACK(cont) (puzzled): Magic....Jack looks back at the shield and there is a full-sized Luna hugging his reflection.LUNA: Nobody knows nut you. it's oursecret....(kissing his cheek)Promise?JACK (squirming): Don't do that.LUNA(another kiss): Better promise....JACK: All right, all right....I promise.A loud, MUSICAL CHIEME interrupts Gump's work. he looks around for his timepiece but it is nowhere in sight.GUMP: Hmmmm...? Screwball!SCREWBALL (all innocence): Something I cando for you, Gump?GUMP: Hand it over....!Sheepishly, Screwball pulls Gump's timepeice from inside his tunic and gives it back.SCREWBALL: Well, well, well....how'd that get in there? Must besome kinda magic...GUMP: Sneak thief's magic!(studies timepiece)Jack! it's time we were onour way!At the SOUND of Gump's voice, Luna TRANSFORMS instantly back to a dot of light.JACK: I'm ready as I'll ever be....Jack picks up the shield and starts after Gump and Screwball. Luna flies overhead.62 INTERIOR MOUTH OF CAVE DAYBrown Tom lies flat on his back as Jack and the faeries emerge from the tunnel. Gump rushes to his fallen friend, lifting him in his arms.GUMP: Brown Tom....? You can't be dead....!Oh, this is is terrible.... terrible!Brown Tom opens his eyes and looks feebly about.BROWN TOM (in a daze): Why, Wisp.... they kill you, too?GUMP: Course they didn't! What in blazesare you talking about?Brown Tom rolls his eyes up at the arrow piercing his hat.BROWN TOM: Goblins shot me throughthe brain pan.Gump yanks off Brown Tom's hat. Bits of broken wine bottle tumble out. Gump reagrds his friend with scorn.GUMP: Your brains are one spot anarrow'd do no harm!JACK: Where's the unicorn?Sheepishly, Brown Tom pulls the arrow from his hat.BROWN TOM: I'm afeered the goblins took her.Did me best to fight them off, butthey swarmed up by the hundreds.... Horridcreatures they were. The Princess warned me, but....JACK: Princess Lili?BROWN TOM: Aye.JACK(overjoyed): She's alive!BROWN TOM: She was living still when they killed me.GUMP: You'll earn your champion's spursthis day, Jack.... We'll follow theirtracks in the snow. Foul weather's on ourside for a change.62A EXTERIOR FOREST DAYJack and the faeries march through the woods holding lanterns, into the teeth of a driving blizzard.63 INTERIOR GREAT HALL DAYBlix and Pox kneel nervously before the Throne of Darkness. A huge fire blazes in the hearth.POX: Hail m-most great, and d-d-darkestof the dark!BLIX: Though we be nothing in your sight,We bow before your strength and might!We hear Darkness speak, but see only his bat-winged shadow spread like an inky cloak across the two kneeling goblins.DARKNESS (os): Can you fawning sycophantsdo more than grovel? What of the task I set you?POX: D-d-done, Lord. We have the m-m-m-m-m-m.... the unicorn.DARKNESS(os): Where is she?BLIX: In the dungeon like a treasure, Awaiting your darkest pleasure.DARKNESS (os): Very good.... You two are notentirely devoid of talent.POX: There's m-m-more, Sire....BLIX: Though unworthy of your magnificence,Trifles without consequence,We present with all due deference....A gift. DARKNESS (os): Gift....? What sort of gift?BLIX: This thing you once called innocence.DARKNESS (os): Innocence...? I must behold this wonder....Darkness stares into the fire.As Darkness grimps the arm of his throne, his fingers start to melt, dripping to the dank stone floor.64 INTERIOR DUNGEON DAY Darkness bleeds through the groin vault ceiling, speading like a stain across the curving stones.Below, the unicorn is locked in a steel halter, a woven steel cable binding her to an iron windlass.The Princess paces the dark and dripping cell. Her dress is in tatters, her hair tangled. There is something wild and free about her now, and yet she has never appeared more alluring.The melting shadow of Darkness drips from the ceiling, forming a small demonic shape as it falls.We hear the BEATING of Darkness' heart in time with each evil drip. The sound grows LOUDER and LOUDER until the echo reverberates within the vaulted chamber.Lili is terrified. She looks frantically around as the pulsing rhytm continues. The Princess sees nothing and hugs the unicorn's neck for comfort.64A INTERIOR GREAT HALL DAYDarkness contemplates the raging flames, his heartbeat THUNDERING.65 EXTERIOR HILL ABOVE GREAT TREE BOG DAYJack and the faeries stare out at the tree-crowned ruin and surrounding bog.65A EXTERIOR BOG DAYJack and the faeries wade forward through the drifting curtains of mist.JACK: Legend says the Dark Castle stoodin olden days when evil anarchyruled the land.... The wicked stillcome here to sacrafice.GUMP: They worship the demon....SCREWBALL: It's ugly! I hate it!GUMP: Good! You shall go first....65B INTERIOR GREAT HALL DAYCLOSE ON: Darkness. For the briefest instant, we see the smouldering eyes of the demon GLOWING in anitcipation out of the shadows.65C EXTERIOR BOG DAYAlthough Jack is in no trouble, the water is rapidly growing too deep for the faeries. Gump urges Screwball forward:GUMP: Go on! Hurry up!SCREWBALL: All the time me.Same old story.Screwball clibs up onto a floating lily pad.An undulating v-shaped wake moves through the water alongside as they step from lily pad to lily padf and clamber onto a long, twisting root.Without warning, an emaciated green arm shoors out of the water and grabs Screwball. He is gone under the surface with a scream.BROWN TOM: Screwball!JACK: What was that?GUMP: Big trouble!Jack grips the hilt of his sword and rushes to the spot where Screwball disappeared.JACK: We've got to do something.Before Jack can finish, Meg Mucklebones rises out of the bog behind him. She tosses Screwball aside and hauls Jack into her cadaverous embrace.MEG: Foul tasting faerie.....! Come tome, juicy boy!Jack YELPS in horror.MEG (cont): Who be this tender morseldisturbing Meg Mucklebones' rest?JACK(terrified): They call me Green Jack ma'am.The faeries watch in dismay.BROWN TOM: Our champion's a goner, he is.The fearsome hag pinches Jack with her wicked talons.MEG: What a fine fat boy you are....JACK: You don't mean to eat me,do you ma'am?MEG: Oh, indeed I do....JACK: That would be a shame, Miss Meg.You're so lovely. You deserve far better than scrawny littleme....The flattery gives Hairy Meg a pause; she simply can't resist it.MEG: Hmmmm....think me fair, do you, Jack?JACK: All the heavenly angels must envy your beauty.MEG: Ooooo....what a find meal you'll make,be the rest of you as sweetas your tongue.JACK: Let me go and I'll sing songsof praise to you.MEG: Let you go? Don't be daft. I'vehad naught but muskrat and snakes all this month.... bit of rancidgoblin, too....JACK: But....but....don't you likemy words?MEG: Words are little help in filling an empty stomach....JACK: Then fill your soul with loveliness.Look into your glass and feast onbeauty.MEG: There's no looking-glass here....Sometimes, when the moon is full,I'll chance to see my reflectionin the bog.Jack glances at the shield hanging over his shoulder.JACK: My shield would serve you well.Meg Mucklebones takes Jack's shield, partially releasing him from her clammy clutches.MEG: What a splendid idea! You be so clever, Jack.Hanging onto Jack with one hand, Hairy Meg bends over the shield.JACK: Your radiance is the alchemythat makes rusted steel shine like silver.Meg primps and preens: an obscene parody of a pretty maiden at her vanity table.MEG: Oooo! That's nice! I be the envyof any princess in the land.While Meg is pre occupied with her grotesque reflection, Gump catches the Jack's eyes. The cunning elf silently mouths the word: 'sword', pointing to his waist at the same time.JACK: Better, you are a queen withouta peer.... a reigning angel.Jack nods to Gump and silently draws his sword. Meg doesn't notice thing.MEG: You have such discerning taste for so young a boy....Meg turns to face him with a fearful pucker of her tattered lips.MEG (cont): Come, Jack....give usa kiss before dining.Jack petrified with fear.GUMP(shouting): Give her the kiss of cold steel, Jack!Jack swings blindly with his eyes closed. It is a lucky stroke, Meg Mucklebones' head flies from her shoulders.JACK(astonished): I did it!The decapitated hag sinks back beneath the scummy surface.GUMP: Like a chmapion, Jack.BROWN TOM: Bravo!JACK: How's Screwball?SCREWBALL: Chewed, but not disgested....Jack points his sword at the hollow tree.JACK: Then on to victory!FAERIES (all together): On to victory!65D INTERIOR GREAT HALL DAYA huge fire blazes in the gaping hearth. Darkness stands before it, almost a shadow in his midnight cloak.DARKNESS: I've been an exile for too long....banished by the sun.... forced tohide in the bowels of the earth....On the eve of my greatest victory, this....child of nature appears.... It has been an eternitysince I felt such desire.... I could know her in an instant. She is helpless.... and yet....(anguished)What is wrong with me, Father?A VOICE IN THE FIRE answers Darkness; majestic and sepulrchral; the flames billow out as it speaks:VOICE: You hold the world in your grasp....Supreme power belongs to you... yet your triumph is meaningless!DARKNESS: Meaningless?VOICE: What do you gain from it? What pleasurecomes from ruling a pack of imps andgoblins....? Souls already black.... Thisinnocent creature fascinates you because only she can appreciate the enormityof your achievement.DARKNESS: I'll take her then!VOICE: A hollow victory! She remembers the world as it was, when she loves yournew order you will triumph! Woo her....win her.... break her spirit....DARKNESS: Thank you, Father.... Yourwisdom is ever my guide.VOICE: Remember.... She must desire you....nothing else matters!65E EXTERIOR GREAT TREE DAYJack and the faeries step ashore on the island. Gump makes a mystical sign with his hands.JACK: What's that?GUMP: For our protection, Jack. You must be ready.... Remember, Darkness is a liar....a treacherous fiend! Don't listen to him. Never believe what you see.....JACK: He won't fool me.GUMP: Don't be so sure! No human has ever set foot in this place before! 66 INTERIOR GREAT TREE DAYJack and the faeries stare up at the massive horn embedded in the inner tree.Screwball starts to climb towards it.SCREWBALL: What a nice big trumpet....! Betit sounds louder than anything....Gump hauls him back down by the seat of his pants.GUMP: Don't touch it! Our lives arelost if it blows!Jack finds an opening hidden between the roots of the inner tree.JACK: In here! I've found a passage!Jack drops inside.66A INTERIOR GREAT HALL DAYThe moment Jack enters the inner tree, a deep TREMOR reverberates through the subterranean Castle of Darkness.Draped in shadows before the fire, the Dark Lord looks up at this disturbance.DARKNESS (to the fire): I feel a presence....!Some power invades my sanctity....VOICE (from the flames): Every wolf suffers fleas.... 'tis easy enough toscratch!The flames surge out towards Darkness, embracing him.67 INTERIOR TINY ANTECHAMBER DAYLike the catacombs of Paris, the walls are decorated with bones and human skulls. At each corner of the open ceiling is a carved demonic head. Jack and the faeries stand looking up.GUMP(gloomily): The decor of death....BROWN TOM: Tells you somthing 'bouthim what lives here.SCREWBALL: It's a dead end....Jack searches along the ossuary walls.JACK: Doesn't make sense.... Checkthe walls. There must be some sortof secret key....Screwball doesn't join the other faeries in the search. He is attracted by several round stone balls lying in the rubble. Picking up three with a happy grin, he begins to juggle.SCREWBALL: One-two-three....fidde-dee-dee....Gump sees what Screwball is doing and flies into a rage.GUMP: Screwball! Drop those this minute!Screwball tosses the balls carelessly over his shoulder. One lands in the stone cornice near the ceiling and rolls along, gathering momentum as it passes through the open mouths of each gargoyle.The balls disappears into the mouth of the final gargoyle. It is swallowed with an emphatic GULP.All at once, the roof slides shut above.BROWN TOM(alarmed): Newt-finger marmalade!The floor pulls suddenly open and they all plummet SCREAMING into empty space. Luna circles, a dot of light above tthe bottomless pit.LUNA (wee voice): Oh, dear.... Oh, dear...The tiny faerie whirls in a blur of indecision before streaking down into the dark opening after her falling friends.68 INTERIOR CAVE CHUTE DAYLike prisoners on a fairground helter-skelter, Jack and the faeries spin down a seemingly endless curvinbg chute.GUMP(singing): When times're hard and thing look bad,Don't feel blue and don't feel sad....JACK: How can you sing at a timelike this?GUMP: Can you think of anything better to do?They hurtle through festooned cobwebs, stirring up smokey clouds of ancient dust.69 INTERIOR CAGE AND ALCOVE DAYThe end of the chute opens into an iron cage. Jack and the faeries tumble through onto a pile of straw. Luna is right behind, bright as a firefly.BROWN TOM: Ouch! Ow!SCREWBALL: Where are we?Gump stares woefully at the iron bars.GUMP: Some place we don't want to be!A scuffling NOISE in the far side of the cage attracts their attention. Blunder pops up from a pile of straw, still wearing his helmet.BLUNDER: Shhhh! What is this?A chatterbox convention?SCREWBALL: Who be you, bucket-head?GUMP: Stay clear of that imp! He'sa hell hound goblin!BLUNDER: What I am won't help me none, nor you neither....Blunder pulls off his helmet. He is Screwball's indenical twin!BLUNDER(cont): ....even if you is my brother!Screwball can't believe his eyes.SCREWBALL(astonished) Blunder...!BLUNDER: Screwball....!They rush into each other's arms.GUMP (to Jack): A Buttercup family reunion....!I can't believe it.... Last I remember,he sold Screwball a jug of dragon's tearsthat turned out to be cow piss!SCREWBALL: What happened to you?BLUNDER(flexing his bird claw): It's a long story....Let's just say I went look for adventure and found more'n I could handle....Doesn't matter now anyway... We're all of usin the same fix....JACK: Just what sort of fix is that?BLUNDER: The kitchen of the Lord of Darkness! All of us be on his menu!SCREWBALL: I knew it! I knew it! Shouldof stayed at home....BLUNDER: That's right, brother, me'n you is barbeque!BROWN TOM: Wish I had a drink....JACK: Only dead meat waits for thestewpot! Spring the lock, Gump!Gump examines the huge padlock with a frown.GUMP (wearily): Iron is sore trouble for elves.SCREWBALL: Magic's no good against it.Jack slumps down in the corner to think things over. The faeries mill about by the opposite wall.Jack stares at the bars. Luna orbits his head.JACK: I know I promised.... but it's the only way....Luna buzzes him furiously.JACK(cont): Sure it's a secret... It'llkeep forever when we're all dead....Jack glances guiltily at the whirling dot of LIGHT.JACK(cont) (to Gump): Why not have Luna flyout between the bars and find a key?GUMP(shaking his head): She's much too small....could never lift it...JACK(blurting it out): Not if she changes sizes like she can!GUMP: What?There is a bright FLASH of faerie-light and Luna stands full-sized before them, her gossamer wings a-tremble.GUMP(cont)(outraged): You wilful sprite! How dare you keep such secrets?LUNA: They're mine to keep! But I'll dowhat you ask.... if you kiss me, Jack.JACK: That's easy enough.Jack kisses her chastely on the cheek.LUNA: Call that a kiss? Am I not sweet?JACK(eager to please): Sweeter than beepollen on a summer wind.Luna moves in close to Jack.LUNA: Sweet is the wind thats blows me to you....Jack gently pushes her away.JACK: It's not possible. I'm in love....LUNA: A faerie's love makes anything possible....A soft cocoom of faerie LIGHT engulfs Luna. She metamorphoses within it, emerging as Princess Lili.LUNA/LILI: ....even you heart's desire.Luna/Lili embraces Jack. It is sweet and tempting.JACK(resisting): No.... this isn't real....Screwball and Blunder giggle and snigger.LUNA/LILI: Oh, but it is.... I'm warm and aliveand happy to be in your arms.Jack is nearly enchanted, but after a delicious moment, he pushes away.JACK: I can't do it....! This is faerie glamour!A brilliant aura of faerie LIGHT envelops Luna/Lili and she TRANSFORMS into her true winged-form. LUNA(bitterly): You....! You....mortal! Icould vex you! Dance you life away!JACK: Threats can't make you love you.Human hearts don't work that way.LUNA: What care I for human heart?Soft and spiritless as porridge!A faerie's heart beats fierce and free.There is a furious pytotechnic whirlwind and, in an instant, Luna returns to a tiny dot of LIGHT.JACK: Luna....?Without an answer, Luna flies out between the iron bars.JACK(cont) (to the faeries): I.... didn't meanto hurt her.GUMP(scornful): Your fine senseibilitieshave left us here to rot.The SOUND of heavy footsteps approaches, accompanied by rough, tuneless SINGING.COOK(os): ....this li'l piggie went to market....anudder li'l pigge got eat.... pig-meatpie, l'l piggie die....BLUNDER: Oh, no! He's coming...!Hide! Hide! Hide!Blunder conceals himself under a pile of straw. A deformed shadow is cast across the cage.SCREWBALL: Blunder's got the right idea!Screwball hides in the straw. Jack and the other immediately do the same.A fiendish demon COOK opens the cage door. He is ten feet tall and unspeakably ugly. He peers blindly inside, sniffing the air with his hideous nose.COOK: ....pig-pig-pig.... The Cook gropes inside the cage.The Cook reaches deep into the straw pile in teh corner and grabs Blunder.BLUNDER: Help....! Lemme go...?Turn me loose, you tub o' guts!The cook hauls Blunder out, kicking and screaming. He locks the cage abd stumps away.BLUNDER(cont): I hope I give you heart-burn!After a bit, the faeries and Jack peer up out of the straw.SCREWBALL(woefully): Fricasseed faeries, the lot of us....BROWN TON: Lambs to the slaughter....Jack draws his sword.JACK: Not without a fight!Transformed back to full-size, Luna tip-toes into the alcove outside the cage, her hands coyly behind her.GUMP: Luna....!LUNA(maliciously): You look like mourners at yourown funeral.GUMP(angry): Come back to dance on our graves!LUNA: I'd gladly frolic on Jack's....She LAUGHS and holds up a large iron key.LUNA(cont): ....but this cage shan't be your tomb!Luna tosses the key in to Gump. Instantly, she reduces to a tiny dot of LIGHT and flies out of the alcove.GUMP: Well done!Gump unlocks the barred door and they all clamber out. Screwball steps on Brown Tom's head in his eagerness.SCREWBALL: Lemme outta this stink hole!BROWN TOM: Mind you bleeding foot!GUMP: Shhhh! Jack is the last of all.JACK: Keep behind me in casethere's trouble.Sword in hand, Jack ;eads the faeries out of the alcove intothe kitchen.70 INTERIOR KITCHEN DAYHuge ovens belch fire and smoke. The vast hearth blazes. Like the lower reaches of Hell, the Dark Lord's kitchen is a place where all hope is abandoned.Jack and the faeries creep through the brimstone haze.BROWN TOM: Terrible sight for a soberman to see....JACK: Quiet!The demon Cooks blocks the way, chopping meat with a montrous cleaver, A SECOND COOK, every bit as terrifying, SNORES by the hearth. Trussed to a spit, Blunder hangs upside-down nearby.Jack motions the faeries on. The blind Cook turns them, sniffing the air.COOK: Whut be there?Jack and the faeries duck behind a huge bellows.SCREWBALL: ....Back in the frying pan!Gump clamps his hand over Screwball's mouth.Grasping his cleaver, the Cook advances towards them.COOK(sniffing): Be it live victuals?From where he hangs, Blunder sees the faeries' plight.BLUNDER(calling out): Hey....!Lard belly!The Cook turns, angered by this insult.COOK: Whut say, pip-squeak?BLUNDER: Two things down here look just alike!COOK: Wuzzat?BLUNDER: Your face and my ass!The Cook GROWLS with fury.COOK: Bash in you face! Den it no be so pretty!The Cook backhands poor Blunder, smacking him about like a punching bag.Jack and the faeries make a break for the exit.Blunder manages to work one arm free from his bonds.COOK(cont): Whut you got to say now,pork pie?Blunder rears back and punches the Cook in the jaw. Stunned,he topples over over backwards a great CRASH.70A INTERIOR GREAT HALL DAY The reverberations tremble through the immense underground castle. Darkness listens by the fire. DARKNESS: Do you feel it, Father....? A force....loose in my domain.... VOICE(out of fire): Guard well what is yours! DARKNESS(roaring): BRING INNOCENCE TO ME! 71 INTERIOR KITCHEN CORRIDOR DAY The faerie band gathers in the foul, dripping corridor. Irregular torchlight casts a lurid glow across the broken stones. BROWN TOM (gasping for breath): .....saved....by a goblin.... Never thought....I'd see....the day.... JACK: Wish we could repay the favour! SCREWBALL: My brother can take of himself. GUMP: Screwball's right! It's more important we find the unicorn. JACK: And Lili! BROWN TOM: Where do we start? GUMP: We must find the dungeons. Legend has is they house such sirriw that death is a gift....albeit one rarely granted. Screwball sits down defiantly. SCREWBALL: Think I'll stay right here thank you very much. Gump grabs hold of Screwball's ear and hauls him back up. GUMP: Not so fast! You search with the rest of us! Screwball hugs Jack's leg. SCREWBALL: All right! I'm going with Jack! GUMP: No you won't. Be faster if we split up. Screwball looks both ways, deciding which seems safest. SCREWBALL: Fine! I'm going this way! BROWN TOM: I'm going that way! They both turn and collide, falling flat on their rumps. JACK: Wait....! Better to search in teams, Gump and me together. Brown TOm, you and Screwball look in the other direction. Gump hauls out his ornate timepeice. GUMP: Right! Let's synchronise! We meet back here in twice five hundred beats of a bluebird's heart. Brown Tom takes a similar timepeice from under his tunic and studies its intricate interior. BROWN TOM: Best to allow another couple dozen butterfly breaths in case we get thirs....er, get lost.... GUMP: No grog shops down here, Brown Tom. JACK: Let's hurry! Jack and Gump run off along the corridor, followed by Luna's glowing LIGHT. Screwball watches without moving. SCREWBALL: Know what I want to know? BROWN TOM: What? SCREWBALL: Why me? Brown Tom gives Screwball a swift kick in his rear. BROWN TOM: Why not? The two little elves scamaper off together. SCREWBALL: I hate it....I hate it.... I hate it.... 72 INTERIOR DUNGEON DAY The iron-studded dungeon days swing magically open as Lili watches, her eyes aglow with animal fire. She crouches beside the unicorn, resting on her haunches in an easy feline fashion. Lili rises like a sleepwalker, unable to resist the compulsion luring her toward the open doorway. The chained unicorn WHINNIES pitifully. Princess Lili looks back without expression as she leaves. 73 DELETED 74 DELETED 75 INTERIOR ANOTHER CORRIDOR DAY Luna's bobbing LIGHT leads the way as Jack and Gump hurry along the rubble-choked corridor. Alerted by the SOUND of something, they dart into the shadows. GUMP: Quick, Jack! Jack and Gump watch in horror as a cracked EGG the size of a watermelon runs down the corridor on armor-scaled chicken legs, led on either side by a Demon holding a chain leash. Jack draws his sword. The Demons stop and the Egg begins to crack. JACK: I'll scramble that one! Gump restrains him. The Egg cracks apart. GUMP: Don't trust your eyes! All is enchanted here. The Egg breaks into pieces and a dripping winged monster emerges; a diabolic cross between a bat and a pterodactyl. It emits a fearsome SHRIEK and flies off down the corridor followed by the twin attendant Demons. Jack and Gump hurry on in the opposite direction. 75A INTERIOR DUNGEON CORRIDOR DAY Screwball and Brown Tom creep timorously forward. They are alerted by the SOUNDS of something approaching. A hideously deformed shadow fall across the opposite wall. The two faeries clutch each other in terror and duck into the shadows. It is Princess Lili! She passes the evles' hiding place as if in a trance. 76 INTERIOR VIADUCT DAY Jack and Gump emerge on a narrow span arching across the vast central of the undreground castle. Similiar viaducts, above and below, bridge the awesome chasm. The Green Man and the faerie gawk at the sheer magnitude of it all. JACK: Not even kings live like this.... On a high span above, Jack sees Princess Lili drifting by like a somnabulist. JACK (cont): My God! Gump, look! It's Lili! GUMP: Don't believe it, Jack. JACK (yelling): Lili ! The SOUND ECHOES through the vast space. 77 INTERIOR LILI'S VIADUCT DAY The Princess pauses. A section of parapet has broken off and she wanders to the edge, staring down into the void. For a precarious moment, she teeters on the brink, seemingly about to fall. JACK (os) (calling): Li-li ! The Princess does not respond, wobbling like a dreamer on the narrow edge of disaster. She leans against the ruined parapet and a bug chunk of masonry breaks away, tumbling and bouncing into the abyss. JACK (cont) (os) (calling): It's Ja-ack ! Lili's face is blank. She turns and continues blindly on her way. 78 INTERIOR VIADUCT DAY Jack stares up at Lili's retreating form. JACK: It's her. I know it. GUMP: Don't be so hasty! Remember who we're dealing with. JACK: I've got to reach her! Jack races off. Gump runs along behind. 78A INTERIOR GREAT HALL DAY The shadowy figure of Darkness looms over a band of deformed PYGMIES with needle-sharp teeth and wickedly curved talons long as pitchfork tines. DARKNESS: My enemies approach.... destory them! Darkness points an evil finger and the Pygmies scurry CACKLING off. 79 DELETED 80 INTERIOR LILI'S VIADUCT DAY Jack and Gump hurry out onto the arching span. The Princess is nowhere in sight. GUMP (running after): Slow down....! Use some caution! JACK: This way! Jack runs on into the corridor in the direction taken by Lili. Gump follows after. 81 INTERIOR RAIN CORRIDOR DAY Lili wanders down a long colonnade with dangling vine-like roots. A glistening magic rain falls from the granite ceiling. Her blank eyes stare straight ahead. Jack and Gump appear at the opposite end of the passage in time to see the Princess drift out of sight. JACK: There she is....! Lili....! Jack and Gump run to catch up, pushing through root tendrils agleam with rain. Suddenly, they are attacked by SCREAMING Pygmies. GUMP: Jack! JACK (drawing his sword): Demons! The nimble Pygmies leap about them, lethal talons slashing through the drizzle. Jack and Gump retreat, backing between clingling rootlets. GUMP: Quick! In here! Gump yanks open a heavy oaken door in the side wall and they duck inside, slamming it shut in the teeth of the attacking Pygmies. 81A INTERIOR SEALED CORRIDOR DAY Jack strains against the door handle, struggling to keep the portal shut tight. There is less space than in a closet. The corridor behind them is completely bricked over. GUMP: Trapped....! CLOSE ON DOOR: With great force, the Pygmies' claws stab through the thick wood like stiletties. Their needle tips are mere inches from Jack and Gump. The door's inner surface is studded with talons. Jack suddenly SLAMS the door open with such force it swings into the side wall with a loud CRASH. The Pygmies' frenzied SCREAMING ends in abrupt SILENCE. Jack and Gump peer cautiously out. 81B INTERIOR RAIN CORRIDOR DAY The Pymies hang unconscious on the other side of the door, dangling from their imbedded talons. JACK: Come on! Jack and Gump run into the rain. 82 INTERIOR CORRIDOR OUTSIDE GREAT HALL DAY Jack and Gump hurry around the corner just as Lili heads towards a pair of massive doors swinging slowly open at her approach. JACK (calling): Lili! Wait! Gump grabs Jack's arm and yanks him to a stop. GUMP: Don't be daft! She's under a spell! Lili enters and the doors swing closed behind her. 83 INTERIOR GREAT HALL DAY An enormous chamber draped with black cloth surrounded by tall Baroque columns. Winged demons writhe in the shadows above. A long black table reaches down the centre of the room. All is lit by firelight. The gaping hearth, with its entablature of monumental sculpture, is flanked by a pair of massive ebony thrones, carved in a hideous, twisting mass of tendons, sinews and museles. When the imposing doors swing closed, Lili's spell is broken. She stares in terror at her news surroundings. Something weird and mysterious approaches from out of the draped shadows. It is a magnificent high-collared black gown, waltzing like a ghost across the black marble floor. There is no one wearing the garment! Fascinated, Lili watches the dress circle towards her. She finds it irresistable. Taking hold of the gown's empty sleeves she begins to dance, spinning round and round to the impulsive music. 84 INTERIOR CORRIDOR OUTSIDE GREAT HALL DAY Jack paces back and forth in front of the sealed doors. JACK: Why did you stop me? GUMP: We best reconnoitre. What if it's a trap? Gump and Jack strain to see through the crack between the doors. 85 INTERIOR GREAT HALL DAY Lili dances by herself, turning slow dreamy circles before the blazing fire. She is now WEARING the splendid black gown! Reflected firelight GLITTERS in the shadows. An open jewel box spills its sparkling treasure onto an ornate table. Lili is lure like a moth to the flame. She steps up onto an oversized footstool by the table. The ebony casket brims with gemstones. Lili's eyes dazzle. A carved ebony figure of a skeleton turns slowly out of the centre, holding in its up lifted arms the most exquisite black diamond necklace the mind can imagine. The Princess sucks in her breath. The temptation is too great. She impulsively takes the necklace and hops down from the stool. The high collar of her gown makes fastening the clasp difficult and without thinking, she backs towards the wall, fumbling behind her neck. She leans against a sculpted marble frieze of souls in torment, concentrating on the tricky clasp. All at once, a piece of sculpture becomes ANIMATE. Powerful arms reach out to fasten the necklace. For a moment Lili doesn't notice, grateful for the help. Then, she realises what is happening and SCREAMS. The musular black arms reach for her as she pulls away in terror. Lili turns to run, but is stopped short by her reflection in a tall cheval glass mirror. She looks furtively about, making certain she is unobserved. Alone, she admires her perfect image. CLOSE ON MIRROR: Beneath Lili's pleased expression we see the evil face of Darkness APPEAR like a man emerging from under water. Darkness penetrates the surface of the mirror. Lili backs away, GASPING soundlessly with terror. Darkness steps forth through the glass into the room, clad in black finery. Lili staggers. Darkness reaches to embrace her and the Princess SHRIEKS at the top of her lungs. The moment he touches her shoulder, she slumps tothe floor, unconscious. Darkness stands over the fallen girl, his heartbeat pulsing like muffled thunder. Something almost like a smile creases his hideous features as he rolls a lock of Lili's hair between his clawed fingers. The Princess blinks and opens her eyes. She is horrified to find Darkness kneeling over her and frantically tries to get away. DARKNESS: Do not be afraid, lady.... Lili GASPS like a stranded fish. She is catatonic with fear. DARKNESS (cont): I mean you no harm. Darkness offers the Princess his hand. DARKNESS (cont): How like you my gifts...? Does the gown not please you? Come.... tell me.... Lili's terror renders her speechless. DARKNESS (cont): The colour is most suitable... We sanctify the death of the old world and the birth of a new order.... You are the guest of honour. Lili WEEPS and tugs at the black dress. LILI: ....of dishonour...! Take this away.... Please! I beg you! Darkness advances on Lili. The slow kettldrum THROB of his heart underscores his words. DARKNESS: Your soul in like some dark nectar.... I cannot rest unril I taste its sweetness. LILI (frantic): Never! I hate you! I hate this dress! DARKNESS: Can you speak so of your bridal gown....? LILI (screaming): Nooooooooo! 86 INTERIOR CORRIDOR OUTSIDE GREAT HALL DAY Jack and Gump listen by the closed doors to Lili's peircing scream (OS). Jack is desparate and half-draws his sword from the scabbard. JACK: What has he done to her?Gump restrains the boy.GUMP: You have no power to stop it....Be thankful she lives.Jack shoves his sword back in disgust.JACK (bitterly): Some champion....What good is this fancy sword?GUMP: It's not the sword that counts, butthe man who swings it....87 INTERIOR GREAT HALL DAY Lili slumps to the cold stone floor, WEEPING. Darkness bends solicitously over her.DARKNESS: Why the tears?LILI (sobbing): ....everything is lost....poor Jack....DARKNESS: Why weep for him? He left youalone to die!LILI: No! He'd never do that! He waskilled....like everything else....DARKNESS (glancing over his shoulder): Yes.... Butwhy mourn? You have a new and grander destiny!LILI: Consort of some cowardly vile toadwho slinks through the night!DARKNESS: Not so! I requite to shadow'ssolace and dark of the night.... Sunshine is mydestroyer!LILI (scornful): You think you're so powerful....and hide in the ground like a mole!DARKNESS (smiling): This too will change. The last unicorn dies tonight....!As her blood ebbs, the sun sets forever. There shall never be another dawn!LILI (horrified): No....! You can't....You mustn't....Darkness throws back his evil head and LAUGHS.88 INTERIOR CORRIDOR OUTSIDE GREAT HALL DAY The demonic LAUGHTER of Darkness carries through the massive doors.JACK: He means to kill the mare, Gump!GUMP: Don't mourn the corpse'til the coffin's in the ground.DARKNESS (OS): My dominion shall encompassthe enternal night!GUMP: As long as the sun still shines, so does hope!JACK (bitterly: Sun doesn't shine down here.Jack fingers Lili's silver medallion hanging around his neckand from out of the blue, inspiration strikes.JACK (cont) (grinning): Wait a minute....! I think I know a way.89 INTERIOR GREAT HALL DAYLili stares at Darkness with terror and loathing.DARKNESS: The world shall be at last as nature intended....a place of chaos andanarchy!LILI: You're mad!DARKNESS: Aye, Lady, and proud to be so! For in madness lies the soul of all that's noble.... Can you fathom the lonelinessof untold eons lived in darkness? My spiritwas forged in that black fire....LILI: You live alone because you areloathsome! The contagion of your wicked heart demandsisolation.DARKNESS: Nay, mistress. I've foundmy mate and you know it. We're just alike, you and I. Beneath the skinwe are already one.LILI: Never!DARKNESS: 'Twas your sin trapped the unicorn.Even now, the evil seed of what you've done blooms within you!LILI (shrieking): You lie! You'rerepulsive!DARKNESS (stung by her words): No more so than you!Can't you sense it? That is why I desire you. I need someone to share the dark secrets of my soul.LILI: You....? You disgust me! You'renothing but a beast!DARKNESS: Everyone is a beast....only most areafraid to see it!Darkness compels Lili over to the mirror with the force of his will.90 LILI'S POV : MIRROR Lili sees her reflection in the glass. The lovely femininefeatures ALTER into those of a cat-like beast.DARKNESS (os): This mirror shows how we really are....Behold your true reflection.91 INTERIOR GREAT HALL DAY Lili pulls free from his graps and turns from the glass. Herface remains lovely and unchanged.LILI (frantic): No! You're working magic on me!I won't believe it!DARKNESS: My Lady misjudges me... I am nocommon trickster.... look atyou hands!Lili's fingers transform before her eyes: hooked claws spring from their tips, coarse black hair pushes the skin.DARKNESS (cont) (Laughing): My mirrornever lies.Lili's lovely face undergoes the same tranmutation shewitnessed in the mirror. She feels fur-covered sheeks andpointed ears. This time, her SCREAM is hysterical.Darkness places a protective arm around Lili.DARKNESS (cont): Glory in your animal nature.It is your triumph!LILI: I'm hideous!DARKNESS: No! The puling, pallid creature youwere was truly something disgusting.Now you are magificent.... a fierce goddess!Lili jerks away, HISSING and showing her claws.LILI: Damn you!DARKNESS: We are both of us damned, my Queen.Darkness bows with mock formality, ALTERING into his own shadows, which slides through a crack in the paving stones.Lili cannot resist her reflection. Horrified anew. she falls to the floor, WEEPING.91A EXTERIOR SKY DAY Round and red, the great disc of the setting sun slides towards the distant horizon.92 INTERIOR CORRIDOR OUTSIDE GREAT HALL DAY Crazed by anxiety, Jack finds the keyhole and cups his hands around it.JACK (calling out): Lili....? Can youhear me....?93 INTERIOR GREAT HALL DAY Lili huddles WEEPING on the cold stones.JACK (os): ....Lili....?At the sound of Jack's voice, the Princess looks up with a start.LILI: ....Jack?JACK (os): Over here....By the door....Lili turns eagerly turns to the door.LILI: Oh, Jack....dear Jack! Can itreally be you? I was afraid you were dead.93A INTERIOR CORRIDOR OUTSIDE GREAT HALL DAY JACK: Thank God you're all right! I didn'tknow what to do.... I never want tolose you again....93B INTERIOR GREAT HALL DAY Lili pauses before the keyhole, out of Jack's line of sight.LILI: Jack, my love....my preciouslove! I pray it's you and not morewicked magic.93C CORRIDOR OUTSIDE GREAT HALL DAY JACK: It's me, you can be sure of that....and there's magic on our side, too.93D INTERIOR GREAT HALL DAY LILI: It's all my fault....the unicorn....everything....JACK (os): My fault as much as yours....Don't worry. We're here to save you.LILI (sadly): I'm far past saving,sweet Jack....A huge tears wells in Lili's eye and flies out toward the keyhole, defying gravity.94 INTERIOR CORRIDOR OUTSIDE GREAT HALL DAYLili's tear flies through the keyhole and strikes Jack's face like a horizontal raindrop. He touches the spot curiously.GUMP (amazed): How did you do that?JACK (to Gump): I didn't do anything....(into keyhole) let me see your face. It will give me hope....Jack strains to see through the keyhole.95 INTERIOR GREAT HALL DAY Lili stares at the keyhole in horror.JACK (os): ....just to glimpse your smile....LILI (grief-stricken): No.... I can't....forget me, Jack....The Princess reaches out her animal's paw and covers the keyhole.96 INTERIOR CORRIDOR OUTSIDE GREAT HALL DAY As the LIGHT in the opening grows DARK, Jack tenderly places his hand next to Lili's.JACK: Lili....? I love you....Gump pulls frantically on Jack's arm.GUMP: Come, Jack. We've no time to spare.... Remember your plan?Sadly, Jack takes his hand from the keyhole and follows Gump back along the corridor.97 INTERIOR GREAT HALL DAY Princess Lili lies SOBBING. High above, the winged figures watch her. The music THROBS, underscoring a low, rhythmic CHANTING. Like some ghastly chorus fro, Hell, the living statuary sings in unison to Lili:STATUARY (singing): Bride of Night.... Bride of Night....Darkness is your heart's delight!Hail to Darkness! Hail the Night!His the Power and the Might!Master of Chaos, Lord of Doom,Sing his praises from the tomb!Lili lifts her head, listening to the sepulchral SINGING. Her eyes burn like a tiger's. She bares her fangs, and from her throat issues a bone-chilling HOWL.98 INTERIOR DUNGEON CORRIDOR DAY Screwball and Brown Tom stop short in their tracks when they hear the SOUND of a distant HOWL echoes in the shadows. SCREWBALL (trembling): I vote we run like hell! The two faeries scamper off into darkness. 99 INTERIOR DUNGEON CORRIDOR DAY Gump, Jack and a woman-sized Luna wait outside the kitchen door as Brown Tom and Screwball come running up. Gump studies his ornate timepiece.GUMP: Where were you? In another three flicks of a badger's tail it'll be half-past.SCREWBALL: Sorry....time slips awaywhen you're having so much fun.BROWN TOM (out of breath): We....found the mare....chained....in the dungeon below.Gump shoves his timepiece back in his belt.GUMP: Excellant.... Who has a bit ofparchment?The two faeries search in their clothing. Screwball produces a plethora of trash: marbles, string, old doll's eyes, coloured bird's eggs, ancient coins, etc. At last he finds a crumbled peice of sheepskin.SCREWBALL: Here.... I was saving itto write me will on.BROWN TOM: Where there's a will there'sa....GUMP: Shush, both of you....! Jack has a plan....a good one....Gump squats on the floor, and, using a triangle and some charcoal, divides the parchment into mysterious lines and angles.GUMP (mumbling): ....angle of refraction equals....angle of incidence....multiplied by a factor of fourty.....divided by thesquare root of a google-plex....Gump SNAPS his fingers triumphantly.GUMP (cont): Perfect! It will work like a charm, Jack!JACK: Let's get started! What we need to do is sneak back into the kitchen and gather all the plates and platters....SCREWBALL: Oh no! Not me! Seen enoughof that kitchen, I have!BROWN TOM: Don't be so pig-headed! You can trust Gump.SCREWBALL: I'd sooner trust a rat in the ghetto!BROWN TOM: Well.... trust Jack then.Jack eases open the kitchen door.JACK: Remember....just the shiny ones....Jack leads the way back into the kitcheb. Gump urges the other two to follow.GUMP: ....and be quiet! Soft asthistledown, that's the faerie way.100 INTERIOR KITCHEN DAY Jack and the faeries tiptoe cautiosuly into the kitchen.Both Demon Cooks are asleep, the encountered first is stretched out across his chopping block, SNORING like a dragon with indisgestion.The unfortunate Blunder turns slowly over the coals, hog-tied to a spit. A bright red apple is stuffed in his mouth. Jack and Gump rush to his side.Gump pulls the apple from Blunder's mouth.BLUNDER (frantic): Get me outta here! Please!While I'm still medium rare!GUMP: Quiet....! You're a free impon one condition....BLUNDER(very loud): Condition....! What condition?Loose me or I'll make such....Gump shoves the apple back into Blunder's mouth, stoppering his loud complaint.GUMP: Any more noise and you'reshish-ka-bob....Blunder nods eagerly.GUMP (cont): You do what we tell you....understand?More eager nodding from Blunder.GUMP (cont): Swear it!Gump pulls the apple out of Blunder's mouth.BLUNDER: I swear! On the festeringforelock of Nicodemus!Jack cuts Blunder's bonds and the little imp hops nibmly out of the fireplace.BLUNDER: A thousand thanks....Jack boosts Gump and Screwball up onto the mantle where the polished plates are stacked.JACK: Up we go!Luna TRANSFORMS into a dot of LIGHT and flies up to the cimnet pieces, REMATERIALISING there in her full size.JACK (cont): Your turn, Blunder.Jack lifts Blunder onto his shoulds so he can climb to the first level of the three-tiered mantle. Blunder joins Screwball, Gump and Luna as they rush about the mantlepiece, frantically gathering shield-sized plates.One by one, the faeries toss the plates down to Jack, who stacks them in Brown Tom's arms.Brown Tom staggers through the kitchen carrying a teetering tower of plates. He can't see where he is going and trips over the nozzle of the giant bellows.The plates fall with a deafening CRASH!Both ferocious blind Cooks are awakened by the NOISE.SECOND COOK: Huh....! Wuzzat?Jack and the faeries freeze in place as the Cook rises and pulls his huge cleaver from the chopping block.COOK (sniffing the air): Meat....! Mesmells fresh meat!Jack draws his sword and steps between the awesome Cook and Brown Tom, sprawled helplessly on the floor.SECOND COOK: Find meat!JACK: Over here!The blind cook lunges for Jack. He wields his deadly cleaver with amazing accuracy for one without sight.COOK: Chop it up!Jack ducks past the Cook, smacking him on the leg with the flat of his blade. The huge demon YELPS in pain.The Second Cook picks up a skillet, wielding it like a club.SECOND COOK: Smash....! Me smash!Jack is caught between the two demon Cooks. He cannot face one without turning his back on the other.Gump sees Jack's predicament and leaps from the mantle onto the Second Cook's head with a wild CRY:GUMP: Schweinhundt!Gump clings to the Second Cook like a terrier, confusing him and giving Jack time to dart acrobatically out of the way.JACK (jabbing the Cook): Gotcha!COOK: Cut you in half!A mighty swing from the Cook misses Jack, who executes a nimble back-flip. The Cook cleaves through a hanging side of meat by mistake.The Second Cook grabs hold of Gump and shakes him.SECOND COOK: Sweet, sweet blood....Up on the mantle, Screwball and Blunder exchange a helpless look. Gump is a goner unless they do something. They a simultaneous unspoken conclusion, and leap onto the Second Cook's back.SCREWBALL (calling out): Rooster toes....!BLUNDER (calling out): ....pig whiskers!Faced with this new twin threat, the Second Cook drops GUmp, who immediately bities him on the leg.SECOND COOK: Whut.....! Who now? Ouch!Jack fights a rearguard action, stabbing at the savage Cook as he retreats.JACK: Best you can do?COOK: You gonna be mince-meat!Jack back onto a steep stone ramp against the far wall.JACK: Got to catch me first!The Cook's cleaver CLANGS against the ramp, missing Jack by inches.The Second Cook has his hands full. Brown Tom has joined the fray and clings to his other leg while Blunder and Screwball claw and punch at his head.SCREWBALL & BLUNDER: Hit him....!Sock him....!Staggering under the full weight of the faerie onslaught, the Second Cook lurches in circles.SECOND COOK: Kill....! Smash....!Furious, the Second Cook swings his heavy skillet at Screwball and Blunder. He misses them completely, hitting himself square on the head and knocking himself out.The faeries leap off as the demon toppes backwards into the fireplace.GUMP: We must help Jack!The faeries race to the foot of the ramp. Jack parries the Cook's fearsome swing. The Cook presses him relentlessly. The CLASH of steel rings through the cavernous kitchen.The faeries start up the ramp like a tiny cheering section.BLUNDER: Stick him a good one!SCREWBALL: Cut him down to size, Jack!Giant wine barrels are stacked at tge top of the ramp. The Cook back Jack against them. There is no further room for retreat.COOK: Gonna spill your guts, boy.The Cook swings his cleaver from the hip. Jack nimbly springs out of harm's way. The cleaver drives full force into one of the chocks supporting the pyramid of wine barrels.GRUMBLING, the Cook yanks his cleaver free. This pulls the chock loose from under the bottom barrel.COOK (cont) (Listening): Wuzzat....?The entire stack of barrels shifts, rolling towards the Cook.COOK (cont): Bad news!The Cook runs for his life. The huge hogshead RUMBLE forward in a wooden avalanche.Jack crouches at the top of the ramp. As the Cook runs past he sticks the sword-blade between his legs and trips him up.The Cook tumbles, head over heels, down the ramp.Half-way up, the faerie band sees the giant barrels ROLLING towards them.SCREWBALL (horrified): Sodom and Glockamora!The faeries turn and run.The barrels CRASH on top of the fallen Cook, knocking him senseless as they CONTINUE rolling.The faeries dive for cover in the arched opening of the kitchen doorway at the bottom of the ramp.The barrels CRUNCH into the kitchen wall. Because they are larger than the doorway, the faeries crouching inside are spared.Oceans of wine flood out in a dark tidal wave, forcing the door and washing the little people into the corridor beyond.101 INTERIOR KITCHEB CORRIDOR DAY Brown Tom is beside himself with delight. He scoops up wine with Screwball's helmet and pours it on top of his head..BROWN TOM: Whoopeeeeeee!Jack appears in the shattered doorway, sword in hand.JACK: Hate to break up theparty, but there's work to bedone!Gump jumps to his feet.GUMP: Hurry! Get those plates~Jack sheathes his sword and rushes into the kitchen.Screwball and Blunder follow, but Brown Tom lingers behind, scooping the helmet full of wine.BROWN TOM: Just a wee taste....Gump kicks Brown Tom smartly in the pants.GUMP: Move! Or I make your head ringworse than any hangover!Gump chases Brown Tom back into the kitchen.101A INTERIOR KITCHEN DAY The faeries gather up the fallen plates. Jack stares thoughtfully at the fireplace, where the body of the Second Cook has snuffed out the flames.GUMP: What's on your mind, Jack?JACK: Smoke rising.... That chimneymust go clear to the top.Gump peers into the hearth.GUMP: Not much to hold onto. Take a peapod pixie to make the climb.Screwball steps proudly forward.SCREWBALL: I'll do it!The faeries are astonished. Screwball never volunteers.GUMP: What? Can I believe my ears?SCREWBALL: Don't see why not. Ain't I small enough for the job?BLUNDER (proudly): No job's toosmall for the Buttercup brothers....SCREWBALL (on his knees: Please, Gump.... let me try.I know I'm always trouble, but I wantto make it up to you....Prove that I won't let you down.BROWN TOM: Be sure ya don't fall down!GUMP: All right! Do it! But be swift.SCREWBALL: Thank you....thank you....You'll never regret it....Jack boosts Screwball up into the chimney.JACK: I'm proud of you, Screwball.(handing him a plate)Don't drop it....GUMP (calling up): We'll send Luna with a signal when all is ready.101B INTERIOR CHIMNEY DAY Screwball clings to the smoke-blackened bricks, staring up the nearly endless shaft at a small circle of light far above.BROWN TOM (os) (calling from below): Alwaysknew you'd be going places, Screwball....Good luck....!SCREWBALL (to himself): I'm goin' places,all right.... straight to the top and onoutta this hell-hole.... No morekitchen....no more demons.... Just the easy life for Screwball Buttercup....101C INTERIOR KITCHEN DAY A shining gold plate is propper on the Secnd Cook smouldering in the fireplace.Luna positions another plate against the bellows, taking care to get the angle right.Gump stands between the bellows and the shattered kitchen door, measuring the nagle with a curious hand-held instrument.GUMP: Little more to the left, Luna....that's better..just a touch more....perfect.101D INTERIOR KITCHEN CORRIDOR DAY Blunder and Brown Tom run off carrying armloads of plates.Jack leans a platter against the corridor wall, adjsuting it precisely.JACK (calling): How's that, Gump?GUMP (os): Dead centre....!102 INTERIOR GREAT HALL DAY Lili's tears have dried. She prowls the majestic hall with regal dignity. Something magic occurs at the baquet table: each crystal goblet fills mysteriously with black wine as she passes; every empty bowl and platter suddenly is heaped with an incredible things to eat-all of it black!The food is beautiful in spite on its colour. Lili stares a it with undisguised hunger. Some animal instinct warns her not to trust this gleaming ebony feast, but she's famished and snatches up an apple bright as ploish anthracite.DARKNESS (os): Good....eat....Lili GASPS, dropping the apple. Darkness sits in one of the twin grostesque thrones flanking the hearth.DARKNESS (cont): The food is for your enjoyment.LILI: I don't want it! I'mnot hungry!DARKNESS: Do you lie just to please me?LILI: I do nothing for your pleasure!Darkness gestures to the opposing throne.DARKNESS: You are so like a child, milady.Sit, and we'll talk.Lili makes no move towards the chair. DARKNESS (CONT) (gently): Like a child, you expect anger anddefiance will upset me.... Theseare the qualities I admire most....Lili snarls, fangs gleaming in the firelight.LILI: So.... I'd love to rip out yourthroat, yet it would pain you moreif I licked your hand....DARKNESS: All I desire is that yousit in that chair and talk with me.Lili approaches the grotesque throne. Like some impossible organism, it pulses in anticipation.LILI: Sit....? Here....?DARKNESS: Yes. Please....LILI: I prefer to stand.For a moment, Darkness nearly sucumbs to anger. The viens in his forehead throb. His talons grip his throne in a spam of fury.DARKNESS (snarling): Sit....!Darkness shrewdly realises rage won't work and he relaxes with a twisted smile.DARKNESS: (cont): .....or stand. As you wish.... It's enough that we'realone together.... just the two ofus....102A CLOSE: MATCHING FIREPLACE OPPOSITE Across the Great Hall from the blazing hearth is an identical fireplace. This one is cold, but not empty. Covered with soot and as black as a Moor, Screwball climbs into VIEW between the massive andirons.DARKNESS (cont) (os): All of timeawaits us....why not make a start.Screwball puts down his plate and tiptoes into the Great Hall towards the banqueting table.LILI (os): A start at what....?102B INTERIOR GREAT HALL DAYDarkness leans forward in his throne, smiling at Lili.DARKNESS: Simple conversation....LILI: What do we possibly have totalk about?DARKNESS: Thoughts....dreams....ambitions....LILI: I have no interest in yourfoul ambition.DARKNESS: Desire then....surely we beasts all have desire.102C INTERIOR GREAT HALL (MATCHING FIREPLACE OPPOSITE) DAYUnseen, Screwball climbs up onto the banquet table. He can't believe his good fortune. A bounteous feast surrounds him.LILI (os): You'd never dream what I desire....DARKNESS (os): Don't be so sure....Dreams are my specialityScrewballs stuffs his tunic with black fruit. He rushes about, treading on the feast in his crazed delirium at beung surrounded by such plenty.DARKNESS (cont) (os): It is throughdreams I influence mankind. I have dreams of my own.... dreams of enternitywith you....no more silence....nomore loneliness....102D INTERIOR GREAT HALL DAY Lili LAUGHS in the face of Darkness.LILI (scornfully): Such drivel! Yousound like some simpering schoolboy!DARKNESS: I'll wager there was a time when the attention of a devoted schoolbvoy were entirely toyour liking.Lili regards her claws with a savage sneer.LILI (snarling): I know what I'd dowith such meat now!DARKNESS: ....all things change, lady.The pleasures of youth become theregrets of maturity....A loud CRASH on the banquet table causes Darkness to look around. He SEES Screwball standing by the centrepiece, about to shove a whole chicken in his mouth.DARKNESS (cont) (angry): What'reyou doing here?Blackened with soot, Screwball easily passes for a goblin.SCREWBALL (all innocence): .....amI early....?DARKNESS: You impudent imp!SCREWBALL: I thought the invitationsaid half-past....DARKNESS (roaring): GET OUT!Screwball gets the message. He drops the chicken and hops down off the banquet table, running to the opposite fireplace for all he's worth.DARKNESS (cont) (gently to Lili): Sit....I value your thoughts. Why not share themwith me?Lili looks at the grotesque throne.LILI: No more than that....just sit?DARKNESS (nodding): Sit....Lili steps up onto the oversized footstool. Inches behind her, the monstrous throne swells and throbs like an organic creature, the powerful sinews rippling with desire.LILI (a feline smile): Doesn'tseem such an outrageous request....The Princess prepares to sit, her luscious, silk-swathed bottom only inches from the lavcivious surface of the squirming throne.DARKNESS: You'll never regret grantingme this favour....Lili's eyes glitter as she teases him.LILI: What shall we talk about?DARKNESS (impatient): Just sit!The febric of Lili's gown brushes the writihing throne. In another second she will be sitting. Unexpectedly, she stands up tall on the footstool.LILI: Such a disagreeable chair....mustbe terribly uncomfortable. I think I'll stand if you don't mind.Darkness barely controls his raging anger.DARKNESS: I prefer you to sit!LILI: I'd rather stand, thank you.Darkness's forehead swells with fury.DARKNESS: Sit!LILI: No.... Not now....Darkness puffs like an adder in his frenzy, rising up to tower over Lili.DARKNESS (roaring): I command you to sit!Lili is utterly unafraid. She LAUGHS at the swollen image of Darkness.LILI: Don't be silly.Lili hops down from the footstool.DARKNESS (screaming with rage): SIT, DAMN YOU!Lili sashays past him, twitching her gown in an unashamedly wanton fashion. Her hearty LAUGH is as loud as the outraged ROARS of Darkness.LILI (laughing): Never.... never....103-110 DELETED110A INTERIOR DUNGEON CHASM DAY Jack scales a plate like a golden discus across the chasm to Brown Tom waiting on the viaduct above.Jack hurls another plate.Suddenly, the Winged Monster, hatched from the walking Egg, glides SHRIEKING from the shadows. It catches the plate in its saw-toothed beak and dives at Jack. Gump sees it first.GUMP: Jack....!Dropping the plate, the Winged Monster rips at Jack. The Green Man draws his sword and defends himself. The fight is savage and brief. Jack hacks the Monster out of the air. It lies, flapping and broken at his feet. Gump touches him sympathetically on the arm.JACK: ....I'm all right....Let'sget on....to the dungeon....GUMP (pensive): You have power within I never imagined. 111 INTERIOR GREAT HALL DAY Darkness stares at the Princess in a towering rage. She flirtatiously pretends to be interested in a bit of fruit before rejecting it in favour of another, which also proves not to her liking.DARKNESS: I'm not above my own littlepranks, milady.... Should you havea taste for them.LILI: No doubt they're as foul asthe stuff you set on your table....Darkness relaxes, taking his cue from Lili's mocking tone.DARKNESS: Foul....or fair, such distinctionsare entirely arbitrary, my dear.... Doesnot the lowly toad think his mate fair, warts and all....?LILI: Do you suggest I will think you fair some day?DARKNESS: In time....and time we surelyhave... stretching before us....infinity....like a merciful curtain closingoff the past....Darkness moves gracefully to Lili's side and kneels before her.DARKNESS (cont): I beseech you...do not rejectmy foods as you do my food.... Never have Iabased myself so before another....It is nothumility that brings me low, mistress.... butlove....LILI: Love?DARKNESS: Aye, love.... You think myheart a barren desert where onlyhate can flower....A much finer blossomshow its petals now....nourished bysorrow....watered with your tears...(baring his breast)I offer you this rose, Princess!....my heart....my soul....Lili is astonished. She walks away to consider what Darknesshas said.Darkness watches her slyly. His expression reveals his wordsto have been a ruse. He gloats in anticipation.Lili turns back to face him. Darkness immediately resumes his look of adoration.LILI: You dizzy me, lord.... I neverthought to hear the word 'love' spoken again....DARKNESS: You'll hear it forever.(shouting)I love you!LILI: If such is true....hope is yet alive...(regarding her claws)These talons can caress as well as kill....They are interrupted by the SOUND of a CHIME. An unseen clocks tolls the hour.Darkness stares up into the shadows.DARKNESS: It grows late....111A EXTERIOR SKY DAY The setting sun blazes through distant drifting clouds, tinting the sky in a riot of colours. Another CHIME is heard.111B INTERIOR GREAT HALL DAY The SOUND of the unicorn's frightened whinny carries up from the dungeons below.DARKNESS (laughing): Our weddingfeast is in good voice....Thinkyou not?Lili cunningly disguises her alarm.LILI: I admire your thrift, my lord,both the meal and entertainmentin a single dish.Darkness appreciates this joke.DARKNESS: Are you anxious to see blood flow?LILI: As you are to drink it!(smiling slyly)Will the groom grant his bride her wishon this night?DARKNESS (beaming with pleasure): You have but to ask my savage beauty.Lili leers, baring her feline teeth.LILI: I want to kill the unicorn!Darkness claps his hands with joy.DARKNESS: Lady, you make me proud....111C INTERIOR CHIMNEY DAY Screwball struggles up the endless chimney, past hideous gargoyles and ancient skeletons imbedded in the blackened bricks.The SOUNDS of conversation CARRY UP from below.LILI (OS): I will do it with joy....!Let the unicorn's blood anoint our love!SCREWBALL: Crumpets and candlesticks....!She's gonna kill it!LILI (OS): ....and in the eternityawaiting us, I will happily sit on your throneas befits the Queen of Darkness!SCREWBALL: I can't let that happen....Why,it's not civilized!Clutching the golden plate, Screwball struggles upwards likea tiny mountaineer.He reaches into a grinning skull for a handhold and the jawsclamp shut on his fingers.SCREWBALL (cont): Billygoat dumplings!Screwball yanks his hand free, nearly losing his balance. His terror gives him renewed energy and he scrambles frantically up the inside of the chimney.111D EXTERIOR TOP OF CHIMNEY DAY The chimney pot is shaped like a monstrous demon. Black as a sweep, Screwball emerges at the top and looks around.The distant sun is a dying ember resting on the surrounding rim of dark mountains. We HEAR the SOUND of a clock CHIME!111E INTERIOR DUNGEON CORRIDOR DAY A distant CHIME stops Gump in his tracks. He pulls out his timepiece from the pouch and studies it.GUMP: ....not much time....111F INTERIOR GREAT HALL DAYPrincess Lili stretches out her arms towards Darkness.LILI: Bring me to the wretched beast.Darkness takes her arm and leads her towards the blazing hearth.The unicorn's distant whinny ECHOES from below.DARKNESS: This way, fair beauty. I hear a throat begging to be cut.Lili hesitates when she realises Darkness intends to leadher straight into the flames.LILI (fearful): No....! It's impossible!Darkness steps into the leaping flames. He turns and takesLili's hand.DARKNESS: Now you are my queen. Nothing isimpossible....Come....it takes but a single step....Find the faith....Darkness looks deep into Lili's eyes. She places her tinyfoot among the white glowing coals. Nothing happens. Noteven the fur is singed.Lili smiles. Her fear vanishes. She stands at the side of her master. Darkness wraps a powerful arm about the girl and they are consumed by flames, becoming one with the blaze around them.112 DELETED113 INTERIOR DUNGEON DAYUnseen by the deformed goblin GUARDS, the faeries creep out of the shadows and take cover behind a squat stone column.Jack positions Blunder in the corridor entrance with the final plate before joining the others.JACK: Everything's ready....GUMP: And you, Jack? Your greatestchallenge is still to come....Darkness and Princess Lili emerge, arm in arm, out of a background curtain of fire. They sweep majestically down the stone steps to where the unicorn is chained.Silent as mice, Jack and the faeries peer around at them. Jack is horrified by Lili's bestial appearance. JACK: ....oh, God....! Lili....GUMP: Judge her with your heart, notyour eyes.Blix and Poxand the other goblin Guards scramble to attention as the regal pair ascends.BLIX: Greetings....POX: S-s-s-salutations....DARKNESS: Silence....! Prepare the unicorn for sacrafice!The goblins hurry to comply. Blix selects a grotesque black greatsword from among a rack of weapons.Pox furiously pedals a grindstone. Blix applies the blade. Showers of sparks shower onto the glistening floor.Behind the column, the watching faeries are desparate. Luna's glowing LIGHT hovers above their heads.BROWN TOM: The game is lost....for allof Jack's pretty plan.... JACK: No! It'll work! It must!GUMP: Luna! Fly up to Screwball! Tellhim it's time!Quick as a FLASH, Luna STREAKS off into the shadows.Blix carries the sharpened greatsword to Darkness, offering it with a low bow.DARKNESS: Excellent.... Let the ritualbegin....The demon Guards stand in a semi-circle around the unicorn. Blix and Pox open tattered black prayer books. Darkness steps to a twisted lectern and READS from a sinister volume.DARKNESS: In the beginning, there wasnothing....a void of darkness, a coldenternity of silence....POX: Endless night, black as death!Mother of Shadows protect us!The assembled Guards answer in a ghastly CHORUS:CHORUS OF GUARDS: Mother of Shadows, renew us!POX: Dream Sister....eclipse our pain!CHORUS OF GUARDS: Night Bride....restore our strength!114 INTERIOR KEEP AND CORRIDORS DAYLuna BLAZES straight up out of the abysmal keep; a tiny shooting star. The demons' ceremony continues (OS):DARKNESS (OS): ....and when the perfect voidwas corrupted by Light, a great wailing washeard and all the brethern fled in terror....Luna rockets along the ruined corridors of the labyrinth.CHORUS OF GUARDS (OS): Deliver us, O' Darkness, from all fear....115 INTERIOR DUNGEON DAY Darkness steps forward. His booming VOICE disturbs the sleeping abts and sends them wheeling in clouds around his head.DARKNESS: Hear me, ye Powers of the Night! Weoffer this sacrafive in honour of you....Darkness reaches up and seizes a fluttering bat from out of the air.DARKNESS (cont): Here is our offering....sanctified with blood....Darkness crushes the bat to a pulp and splatters the unicorn's white flank with its blood. Darkness struggles mentally with the mare.DARKNESS (cont): ....and with fire!Darkness touches his fingertip to the unicorn's haunch. The hide smoulders instantly, leaving an ugly brand.CHORUS OF GUARDS: Blood and fire, born of Night....Blood and fire, drown the Light!The unicorn rears back. Her hooves CLATTER on the coldstones.DARKNESS: I pray you, Father, accept my sacrafice....Let Light be orever extinguished!Let the Age of Darkness begin!Darkness contorts with the strain on imposing his will on the unicorn. He dominates the mare and she grows calm.As the Demon Guards CHANT, Blix and Pox strain at the winch. They drag the unicorns towards the chopping block.116 DELETED116A EXTERIOR TOP OF CHIMNEY DAYScrewball stands watching the sunset. One hands holds the plate, the other polishes a black apple on his tunic.SCREWBALL (singing under his breath):....nickety-nackety....noo-noo-noo....The apple is bright as obsidian. Screwball smiles at his reflection on its gleaming surface.SCREWBALL (cont) (singing): ....fiddle-dee-widdle-dee....Screwball takes a big bite of the apple.Screwball grins, chewing happily. Not a care in the world.It hits him like a stroke. His eyes cross and he toppes, dropping the plate.Luna comes BLASTING out of the chimney like a tracer bullet.LUNA (tiny voice): Screwball!Screwball falls onto the rim of the chimney.In a brilliant BURST OF LIGHT, Luna materialises into her grown self, catching the plate an instant before it drops over the edge.LUNA (cont): Do it!Luna looks sadly down on Screwball, touching him with her toe.LUNA (cont): Screwball...wake up!Screwball SNORES loudly.LUNA (cont): Oh, Screwball....Luna aims the golden plate at the ruby BLAZE of the settingsun. She aims a beam of LIGHT straight down the chimney.116B INTERIOR CHIMNEY DAYThe beam of LIGHT descends the dark shaft like a golden waterfall. 116C INTERIOR KITCHEN DAY The beam of LIGHT moves like a searchlight inside the fireplace, criss-crossing the Second Cook's body as it misses the propped plate he holds by inches.117 INTERIOR DUNGEON DAYWorking together, the two goblins turn the iron winch. Bit by bit, the cable is drawn forward onto the drum.The unicorn's neck is stretched across the block.Darkness stands before Lili, offering the greatsword.DARKNESS: Once your hands were too delicatefor such a task....spinning and weaving were more their work....LILI: Let my loom be made of flesh and blood....I am sister to the Fates!Lili eagerly seizes the sword.DARKNESS: What a queen you'll make!Jack slumps against the wall, desparate.JACK: Come on, Screwball....GUMP: She means to do it, Jack!She's one of them!Jack stares at Lili.Gump grabs a long black bow from a weapon rack, and an arrow from a quiver beside it.GUMP (cont): I'm going to stop her!JACK: Gump, wait! I trust her!Gump fits an arrow onto the bowstring.The unicorn is helpless before Lili. Blix locks the winch, securing the cable.DARKNESS: My lady, the birth of a newworld awaits your stroke.Lili swings the greatsword high over head.CHORUS OF GUARDS (chanting):Blood and fire....eternal ice!Blood and fire....and sacrafice....Gump draws back the arrow in the longbow, aiming at Lili.JACK: No....! Don't...!Jack grabs the bow. He and Gump struggle for the weapon.118 DELETED119 DELETED120 DELETED120A INTERIOR KITCHEN DAYThe beam of LIGHT hits the plate held by the Second Cook in the fireplace. It STREAKS across the the plate leaning on the bellows, ZIGZAGGING out into the corridor.120B INTERIOR KEEP DAY The beam of LIGHT ZOOMS out of the corridor, strikes the plate on the viaduct, and REFLECTS down into the lowest depths of the castle.121 INTERIOR DUNGEON DAY Gump is determined to shoot Lili. Jack, equally determined to stop him.JACK: I trust her, Gump....I'llalways trust her....GUMP: Foolish, mortal!The beam of LIGHT STREAMS in through the corridor. Blunder REFLECTS it off his plate towards the others.Struggling for the bow, Jack and Gump kick over the propped shielf the moment the LIGHT beam reaches it.BROWN TOM: Stop lads....! The light!A wild LAUGH bursts from Lili's throat. She swings the sword with all her might.The blade arcs through the air, a glittering SUNBURST where it carves through the deflected beam of LIGHT.Lili aims not for the mare, but for the line restraning her. The sword severs the woven cable.LILI (exultant): Run! You're free....!The unicorn plunges into the shadows. Only the ECHO of her hoofbeats remain.Jack and Gump stop struggling. Jack dives for his fallen shield.Darkness pulls a weapon from his belt. It is the stallion's alicorn mounted as a shortsword.DARKNESS (sneering savagely): Innocence!Huge and terrible, Darkness lunges for Lili, driving the alicorn straight through her side.Lili is pierced by the horn. She GASPS, supported by the Demon's hold on the blade.Miraculously, Lili's features alter and TRANSFORM. The fangs and claws disappear. Her fur melts like the morning dew. She is an innocent maiden once more.Lili slides dying off the alicorn and falls to the ground.Jack holds his shield in the beam of LIGHT, angling in a bright swath towards Darkness.JACK: Burn....! You evil bastard....The LIGHT hits Darkness like an express train. He HOWLS, blasted in a smoking whirlwind across the dungeon.Darkness cowers on his knees, SCREAMING in the LIGHT.All the goblins scatter HOWLING from the LIGHT. Brown Tom capers a happy two-step around Gump, who stares straight up into the central keep.BROWN TOM: ....and we'll dance on the black devil's grave....GUMP'S POV : LOOKING UP: The beam of LIGHT dims and goesout.BROWN TOM (OS): What's wrong....? What'shappening, Gump?Gump shrugs, looking sadly at Jack and the darkened shieldhe holds.GUMP (sadly): Sunset....With a savage SNARL, Darkness staggers off into the gloon, trailing trendrils of smoke.Jack drops the shield and rushes to Lili's side. He kneels and cradles her in his arms.Throwing back his head, Jack HOWLS like a wild animal. His CRY is a wolf-wail of utter despair.Gump runs frantically up to grieving Green Man.GUMP: No, Jack....Quick! He's after the mare!Gump seizes the grotesque sacraficial greatsword.GUMP (cont): The world needs a champion!(handing Jack the black sword)Use this against him!Jack snatches the sword. He rises cold with fury and runs off into pursuit of Darkness. 122 DELETED 123 DELETED124 DELETED125 DELETED125A INTERIOR TUNNEL NIGHTThe unicorn gallops through a desolate landscape of broken columns and grumbled masonry.126 EXTERIOR EDGE OF THE WORLD NIGHT A precipice jutting over eternity. The unicorn runs along a narrow trail bordering the edge of the abyss, highlighted by a bright backdrop of comets and stars.126A INTERIOR TUNNEL NIGHT CLOSE ON: The black hooves of Darkness as he runs relentlessly along the unicorn's track. PULL BACK to show Darkness TRANSFORMED into a muscular black unicorn stallion. He surges onward, an explosion of strength. FLAMES flare from his nostrils.126B EXTERIOR EDGE OF THE WORLD DAY The huge black unciron THUNDERS out of the cavern-mouth.The mare stand alone, trapped on a final promontory.The black stallion REARS and charges the mare....Black and terrible, the devil stallion rises over the mare, striking out with his fearsome hooves.The mare staggers before this onslaught of evil, falling to the ground amid flying black feet.The black stallion paws the ground, preparing to ram his alicorn into the fallen mare.Jack runs out from the dark cavern, gripping the evil greatsword with both hands. He sees the stallion tower above the mareJACK (calling out): Darkness....!You rotten filth!The superb black unicorn turns to meet this new challenge. He SNORTS, breathing fire, and lowers his head, charging straight at Jack.Jack stands his ground, greatsword poised, as the huge black stallion gallops towards him, hooves striking SPARK.Jack swings with all his might as the demon unicorn ROARSslavering past.The greatsword passes straight through the black beast, as if it were striking a ghost.Jack is knocked off balance by the fury of the charge, but he manages to stay on his feet as the stallion wheels and attackes again.The black unicorn's red eyes BLAZE as he crashes into Jack.The Green Man is thrown awkwardly to one side. He loses the greatsword and sprawls helpless on the ground.Dazed, Jack rises on his elbows.. He sees the black hooves of Darkness standing before him.Looking up, Jack sees the Lord of Darkness TRANSFORMED back to his original form. He holds his alicorn sword pointed straight at the boy's heart.DARKNESS: Always a pleasure to take a brave man's life. Darkness thrusts down with the alicorn, but Jack rolls skillfully aside and counds to his feet.JACK: ....haven't killed me yet....Jack draws his own sword and swings at Darkness, who parries with the alicorn. SPARKS fly.Jack swings again. Darkness catches the blade in his bare hand and holds Jack immobile to meet his malevolent gaze.DARKNESS: ....Oh, but I have...Jack is speechless with horror.DARKNESS (cont): Don't you know me, boy,don't you know from whence I come....The muscle hump behind Darkness's neck bulges and cracks. It bursts open and a pair of leathery bat wings unfold. Jack's horror is complete.DARKNESS (cont): Time to die....Darkness drives the alicorn sword into Jack's chest, running him through.Jack's eyes are wide with astonishment. Is this what it's like to die?Darkness pulls the alicorn out of Jack. There is no blood! No trace of a wound remains on his flesh. Jack blinks in wordless amazement.DARKNESS (cont): So...! I should haveknown....We're just the same! You'reimmortal, Jack!JACK (disbelieving): No....! I'm not!I'm human....DARKNESS (laughing): Who was your mother?JACK (confused): I....don't know....DARKNESS: Who was your father?JACK: ....I....can't remember....DARKNESS: How long have you lived in the forest?JACK: All my life....! I...I....know who I am....DARKNESS: You pitiful fool! An immortalall this time and never knew....(laughing)Don't you see, Jack? Don't you understandyour power....! Together we could rule the universe!JACK (bewildered): .....together....?DARKNESS: There'd be nothing to stop us!No power could stand in our way! We'rejust the same, Jack....You and I.....eternal....!Jack struggles to understand the immensity of thisrevelation. He wavers in the face of the demon's persuasiveness.All at once, the mare unicorn gallops up from the shadows, white and pure.She spears Darkness straight his mid-section. The evil Lord SCREAMS, staring down at the shining alicorn thrsut out of his chest.DARKNESS (cont): ....Father....! Protect me....Darkness starts to shrink. The mare lifts the writhing demon high in the air, impaled like a kicking insect.Rearing, the unicorn arches her neck and tosses Darkness over toe edge into the abyss.Darkness tumbles into the haze. His final HOWL is a lament from the depths of Hell.At the last moment, the falling figure of Darkness TRANSFORMS into the flapping black cloak and sails off into the shadows.Jack picks up the alicorn. He wraps his other arm around the unicorn's neck. They stand together at the edge of the world, united in a victorious embrace.126C EXTERIOR MOUTH OF CAVERN NIGHT The faeries gather at the entrance. Screwball is there, half asleep. Luna is full-sized. Pale and sleeping, Lili lies on the black cloak. The faeries stand around her, eyes downcast.Jack rides up, mounted on the unicorn. Surrounded by light, he is more than a champion. He is divine. The faeries are delighted.GUMP: Why....Jack....solved your riddle at last....BROWN TOM: Should've known no mortal could speak unicorn like that....JACK: How is Lili?GUMP: Sadly beyond the help of faeriemagic. She's under a powerful spell....It's like a riddle....Jack understands. He brightens into a smile.JAC: I know the answer....! Lifther to me, gently....Jack hands Gump the alicorn as the faeries gather Lili in their arms, lifting her above their heads.Jack carefully pulls the enchanted Princess in front of him across the unicorn's withers.JACK (cont): We'll meet again, dear friends....Jack touches his heels to the unicorn's flanks and theygallop off in a CLATTER of hoofbeats.GUMP (waving): Ride like the wind,Jack....BROWN TOM: Wish we could go with him....GUMP: And why not? I know some magicwords that'll do the trick!SCREWBALL: Oh no! Not me! I hate to travellike that....makes me sick.GUMP: Stand back....! The sky's the limit!SCREWBALL: Can't stand your bumpytakeoffs....Abruptly, Screwball SHOOTS into the air, flying out ofsight.GUMP: Screwball! Wait for the spell....SCREWBALL (os): ....I never do....Gump gestures magically.GUMP: Eiderdown and milkfeed fluff....All at once, Gump, Blunder, and Brown Tom STREAK off into space. Luna watches them go. TRANSFORMING into a dot of LIGHT, she speeds up after them.127 EXTERIOR FOREST (RIDE MONTAGE) NIGHT Jack clings to Lili as the unicorn thunders through the midnight forest, darting like quicksilver between the shadowy trees, leaping impossible chasms, splashing across streams in a burst of moonlit spray.127A EXTERIOR SKY NIGHT The full moon hangs above like the lantern of God as the faeries tumble through the clear night sky. Gump rides the alicorn like a broomstick.Far below, magically white and fluid as free-roving moonbeam, the unicorn carries her passengers across the nocturnal forest with the ease of a dreamer transported through time.128 EXTERIOR RING POND DAY It is not yet sun-up. The first faint trace of the false dawn tints the eastern horizon. Everywhere, the snow is melting. It is like springtime, with bold patches of green showing through the frozen landscape.A bright beam of LIGHT APPROACHES, weaving between the giant trees. It is Jack and Lili, mounted on the unicorn.Jack rides up onto the high rock overinghanfing the ponnd and slides easily to the ground with Lili in his arms.The unicorn doesn't move. She stands watching as Jack gently rests Lili down on the mossy earth.Jack strips off his golden mail coat and steps on the edge of the promontory. He dives gracefully into the pond.128A EXTERIOR FOREST DAY Screwball in the lead, the faeries CRASH down through the trees, bouncing to a stop on the forest floor.SCREWBALL: Ow!BROWN TOM: Ouch!GUMP (cheerfully): Home again!The bedraggled faeries scowl at Gump.129 EXTERIOR UNDERWATER DAY Jack streaks down, streaming air bubbles like a comet's tail.129A EXTERIOR UNICORN DEATH ARENA DAY The faeries gather around the frozen unicorn stallion. His alicorn has been restored. Wreathed in flowers, it stands majestically out from his forehead.129B EXTERIOR UNDERWATER DAY Jack strokes deeper and deeper into the pond, past undulating weeds and curious fish.129C EXTERIOR UNICORN DEATH ARENA DAY Faeries are all about, dancing and SINGING around the statuesque unicorn. They pelt one another with petals. The mare stands demurely to one side, draped in blossoms.129D EXTERIOR UNDERWATER DAY At the bottom, Jack moves carefully, trying not to stir up the muck. He gently parts the drifting trendrils, searching among the water weeds.129E EXTERIOR TREETOP DAY High above the faerie celebration, beautiful MUSIC is HEARD. It is Gump, playing his violin in uppermost branches of a towering pine. Delicate as the call of a meadow lark, Gump's music rises sweetly into the heavens. It is just dawn. The sun's GLOW blazes in the east.129F EXTERIOR UNDERWATER DAY A winking GLEAM catches Jack's eyes and he reaches out an eager hand.A cloud silt issues from his grasp as he opens his fingers. Centred on his palm, golden and perfect, is Lili's ring.129G EXTERIOR UNICORN DEATH ARENA DAY Round and full, the sun rises. The golden sun rays pierce through the trees and start across the open meadow. Gump's music continues, more lyrical than ever.As the sunlight advances, bright spring flowers push up through the once-frozen earth.129H EXTERIOR UNDERWATER DAY Jack turns and strokes upwards, higher and higher, towards the shining ceiling of light far above.129I EXTERIOR UNICORN DEATH ARENA DAY Gump's music swells to a crescendo. The life-giving sunlight reaches across the meadow and strikes the flank of the dormant stallion.130 EXTERIOR RING POND DAY Jack breaks the surface, holding the ring triumphantly above his head.130A EXTERIOR CLIFF ABOVE POND DAY The Princess sleeps under the tree. She no longer wears the black wedding gown, but is dressed as before. Jack's armour has also disappeared.Jack kneels before Lili and slips the ring onto her finger.He takes the girl into his arms and kisses her passionately on the mouth.Lili smiles. Her eyelids flutter.131 DELETED132 DELETED133 DELETED134 EXTERIOR UNICORN DEATH ARENA DAYThe unicorn's sunlit flesh twitches, dislodging a butterfly warming his wings on his haunch.In a single, beautiful movement, the stallion rises to his feet. He arches his powerful neck and CALLS to his mate. The magic animals gallop off together across the open meadow.135 DELETED136 DELETED136A EXTERIOR RING POND DAYPrincess Lili awakens.LILI: Oh....! Jack! What a dreamI've had!The Princess smiles when she sees the ring on her finger.LILI (cont): Such a terrible dream....I could never tell you....Lili looks around, but Jack is nowhere in sight.LILI (cont): Jack....? Where are you....?(calling)Green Jack!Getting no reply, Lili wanders off in search of Jack.137 EXTERIOR JACK'S FOREST GLADE DAY Puzzled, Lili searches the familiar place.LILI (calling): Jack....! Where are youhiding now?The wind surges through the treetops. The leaves all move together as if they were a single living organism.Jack's VOICE is heard out of the waving trees.JACK (os): I'm everywhere, Lili....myspirit lives in everything....LILI: Jack.... Don't play games with me!I love you!JACK (os): I....love.....you...LILI: Will you be here tomorrow?Unseen in the bushes, Gump and the faeries hide, grinning asthey watch Lili.JACK (os): I'm always here, Lili....whenever you come....Mystified, but happy, Princess Lili picks a flower and wanders off into the sun-bright woods.END CREDITS ROLL138 EXTERIOR MEADOW DAY A lush broad expanse, boldly pattered with wild flowers. Breasting the waving grass like a swimmer in the sea, the unicorn bounds joyfully in total freedom.Mounted on the animal's back, his arms in victory, Jack rides like a triumphant angel. His hair and skin are tinted green! He is the incarnation of all that is magical in Nature.T H E E N D \ No newline at end of file diff --git a/unformated_scripts/Script_Legion.txt b/unformated_scripts/Script_Legion.txt new file mode 100644 index 0000000000000000000000000000000000000000..853b2d3c793dc2c48f520dfdd567aeb50a970406 --- /dev/null +++ b/unformated_scripts/Script_Legion.txt @@ -0,0 +1 @@ + LEGION Written by Peter Schink & Scott Stewart 10.31.07 Final Draft TITLE OVER BLACK "Come, ye children, listen to me. I will teach you the fear of the LORD." PSALM 34:11 THE MOJAVE DESERT - DUSK Vast. Barren. No signs of life. A BLOOD RED SUN is sinking behind the distant mountains. The unbearable heat will soon become an unbearable cold. A YOUNG WOMAN'S VOICE. Solemn. Weary. Determined. WOMAN'S VOICE When I was a little girl, my mother would remind me each night before bed to be sure to open my heart to God, for he was kind, merciful and just. Things changed after my father left a few years later, leaving her to raise me and my brothers alone in a little place out on the edge of the Mojave Desert. She never talked about a kind and merciful God again. Instead she spoke of a prophecy. Of a time when all the world would be covered in darkness and the fate of Mankind would be decided. One night I finally got up the courage to ask my mother why God had changed, why was he mad at his children. "I don't know," she said, tucking the covers around me, "I guess he just got tired of all the bullshit." And with these words the last trace of sunlight is SNUFFED OUT, leaving us in: DARKNESS... A darkness filled with the sounds of SIRENS, GLASS SHATTERING, SPORADIC GUNFIRE...a CITY FALLING INTO CHAOS. TITLE: "Los Angeles, December 23rd - 1:02 a.m." A BLOOD RED MOON reflected in a greasy puddle of water. Might just be the smog that's making it that ominous color. Then we notice something moving in the reflection. A dark shape, growing, coming down at us fast. Beat...then WHAM! TWO BLACK BOOTS land hard in the water...and we're in: 2. EXT. AN ALLEY WAY - LATE NIGHT A DARK FIGURE in a tattered trench coat tumbles onto the pavement, hands out to slow the impact. A beat then slowly he climbs to his feet, recovering from what seems to have been quite a fall. He has chiseled features, shaved head, deep-set eyes. Looks like he's been through one hell of a fight. His name, we will come to know, is MICHAEL. He quickly checks out his surroundings, nothing but brick walls above him. Where'd this guy jump from? A RUMBLE of thunder...then RAIN starts to hammer down. Seems to motivate him. Michael pulls his overcoat tight around his body and dashes toward the mouth of the alley. He reaches the STREET just in time to see a FLEET OF POLICE CARS tearing around the corner, SIRENS WAILING, heading this way. He reels back into the alley way, ducks down behind a trash dumpster, as the BLUE AND RED LIGHTS of the POLICE CARS whip past. Michael waits for the lights to disappear, then he pulls a MASSIVE ORNATE KNIFE from his jacket. Considers it grimly. Runs his finger along its edge. Blood beads up. Razor sharp. Michael begins to peel off his overcoat, revealing his bare chest underneath...and skin literally covered with DARK TATOOS. Hard to see what they are in this light. As his coat falls to the ground, we DRIFT over to the BRICK WALL behind him where we see MICHAEL'S SHADOW crouch over, and then... ...TWO LARGE SHAPES UNFOLD FROM HIS BACK, STRETCHING UP INTO WHAT ARE UNMISTAKABLY...THE SHADOW OF WINGS. The RAIN POUNDS harder, as if punishment from the heavens. The glint of the KNIFE coming down fast. A HORRENDOUS SOUND OF FLESH TEARING AWAY FROM BONE... ...THE BLOODY KNIFE CLATTERING TO THE PAVEMENT... ...FOLLOWED BY MICHAEL'S UNGODLY SCREAM RISING UP FROM THE ALLEY WAY. And then SILENCE... CLOSE ON THE GUTTER, AS BLOOD BEGINS TO FLOW FREELY, MIXING, SWIRLING WITH THE RAIN... 3. EXT. CITY STREET - A SHORT WHILE LATER Michael, face tight with pain, trench coat back on, steps out of the alley, stares with determination at a dark storefront across the street. "GUN & SPORT WORLD" INT. GUN & SPORT WORLD - A SHORT WHILE LATER Cavernous. A Costco for survivalists. Quiet except for the sound of RAIN, then... SMASH! Michael drops down through one of the skylights in a shower of glass. INT. GUN & SPORT WORLD - BATHROOM - MOMENTS LATER Michael bursts in. Tosses a first-aid kit into the sink. His trench coat falls to the floor and here in the fluorescent light, we get a better look at him. His thin but stunningly well muscled body is TATTOOED shoulder to ankle with INTRICATE WRITING. The man's flesh is a living book. But the writing is in no language we recognize. He turns his back to the mirror, revealing two HORRIFICALLY OPEN WOUNDS running down between both shoulder blades. FRESH. BLOODY. He threads a needle not with thread, but with FISHING WIRE, and begins to STITCH the wounds closed. BLOOD POOLS on the cement floor around his feet. INT. GUN & SPORT WORLD - MOMENTS LATER Trench coat and a shirt back on, Michael races along the ENDLESS RACKS OF GUNS, searching for just the right weapons, his every movement precise, as if he's trained his whole life for this. Weapon after ferocious weapon gets tossed into rifle bags. Whatever this guy's preparing for, it's big. Rifle bags filled, Michael heads for the exit. Stops cold. The place is locked up tight. Metal gate over the front doors, bars over the windows. How the hell's he going to get out of here? 4. INT. LAPD SQUAD CAR - DRIVING - SAME Two COPS, world weary, cruise through downtown. That's BURTON behind the wheel, ESTEVEZ riding shotgun. The POLICE RADIO is ABUZZ WITH ACTIVITY. Busy night. Burton stares out at the city's rain soaked denizens with a deep hatred, the shadows looming in doorways, the streetwalkers. BURTON Goddamn' animals. Nights like this I wish I could take a match to this city just so I could watch all these motherfuckers burn. ESTEVEZ (LAUGHS) A good ol' boy barbecue, huh? Burton doesn't even smile. He's dead fucking serious. BURTON A fresh start. That's what this place needs. He holds his finger up like a pistol. Aims it at the people they pass, picking them off one by one. BURTON Pow! Pow! Pow! Now Burton laughs, a dark, mean laugh. Estevez eyes his partner, wary. ESTEVEZ Jesus... You know Burton, I'm so happy we get to share beautiful moments like this. They really brighten my da-- KABOOM! Through the WINDSHIELD, we see a storefront EXPLODE just ahead, raining fiery debris onto the squad car. Burton slams on the breaks and the cops look up just in time to see... EXT. GUN & SPORT WORLD - CONTINUOUS Michael, bulging rifle bags in each hand, stepping brazenly out of the GAPING HOLE he's blown in the front of the store. 5. ESTEVEZ (O.S.) Freeze! Estevez and Burton are already out of the squad car, crouching behind the open doors, GUNS trained on Michael. ESTEVEZ Drop the bags! Hands on your head! In the distance, the POP-POP of GUNFIRE. The POLICE RADIO CRACKLES with URGENT CHATTER. MANY VOICES TALKING AT ONCE. "Shots fired...Code Three...Officer down!" The cops shift about nervously, trying to stay focused. MICHAEL (sensing their unease:) It's starting. There isn't much time. The cops shoot a quick, anxious glance at each other -- "what the hell?" -- then they turn back to Michael. BURTON Shut the fuck up and drop the bags now! Michael lets the gun bags hit the ground. ESTEVEZ Hands on your head! On your head! Michael slowly places his palms on his skull. BURTON Turn around! Turn the fuck around! Michael slowly turns around. Calm. Estevez rushes in to restrain Michael, grabbing his wrist, FINGERS TIGHTENING. Michael closes his eyes, a terrible decision made. And that's when he moves, a fucking blur! In an instant Michael's broken the cop's arm, spinning him helplessly around, turning him into a human shield. Now it's Michael who's in charge, gun to Estevez's head, facing off with Burton. Burton struggles to find a shot, can't. BURTON Let `em go! 6. ESTEVEZ Take the shot, Burton! BURTON I said let `em fuckin' g-g-g-g-- Suddenly Burton starts to SHAKE, the words stuck in his throat like a skipping record. ESTEVEZ Burton!? THE STREET LAMPS BEGIN TO FLICKER AND STROBE, adding to the confusion. Burton squeezes his eyes shut in pain, his WHOLE BODY QUAKING, heels CLICKING the pavement, as if some massive pressure were building inside him. And with the horrific sound of CRACKING BONES, BURTON'S MOUTH BEGINS TO TWIST INTO AN IMPOSSIBLY WIDE SMILE LIKE A BIZARRE CLOWN! His eyes SNAP OPEN, focused, the force inside him now fully in control. Burton looks at Michael with calm recognition, his voice GUTTURAL..INHUMAN. A man possessed. BURTON What are you doing, Michael? These weren't your orders. Estevez looks at his partner with confusion. ESTEVEZ What did you say? Michael, however, seems to know exactly who he's talking to. MICHAEL I'm following my own orders now. BURTON Then you will die along with the child. ESTEVEZ Burton, you fuckin' know this guy?! BLAM! Burton shoots his partner in the head. Estevez drops, leaving Michael without cover. Burton re-aims, but Michael's faster, already FIRING back. Bullets rip up the concrete. SMASH! The squad car window SHATTERS, Burton's chest EXPLODING! 7. And down he GOES, leaving Michael the only one left standing. Smoke rising from his gun. With soldier-like efficiency, Michael picks up the rifle bags and begins to load them into the trunk of the squad car. He gets in the car and FLOORS IT, ROARING AWAY, as the FLICKERING STREET LAMPS FINALLY GO OUT IN RAPID SUCCESSION, a wave chasing him, PLUNGING THE ENTIRE CITY INTO DARKNESS... SMASH CUT TO: JEEP HANSON (LATE TEENS) Bolts awake. Breathing hard. Covered with sweat. INT. JEEP'S ROOM - JUST BEFORE DAWN Jeep switches on a lamp, illuminating this incredibly cramped bedroom. Not much larger than the bed itself. He's got shaggy hair, a sensitive face, clearly not big on sunlight. EXT. DESERT - PRE-DAWN A couple of ancient SILVERSTREAM TRAILERS are bathed in the eerie blue light of night's final moments. It looks like the trailers haven't moved from this patch of barren ground in decades. A single strand of colored Christmas lights dot the trailers roof lines, marking the season. One of the trailer doors CREAKS open and Jeep steps wearily out into the cool western morning. Home. Nothing but desert for miles in all directions, save for a two lane HIGHWAY and a weather beaten TRUCK STOP DINER that Jeep and his father will open for business in a few hours. Jeep gazes up to the diner's slanted roof where a large sign glows like a beacon in the darkness: "PARADISE FALLS GAS `N' GRUB" A beat as Jeep contemplates the sign. CHARLIE (O.S.) You okay, Jeep? Jeep turns to see CHARLIE, a very pregnant girl of about twenty, standing in the trailer doorway, rubbing the sleep from her eyes. Even with the trailer-trash veneer, she's strikingly beautiful. 8. JEEP Sorry to wake you, Charlie. CHARLIE (stepping out of the trailer, hands on her BELLY) Wasn't you. He's been kickin' up a storm all night. Must know somethin' I don't. She approaches Jeep. Sees the strain in his eyes. CHARLIE Another bad dream? He struggles for a moment, nods. CHARLIE It's just stress, Jeep, that's all. You do too much worryin'. About this place. About your dad. (BEAT) About me... A glimmer of a smile crosses Jeep's face. JEEP You're the only thing I like worrying about. CHARLIE See what I mean? You're worried about a girl eight months pregnant and it isn't even your baby. Now that's enough to give anybody nightmares. Jeep turns away, dejected. JEEP Go ahead, make fun of me. Everybody else does. CHARLIE (turns him back around) C'mon, I was only kiddin'. You know how much I appreciate everything you and Bob are doing for me, but a month from now, this baby'll have a new family and I'll have to start thinkin' about what the hell I'm doin' with my life. This is not news Jeep wants to hear. 9. JEEP So you're still going through with it...? CHARLIE Jeep, I'm not ready to be a mama. Christ, I can barely take care of myself as it is. JEEP I could help you. We could do it together, you know? I want to. Charlie smiles sadly at him, touched by his sweetness, but this just isn't where she's at. CHARLIE You gotta stop carryin' the weight of the world on your shoulders. Jeep nods, tries to hide the fact that he's dying inside. CHARLIE (rubbing her arms) Now can we go back in? I'm freezing my ass off out here. JEEP Go on. I'll be right there. Charlie kisses him on the cheek and heads back to the trailer. He watches her, longing in his eyes. With the clank of the door, she's gone. And over Jeep's troubled look, the perennial holiday cheer of FRANK CAPRA'S "IT'S A WONDERFUL LIFE" MIXES up. JIMMY STEWART (V.O.) I don't know whether I like it very much being seen around with an angel without any wings. CUT TO: IT'S A WONDERFUL LIFE PLAYING ON A CRUMMY TV Jimmy Stewart as George Bailey has just met Clarence, his guardian angel-in-training. The signal ROLLS and SNOWS in and out. We hear a WHACK, which causes the image to momentarily improve and then slowly roll back the other way. CLARENCE (ON TV) Oh, I've got to earn them and you'll help me, won't you? 10. INT. PARADISE FALLS GAS `N' GRUB - DAY BOB HANSEN (late 40's), owner and proprietor of this fine roadside establishment, attempts to fix the old TV hanging in the corner above the counter by banging the shit out it. The restaurant itself has the kind of grungy diner charm you'd hope to find in a place last renovated in 1963. An old plastic Christmas tree strung with flickering lights and tinsel occupies a lonely corner. Next to that, a faded diorama of the NATIVITY SCENE. The kind you might order off the Shopping Network. Bob considers the TV with a frown. He deftly rolls an ENGRAVED SILVER ZIPPO back and forth over the nicotine stained fingers of his right hand. Must be a nervous habit. You can tell just by looking at the man that he's a beer drinker. Behind the counter, a black man named PERCY WALKER (60's) is cooking up a storm on the grill with spectacular one-handed dexterity. You do get pretty good at this sort of thing when your other hand has long been replaced by a METAL HOOK. The dog tags around his neck tell the story. His white cook's hat has been temporarily replaced by a red Santa hat. PERCY Lord as my witness, Bob, one of these days that thing's gonna hit you back. WHACK! BOB Whaddya talkin' about, Percy? We got a special relationship here. WHACK! PERCY Yeah, they got names for that kind a relationship. The JUKEBOX on the other side of the diner starts up with the MERLE HAGGARD tune "I'M A LONESOME FUGITIVE". A stunning looking sixteen-year-old GIRL with dyed-black hair and a piercing or three, is leaning seductively over the jukebox, swaying gently to the music. The headband doubling as her mini-skirt reveals her knock-out figure in a way that really doesn't leave much up to the imagination. She's a billboard of rebellion. SANDRA (O.S.) It's disgusting. 11. HOWARD (O.S.) You're right. It is disgusting. Watching the scintillating action from a booth across the diner is a conservatively dressed SUBURBAN COUPLE. SANDRA and HOWARD ANDERSON. Fish out of water. SANDRA Really, how can she go out in public wearing that? HOWARD I don't know. Why don't we just ask her? SANDRA Howard, don't. You'll embarrass me. HOWARD (shouting across the DINER) Audrey, honey? Your mother was wondering if you got dressed this morning with the specific intention of showing your ass off to the entire world? The girl who we now know as AUDREY ANDERSON turns to Howard with a caustic smile. AUDREY Yeah, that's cuz I woke up hoping to get double teamed by a couple of meth head truckers in the bathroom of some desert shithole. (BEAT) Good thing we stopped here. And with that she turns back to the jukebox. Percy watches the exchange discreetly from behind the counter. Loving it. Howard turns back to his wife. Rigid smile. HOWARD I feel satisfied with that answer. I really do. Sandra buries her face in her hands. SANDRA I'm being punished for something, I know it. 12. Across the diner, Audrey goes back to swaying dreamily to the music, which is suddenly overtaken by BASS BUMPIN' HIP-HOP. CUT TO: DRIFTING OVER A VAST EXPANSE OF WESTERN DESERT The noontime sun bakes the strip of highway slicing through this barren country. A BLACK CADILLAC ESCALADE blazes a path. HEAVY BEATS thunder from within. INT. ESCALADE - DRIVING - CONTINUOUS The stereo in this rig could shake mountains. KYLE WILLIAMS (late 20's) handsome as hell, thug style. A straight up bad boy. He passes a weathered road sign: "ENTERING PARADISE FALLS, NEXT SERVICES 50 MILES" Kyle's expression says this is not good news. He grabs his cell phone off the passenger seat. No signal. KYLE Shit... He spots the truck stop diner just up the road ahead... EXT. PARADISE FALLS GAS `N' GRUB - CONTINUOUS The Escalade pulls off the highway and rolls to a stop at the lonely row of old gas pumps. Kyle gets out and surveys the scenery with dismay. Now in the daytime we see this is truly a place time forgot. Attached to the diner is a MECHANIC'S BAY. Grease stains and rusty car parts litter the ground. Behind the place is the SILVERSTREAM TRAILER we saw Jeep step out of earlier. The only thing here that looks fairly new is the UHAUL TRUCK parked in front of the garage with its hood up. Kyle grabs a crumpled hand drawn map from the front seat and flattens it out on the roof of the car. He spins it around. Which way is north? 13. KYLE Darren, your fuckin' directions suck, man. He checks his cell phone again. No chance of a signal way out here. So he shuffles around to the side of the diner in search of a pay phone. The good news is that he finds one. The bad news is that it's been broken for ten years. Leaning next to the broken phone, however, is Charlie wearing a shabby, faded WAITRESS uniform stretched tight around her very pregnant belly. Adding to her perfect mother-to-be look is that cigarette dangling from her lips. The plastic name tag pinned to her chest says "CHARLIE". KYLE Hey... She eyes him, mildly intrigued, takes a drag. KYLE You know that shit right there ain't good for the baby. She lets out a long slow exhale. CHARLIE Guess I should think `bout quittin' then. KYLE Now hold on, girl, let me bum one before you do. CHARLIE You can buy a whole pack inside. KYLE Tell ya what. You let me have one of yours, and I'll give you two from the new pack you're gonna sell me. She considers him for a moment, then pulls out a cigarette. Lights it off the end of hers then hands it to him. Kyle takes a drag, pulls out his crumpled map. KYLE Am I in the right place? CHARLIE (peers at the map) Only if nowhere's right, `cause that's where you are. 14. KYLE Sonuvabitch. There another phone around here? You know, one that works? CHARLIE Bob'll probably let you use the diner phone if you ask him real nice...And pay `im somethin'. KYLE I can handle that. You got pancakes here? CHARLIE Yeah, we got a buttermilk stack for three seventy-five. We also got french toast for four dollars if you're into that. I personally like the pancakes though. JEEP (O.S.) You okay, Charlie? They both turn to see Jeep behind the diner, wearing mechanic's coveralls and holding a DUSTY OLD CRIB. Charlie quickly hides her cigarette behind her back. Busted. CHARLIE Yeah, I'm okay. This guy's just lost. Jeep nods, uncertain, eyes Kyle another moment, then he shuffles along out of sight. Charlie brings the cigarette back up to her lips. An awkward beat. KYLE Three seventy-five, huh? INT. PARADISE FALLS GAS `N' GRUB - DAY The DOOR JINGLES. Charlie and Kyle enter. Audrey's eyes light up when she sees Kyle. He notices her as well. How couldn't he? She's directing every ounce of sex appeal she has in his direction. Her parents, on the other hand, shoot a look of utter fear in Kyle's direction, as if he personified their worst suburban nightmare. Charlie heads to the register. Digs out a fresh pack of smokes from underneath the counter. 15. CHARLIE I hope Salem Lights are okay, `cause that's all we got left. KYLE If I can smoke `em, I'll take `em. BOB (O.S.) Where ya been, Charlie? Bob steps off the chair. BOB This ain't a resort you know. I got orders stacking up here. In truth there aren't any orders stacking up, but it certainly makes Bob feel better to say it. BOB (sees the two cigarettes Kyle's handing her) You best not be smokin' again. Not in your condition. CHARLIE (gestures to the diner) Bob, do you see where am I right now? Can my condition really get any worse? `Sides, you ain't one to talk. BOB What? I quit two years ago. CHARLIE Yeah, so why you still carryin' that fancy lighter `round for? BOB It was a gift from my ex-wife, alright? I'm sentimental. I don't wanna forget how much I hate her guts. KYLE Hey man? Bob turns to Kyle. Doesn't like what he sees. KYLE Can I use your phone? My cell doesn't get a signal out here and the pay phone outside is busted. Bob is about to respond when: 16. HOWARD (O.S.) Excuse me...? Howard approaches, oblivious to the conversation he's interrupting. HOWARD Any news about when our truck might be fixed? You said your boy would have us on the road two hours ago. The rate we're going, we'll be lucky to make it to Scottsdale by Christmas. Bob's expression darkens at this news. BOB Goddamn it. Where the hell is Jeep? CUT TO: A GRIMY PIECE OF WOOD A cloth wipes away the dirt, revealing the partial image of an ANGEL carved into the surface. INT. MECHANIC'S BAY - CONTINUOUS Jeep is carefully cleaning the old wooden crib on a workbench. There's an unsettling intensity in his eyes, as if fear itself were driving him. BOB (O.S.) Hey, Leonardo...! Jeep freezes, knows he's in trouble He reluctantly turns to see his father standing next to the Anderson's broken-down Uhual. BOB The fact that this truck's hood's up mean anything to you? Jeep stares at the ground. Couldn't be anymore uncomfortable. JEEP Yeah... BOB (approaches, peering past him to the crib) (MORE) 17. BOB (cont'd) Whaddya workin' on that's so goddamn important you're not doin' your job? JEEP Nothin'... Jeep tries feebly to block his path, fails. Bob looks down at the crib with dismay. JEEP Found it under a bunch of stuff in the storage shed. I know you never like to throw anything away... Bob considers him, softens. BOB Whaddya doin'? JEEP What...? BOB Jeep, I like Charlie. I do. And I think it's real good of you to lend her a helping hand, but she is not your responsibility. JEEP (heard this before, pushes past him) Oh whatever, leave me alone. BOB Don't walk away from me while I'm talkin' to you! EXT. PARADISE GAS `N' GRUB - CONTINUOUS Jeep walks out toward the gas pumps, but Bob's right alongside him, not giving up. BOB How long you gonna follow her around like a puppy dog? Cleanin' up the messes she makes while she steps out with every guy around here other than you?! Jeep stiffens. Turns to his father: JEEP Don't say that about her! She's not like that! 18. Bob gives Jeep a hard stare. Yeah, she is. BOB You really think she's gonna stick around here after that baby's born and off her hands? Jeeps shakes his head, burns. JEEP Look, I know it doesn't make any sense to you, but it's just something I have to do. Bob sighs, feels for his boy. BOB (points up at the PARADISE FALLS sign) See that up there? Your mother thought I was crazy for wanting to buy this place, middle of nowhere...But I just knew this was what I was supposed to do. Told your mom, "just wait." Told her when they finally ran the freeway through here like they were plannin' on, this place would be like Grand Central Station. (BEAT) But I was wrong. The freeway never came and now the only people who ever stop here are the ones who are lost. (BEAT) And your mom? Well she got tired of waitin'. JEEP C'mon Dad. You can't blame yourself for what she did-- BOB Yeah, I can. And I'm sayin' you're about to make the same damn mistake I made, believing in something that's never gonna happen...Or someone. (BEAT) It's time for you to move on from this place, Jeep. I don't wanna see you wake up one morning old and pissed off, realizing you're lost just like everybody else who stops here. 19. Jeep looks up at his father, his words hanging heavily. A tough pill to swallow. BOB Now get to work on that truck. I wanna have these people on the road by nightfall. Bob walks back into the diner. Jeep is about to turn back to the garage when he notices something off in the distance. Ominous DARK CLOUDS line the horizon to the south like a living wall. He shifts his gaze up the highway to the north. Same thing. DARK CLOUDS are pushing their way over the distant mountains. A storm is coming. INT. PARADISE FALLS GAS `N' GRUB - SAME Bob reenters the diner to find Kyle sitting at the counter, digging into a plate of banana pancakes. Kyle is about to address him again, when something else steals Bob's attention. BOB (holding up a silencing HAND) Yeah, wait a minute. The TV has gone on the fritz again. Only now the image is mostly snow. Bob climbs back onto the chair. Faces the TV. BOB What's wrong with you today? WHACK! The image flickers but doesn't improve. PERCY I told you to get the satellite TV. But you don't wanna listen. BOB What the hell do I need that crap for? PERCY History Channel, man! 20. BOB I got all the history I can take. CHARLIE That's for sure. BOB What's your problem now? WHACK! CHARLIE Where do I start? BOB You know this was the top-of-the- line model when I bought it. CHARLIE Yeah, in the Fifties. BOB You shouldn't be watchin' anyways. (rubs his hands together) Okay, baby, this is gonna do it. Bob gives the TV one final wallop -- WHACK! And the picture snaps into FOCUS. Only it isn't the picture he was expecting. The STARK GRAPHIC OF THE EMERGENCY BROADCASTING SYSTEM and its accompanying HOLLOW TONE fill the diner. Everybody in the place stops and turns to the TV. BOB See? Clear as day. PERCY Nice work, Bob. What the hell's that? BOB It's just one of those test things. That'd be true, except for the words at the bottom of the screen, which read: "THIS IS NOT A TEST" Bob switches the channels. All the same. CHARLIE Don't look like a test. 21. Bob steps off the chair and backs slowly away from the TV as if a little distance will bring some clarity. He bumps into Kyle. KYLE Yo, am I the Invisible motherfuckin' Man here? Do you have a phone or not? Kyle peels a five dollar bill off a serious WAD OF CASH. That gets Bob's attention. Bob snaps the money out of his hand. BOB In the back past the kitchen. Make it fast. Kyle hustles passed Percy. Charlie is standing by the Anderson's table, clearing dishes. Everybody's eyes are locked on the TV. SANDRA If there's a real emergency aren't they supposed to give us some information about what to do? HOWARD I'm sure it's a mistake. BOB Hey, Percy, give that old radio of yours a shot. Maybe they got some news about the TV. Percy grabs an old battery powered radio off a kitchen shelf. Switches it on. STATIC. He spins the dial until he reaches a clear signal. The same HOLLOW TONE of Emergency Broadcasting. Station after station the same thing. The diner is overwhelmed by a chilling chorus of HOLLOW TONES. Everyone goes very still. KYLE (V.O.) Let me talk to him... INT. DINER - BACK OFFICE - SAME Kyle sits at a messy desk in this dark, wood paneled back office, phone to his ear. 22. KYLE (CONT'D) (on phone) Cuz a father should be able to talk to his son, that's why. Now put `im on the phone. (a beat then a smile) Is that my little man...? Yeah, well I'm working hard, so that I can be with you. You bein' good? (strange STATIC can be HEARD) Wait... You're breakin' up. Hello...? (hangs up in frustration) Shit! Kyle stews a beat, then picks up the phone to redial. Frowns. No dial tone. KYLE What the hell... He keeps trying. Nothing. HOWARD (V.O.) Maybe there was an earthquake? INT. DINER - SAME Everyone is looking at Howard. HOWARD They keep sayin' we're overdue for a big one. PERCY Lot a folks could be hurt. BOB Not if it was centered in the desert. HOWARD Exactly. Could be nothing to worry about. SANDRA So then why's the TV out? HOWARD Maybe it just hit the relay stations. Aren't those usually in remote areas? 23. BOB Yeah, `cause of the radiation they give off. PERCY There ain't no radiation comin' from those things. Plus that don't explain the radio being out too. Some of those stations broadcast over hundreds of miles. Any quake that big and we would a felt it. CHARLIE Percy's right. I didn't feel nothing. AUDREY Maybe it's a terrorist attack or something...? SANDRA (covers her mouth) Oh god... Everyone considers that grimly, then: BOB Well, for cryin' out loud. There's no use in speculating. I'll just call my brother up in Needles. He must a heard something. KYLE (O.S.) I don't think so. Kyle has reappeared in the diner. BOB Whaddya talkin' about? KYLE Phone's dead. Just tried to make a call. BOB You're shittin' me. Kyle shakes his head, sits down at the counter. SANDRA Oh, this is just great. BOB Relax, Mrs. Anderson. Nothing to get excited about. Probably just working on the lines. (MORE) 24. BOB (cont'd) Sides, I'm sure Jeep'll have your truck fixed up quick as can be, and then you'll be on your way. EXT. PARADISE FALLS GAS 'N' GRUB - SAME Jeep is buried under the Uhaul's hood, working at something with a socket wrench. It's not going well. JEEP Damn it! He pulls himself up. Grease covers his face and hands. The sound of a CAR APPROACHING catches his attention. He watches as a beat up EIGHTIES CUTLASS SUPREME pulls off the highway and rolls to a stop at the pumps. It's a mystery how anyone could see through the LAYER OF DUST on that windshield. After a moment the car door pops open and the LEGS OF AN ELDERLY WOMAN swing down to the ground, followed by the metal frame and wheels of a walker. The LITTLE OLD LADY gets out of the car, steadies herself on the walker, and then slowly makes her way toward the diner with the rickety frailness of an old turtle. Jeep watches her disappear inside. He then looks toward the horizon again. The WALL OF DARK CLOUDS are growing ever closer. INT. PARADISE FALLS GAS 'N' GRUB - CONTINUOUS A JINGLE as the old lady enters. She surveys the scene as if feasting on paradise. Maybe her eyes aren't so good. CHARLIE Have a seat wherever you want, Ma'am. Specials are on the board. OLD WOMAN Thank you, dear. The old lady settles at a table across from the Andersons. She smiles at them pleasantly. Charlie is about to hand her a menu, when: OLD WOMAN Oh, I already know what I want. CHARLIE Okay, what'll it be? 25. OLD WOMAN I'll have the steak, please. CHARLIE And how'd you like that cooked? OLD WOMAN Rare if you would. And water, no ice. CHARLIE Coming right up. OLD WOMAN Charlie, is it? CHARLIE Yeah. OLD WOMAN What an unusual name for a girl. CHARLIE So they say. I'll be right back with your water. The old lady turns to the Andersons. OLD WOMAN Hello, I'm Gladys. Gladys Foster. SANDRA Nice to meet you, Gladys. I'm Sandra and this is my husband Howard. GLADYS What a nice young couple you are. What brings you out to these parts? SANDRA We're moving out to Scottsdale. But our truck broke down, and so we're stuck here while it's being fixed. GLADYS Oh, what a nuisance. A FLY begins to buzz around Gladys's head. She doesn't seem to notice it. SANDRA Say, Gladys, it seems the lines are down around here. The phone and TV, you know? (MORE) 26. SANDRA (cont'd) And I just was wondering if you might have heard something on your way up? You know, about what's going on? Gladys smiles strangely. GLADYS Oh, don't worry yourself about that, sweetheart. It'll all be over soon. Sandra nods at the old woman, unsure of what to make of that response. The fly that was circling her head, now lands on GLADYS'S FACE. It crawls across her cheek without her reacting in the least. Howard and Sandra exchange looks. Creepy. The door JINGLES and Jeep walks in. He heads straight for a quiet huddle with Bob. All the while though, he keeps one eye fixed on the old lady sitting at the table near the Andersons. Something about her... JEEP The carburetor's shot. Don't know why. Looks brand new. BOB (glances over at the ANDERSONS) Ah, shit. They're gonna be pissed. JEEP I could try to rebuild it, but it'd take a while, and I don't think we have all the parts. If we call right now, we might be able to get a new one down here tomorrow morning. BOB That's not gonna happen. Goddamn phone's out. JEEP What? Across the diner, Charlie places a bloody red steak in front of Gladys. GLADYS Thank you, dear. How far along are you? 27. Charlie rests a hand on her belly. CHARLIE Just about there. GLADYS The father must be very proud. CHARLIE I wouldn't know. GLADYS You mean he's... CHARLIE Out of sight. Out of mind. GLADYS Oh, I see. So you're not married, I take it? A fly lands on Gladys's steak. Charlie tries to wave it away. But another one lands in its place. CHARLIE Nope. Gladys starts to dig in to the steak with a real ferociousness you wouldn't expect from an old lady. More FLIES begin to land on her body. On her food. Charlie is still trying to wave them away. GLADYS That's too bad. CHARLIE No, I prefer it that way. I don't a need a man tellin' me what to do. GLADYS But what about the baby? CHARLIE I've got it under control. GLADYS Yeah, but it's gonna burn. Charlie freezes. The Andersons turn to look as well. Kyle glances over from the counter. CHARLIE What did you just say? 28. GLADYS (all smiles) I said your fucking baby's gonna burn. Charlie shakes her head at the woman, not giving in. CHARLIE Go to hell, lady. She slaps the check down on the table and walks back toward the kitchen, passing Jeep and Bob. BOB What happened? CHARLIE Total fucking Jesus freak. Gladys begins to laugh innocently as she continues to devour her meat. Red juice drips down her chin. The flies are swarming now. How did so many get in here? Sandra and Howard are mortified at this sudden turn of events. GLADYS All those babies. They're gonna burn. SANDRA Gladys, please. There's no reason to -- Gladys's head suddenly whips toward her. GLADYS Shut up, you stupid fucking cunt! All you do is complain! Complain! Complain! Sandra covers her mouth in shock. Everybody in the diner is now focused on the old lady. Howard gets up from the booth. SANDRA Howard, it's okay! Don't listen to her! But Howard's already standing over Gladys. HOWARD Who the hell do you think you are, lady?! Now, I'd like you to apologize to my -- 29. GLADYS LUNGES AT HOWARD AND TAKES A MONSTROUS BITE OUT OF HIS NECK! SHE PULLS BACK TO REVEAL A MOUTH FILLED WITH TINY RAZOR SHARP TEETH. EVERYBODY FREAKS as Howard crumbles to the floor. Gladys rockets to her feet, knocking her table over. Blood covers her face and chest. GLADYS You're all going to fucking die! Percy is the first to react. From behind the counter, he whips a heavy metal frying pan at Gladys that knocks her head sideways. THWACK! BONES BREAK AND BURST FROM HER NECK. Impossibly, Gladys is still standing. She lets out an INHUMAN SCREAM and SCRAMBLES ACROSS THE DINER, knocking tables and chairs over in her wake. Bob pulls a shotgun from behind the counter. BOB Don't move! But Gladys not only moves, SHE SCURRIES RIGHT UP THE FUCKING WALL LIKE SOME KIND OF BIZARRE CRAB! Bob can't believe his eyes. But he gets over it real fast, as the crab lady rushes toward him -- ACROSS THE CEILING -- UPSIDE DOWN! BOB PUMPS THE SHOTGUN, trying to take her down, but he can't track her fast enough. Instead he blows ENORMOUS HOLES in the ceiling, a rain of plaster. Gladys drops down right in front of Bob. BOB (struggles to cock the GUN) Fuck! Gladys smiles sweetly before SLAPPING HIM CLEAR ACROSS THE ROOM! The shotgun clatters to the floor at Jeep's feet. He snatches it up and aims it at Gladys who turns calmly to face him. PERCY Shoot her, Jeep! Jeep's about to fire, when the old lady's EYES GO ALL WHITE. 30. GLADYS (a sickly sweet smile) You'll never save her. Jeep freezes, stunned by her words, overwhelming fear paralyzing him where he stands. PERCY SHOOT THE FUCKING BITCH! Gladys rockets straight at him! But Jeep's too afraid to move. He clamps his eyes shut, bracing himself for the end. BLAM! BLAM! BLAM! A RAIN OF BULLETS RIP INTO GLADYS, taking her down like an animal. Jeep slowly opens his eyes. His gun's still cocked. Gladys lies dead in a smoldering, bloody heap at his feet. He turns to see Kyle with smoke rising from the barrel of his silver plated WESTERN ARMS 45. If everyone wasn't so shocked, they'd probably be wondering why this guy is packing such serious heat. SANDRA (O.S.) Somebody help me! Sandra is on the floor with her husband. Blood pours freely from his neck. Kyle stares at the dying man -- a moment of hesitation -- then he rushes to help. KYLE Press your hands over the hole! Sandra looks fearfully up at Kyle, at the gun still in his hand. KYLE Don't look at me like that, lady! I'm tryin' to fuckin' help you! Now put your goddamn hands over the hole before your husband bleeds to death! Obeying, she cups her hands over the hole in his neck, desperately trying to stop the flow of blood leaking out between her fingers. Percy scrambles over with a first-aid kit and together he and Kyle get to work on Howard's neck. 31. A few feet away, Charlie helps Bob, bruised and bleeding, to his feet. BOB The fuck was that?! What the fuck was that!? Across the diner, Audrey is pushed back into a booth, her knees pulled tightly to her chest, shivering. Her adult facade giving way to that of a frightened child A DROP OF RED HITS AUDREY'S CHEEK, causing her to look up and see Gladys's TRAIL OF BLOOD DRIPPING FROM THE CEILING. An ungodly horror. EXT. PARADISE FALLS GAS 'N' GRUB - SAME Kyle, Percy, Sandra and Audrey frantically carry Howard, his neck bandaged, to the back of the Escalade. INT. ESCALADE - CONTINUOUS Howard lies in the back seat. Sandra by his head, clasping his hands in hers. Audrey by his feet. Percy rides shotgun. Kyle struggles to get the key in the ignition. The engine ROARS to life. EXT. PARADISE FALLS GAS `N' GRUB - CONTINUOUS The Escalade fishtails onto the highway. INT. ESCALADE - CONTINUOUS Kyle grips the wheel. Picking up speed. KYLE How far to the hospital? PERCY Seventy, maybe eighty miles. Kyle shoots him a look. Eighty miles?! Pedal to the floor time. Audrey leans forward from the back seat. AUDREY What's that on the road? Up ahead, the DARK CLOUDS Jeep saw earlier have finally closed in, descending onto the highway like a WALL. 32. KYLE They're fuckin' clouds! What the fuck do they look like? AUDREY Not clouds. Clouds don't buzz. She's right. They're black... Undulating... BUZZING! PING! PING! PING! Suddenly HUNDREDS OF TINY BUGS begin to HIT the windshield -- SPLAT! And that's when they realize it... Those aren't clouds. THEY'RE FLIES! The Escalade enters the SWARM. The car is PUMMELED by insects, the windshield instantly covered in BLACK AND RED bug guts. Driving blind! The sound of FLIES SPLATTERING and BUZZING is deafening! Everyone SCREAMS as hell surrounds them... INT. DINER BATHROOM - SAME Bob is hunched over the steaming sink, pounding a can of light beer. Jeep is leaning against the wall, looking like he's about to puke or faint. BOB I don't understand how she was still standin' after Percy hit `er with that goddamn fryin' pan. Broke her fuckin' neck. I saw it. I swear I did. (BEAT) And did you see that kid's gun? The hell's he doin' with a gun like that? Bob looks over at Jeep, sees him trembling. BOB It's okay, Jeep. It's okay. But for Jeep it's not okay. He's hurting real bad inside. JEEP I couldn't pull the trigger. I froze. I saw what I needed to do, but I was afraid... (breaks down) She could've killed you! (MORE) 33. JEEP (cont'd) Or Charlie...She would've killed me if it wasn't for... He can't get the words out. Bob rests a hand on his boy's shoulder. BOB There's nothin' to be ashamed of, Jeep. (BEAT) Not everybody can play the hero. Before Jeep can respond, they hear the sound of the front DOOR JINGLE. INT. PARADISE FALLS GAS 'N' GRUB - CONTINUOUS Bob and Jeep appear from the back, as Kyle, Percy, Audrey and Sandra carry Howard into the diner, all of them stumbling, gasping for air. Charlie moves in to help. Percy races for the back. BOB (catching Percy by the ARM) Where you going?! PERCY To get my bible! BOB The hell you need that for?! PERCY Well somebody's gotta start prayin'... Bob's about to respond when he hears the BUZZING. Bob, Charlie and Jeep slowly approach the windows to see the SOLID UNDULATING BLACK CURTAIN OF FLIES SURROUNDING THE TRUCK STOP'S PERIMETER A FEW HUNDRED YARDS OUT. Everything in the diner is suddenly cast in DARK RED as the day's remaining sunlight filters through the swarm. Apocalyptic. No one breathes. CUT TO: 34. A BLACK HAND AND A HOOK TEAR A SHIRT OPEN Revealing a bloody mess of muscles and tendons chewed down to the bone. INT. PARADISE FALLS GAS 'N' GRUB - SAME Percy and Charlie are tending to Howard. Sandra is holding her husband's hand, trying to comfort him, while Audrey watches from a distance with grim fascination. PERCY (raises a bottle of ALCOHOL) Okay, hold `em steady. CHARLIE (nods, peakish, to HERSELF) Oh god, please don't throw up. Howard writhes as Percy pours alcohol on the wound. Sandra can't help but stare at Percy's hook. Meanwhile across the diner, Bob and Jeep peel back the tablecloth to examine Gladys' bullet riddled corpse. Kyle stands over them with Bob's shotgun trained on the body -- just in case. Gladys is a real horror show. Bones jut out at obtuse angles from her neck -- a result of the blow to her head from Percy's frying pan. BOB She's cold as a freakin' ice cube. If I hadn't just seen her walk in here, I'd say the old bag's been dead for hours. Bob rolls Gladys over, revealing her face -- her enlarged mouth filled with dozens of razor sharp baby teeth. KYLE Well, I don't care how long she's been dead, the bitch ain't stayin' in here with us. EXT. PARADISE FALLS GAS 'N' GRUB - A FEW MINUTES LATER Bob, Kyle and Jeep quickly drag Gladys's body wrapped in the plastic table cloth a short ways from the diner. They warily eye the curtain of FLIES no more than a hundred yards out. 35. BOB I don't get it. Why don't they come closer? KYLE How the fuck am I supposed to know, man? You askin' me to explain the behavior of a motherfuckin' pestilence. A CLANK and Jeep notices the old lady's car keys have dropped to the ground. JEEP (holding up the keys) You guys! GLADYS' CUTLASS SUPREME Its windows are completely caked with dust. The men WIPE AWAY a layer of brown from the glass, allowing them to peer inside the car. BOB You see anything? KYLE No Twilight Zone shit if that's what you mean. Jeep slips the key into the driver's side door. Unlocks it. BOB Careful. Old lady could have some kind of rabid poodle locked up in there. Jeep slowly swings the door open and that's when the smell hits them. KYLE Agh! What the fuck is that? Bob covers his nose. BOB Jesus. Kyle opens the passenger door, looks in. Dark, dirty. But nothing unusual. KYLE Nothin' here. 36. JEEP How `bout the trunk? They go around to the BACK OF THE CAR. Jeep slips the key in. The trunk POPS open, revealing a PILE OF DEAD CATS. ROTTING. MAGGOT INFESTED. Bob quickly slams the trunk closed. The guys are reeling with disgust. Kyle's trying to blow the stench from his nose. KYLE Bitch's got motherfuckin' dead cats in her hoopty! What the fuck is wrong with white people?! BOB Least now we know where that smell was coming from. KYLE Yeah, it was a real motherfuckin' necessity we figured that out, man. JEEP (sees something up the ROAD) Hey... They turn to see HEADLIGHTS growing larger in the dim haze. A POLICE CRUISER careens off the highway and skids to a wild stop in front of the diner. Its ENGINE RATTLES as the dust clears around it. No movement can be seen behind its bug splattered windows. BOB Okay, now we're talkin'. JEEP Wait a minute. Check it out. It's LAPD. What's an LA cop doing way out here? Bob and Jeep look over at Kyle. KYLE I'm from Nevada, man. They consider the police car a moment more. See the SHATTERED PASSENGER WINDOW, the BLOOD STAINS. 37. BOB Give me the shotgun. Kyle hands the shotgun over to Bob. INT. PARADISE FALLS GAS 'N' GRUB - SAME Charlie's face lights up when she sees the police car. CHARLIE Oh, thank God, the police! EXT. PARADISE FALLS GAS 'N' GRUB - CONTINUOUS The door of the POLICE CAR OPENS as Charlie races from the diner. The three men see her moving toward the car. Jeep's face goes slack. JEEP Charlie, wait! The men begin to run toward her... While out of the police car steps... MICHAEL Charlie freezes a few feet from the car when she sees those piercing eyes already familiar to us. Michael looks at her, as if she was exactly who he expected to see. In moments Bob, Kyle and Jeep form a protective shield in front of Charlie. Bob raises the shotgun. BOB Take one step closer and I'll drop you right here. A long beat as Michael considers Bob. Icy cold. MICHAEL That how you greet all your customers? BOB Mister, after what we've been through here today, you're lucky we didn't shoot you first and greet you later. Now let me see your teeth. Michael stares at him blankly. 38. BOB Your teeth goddamn it! Lemme see `em! Michael offers up a dangerous smile, revealing a not so well kept but definitely normal set of teeth. Bob and the others ease slightly. JEEP No, shark teeth, Pop. Bob lowers the gun. BOB Okay... Suppose you tell us your name then. MICHAEL Michael. BOB Sorry about all that, Michael. This old lady just went crazy inside my place here. She had these teeth. Never seen anything like `em. Practically bit a man in half. Michael remains silent. Doesn't seemed shocked in the least by what he's heard. BOB So what are you doin' out here? Gotta say you don't exactly look like a police officer. Even one from L.A. Then again, you have to be, right? I mean, who the hell'd be crazy enough to steal a cop car? Bob chuckles for a moment. When Michael doesn't respond in kind, Bob falls silent. Anxious. He slowly raises the shotgun again. Michael sizes up this raggedy group. His gaze drifts over to the loosely wrapped body in front of the diner. The plastic table cloth flaps wildly in the wind. Turning back to Bob: MICHAEL You don't know, do you? KYLE Know what? 39. CHARLIE We don't know anything. Nothing's working here. The TV, the radio, the phone... Michael just shakes his head. MICHAEL I'm running out of time. Michael steps toward Charlie with a sense of purpose, but Bob blocks his path, brandishing the shotgun. BOB Back off, fella... (BEAT) Now, I don't care if this is the second coming of Jesus fucking Christ, I say it's time for you to either get talkin' or get the hell outta here! In a BLUR OF MOVEMENT, Michael rips the shotgun from Bob's hands. It all happens so fast that Bob is stunned to find himself holding air. He's even more stunned to now have the barrel of the gun pressed to the bridge of his nose. Everyone freezes. KYLE Easy! Easy! Michael's expression is totally calm. Merciless. JEEP C'mon, Dad, tell `em you're sorry. Tell `em you were only kidding! But Bob can't even speak, he's so scared. He squeezes his eyes closed. CHARLIE Let `em go! Michael's eyes flit momentarily in Charlie's direction. Considering her. The diner door opens and Percy steps cautiously out with hand and hook held up to show no threat. He's followed by Sandra and Audrey. Michael sees them, but offers no indication that he cares. 40. PERCY Now, son, I'm sure you don't wanna go spillin' blood for no good reason in front of all these decent people, do ya? Our friend Bob here ain't worth the trouble it'd cause ya. (BEAT) So whaddya say `bout just lettin' `im go and then you can be on your way? Nice `n' easy. But Michael doesn't seem to register this plea. It's not looking good. No one BREATHES. That's when Kyle notices something out in the direction of the road. DOZENS OF TINY HEADLIGHTS APPEARING IN THE DARK HAZE. APPROACHING. KYLE What the--? Michael turns, sees the lights. MICHAEL They're here. Michael whips the gun away from Bob's head and thrusts it back into his hands. Bob's looks down at the gun, speechless. MICHAEL You're going to need this. Michael walks swiftly around to the trunk of the cruiser. Pops it, revealing a staggering ARSENAL OF WEAPONRY. HE BEGINS TO LOAD GUN AFTER GUN. Percy stares out at the lights, eyes wide. PERCY Lord, have mercy. (waving back Audrey and SANDRA) You ladies best get back inside. SANDRA What is it? What's happening? Who is this man? Why's he driving a police car? AUDREY Shut up, mom! 41. Audrey pulls her mother back into the diner. Michael hands an MP5 SUB-MACHINE GUN to Kyle. Another one goes to Percy. Finally he places a third one in Jeep's hands, who stares down at it anxiously. BOB Wait. I don't think that's such a good idea. JEEP Dad, I can handle it. BOB (to Michael) He's just a kid -- JEEP I said, I can handle it! Michael's eyes narrow, studying Jeep. MICHAEL He can handle it. He doesn't have a choice. Michael pulls out twin MP5s for himself. GLOCK 9s are tucked everywhere they can go. Michael tosses clip belts to the men. Boxes of shotgun shells. The works. MICHAEL If you want to live, you'll do exactly as I say. He slams the trunk closed and approaches Charlie. He cocks a Glock and hands it to her. MICHAEL When you fire, you keep your thumb off the slide. Don't hesitate. Don't do anything brave. There's no safety. He gives her a hard look. She nods nervously. Trusting him but not sure why. Michael marches into the diner. Kyle glances quickly at the others, then he bolts after Michael. Percy follows. Then Charlie. Now it's only Jeep and his father left. BOB C'mon, Jeep. We gotta go! 42. And Bob rushes into the diner. A moment as Jeep looks out toward the road. THE HEADLIGHTS ARE GROWING BRIGHTER. CLOSER. He contemplates the sub-machine gun in his hands. JEEP Fuck it. And races after his father. CUT TO: A DEAD BOLT Thrown. Locking the diner door. INT. PARADISE FALLS GAS 'N' GRUB - CONTINUOUS Frantic activity. Kyle and Michael push a booth in front of the door, sealing off the entrance. Tables are turned on their sides to form makeshift shields. Window blinds are snap closed. THE BACK OFFICE - CONTINUOUS Jeep races in, locks the back door. Then he pushes a desk in front of it. IN THE DINER - CONTINUOUS The place is transformed. Locked up tight. The ROAR OF ENGINES outside grows ever LOUDER, CLOSER. Sandra huddles on the floor with Howard, his head in her lap. She's running her hands gently through his hair, trying to keep calm. He opens his eyes. Pale, weak from blood loss. HOWARD Sandra? What's happening? SANDRA It's okay! Everything's okay! Sandra closes her eyes. Struggling to believe it. Suddenly the ELECTRICITY GOES OUT, dipping the room into DARKNESS. 43. We hear CRIES OF ALARM. TOTAL BLACK. Chaos. BOB (V.O.) Jeep, get the flashlights! PERCY (V.O.) Everybody just stay still! KYLE (V.O.) Now that we're locked in here, what the fuck are we supposed to do? A flicker of LIGHT. And then FLASHLIGHT BEAMS CUT THROUGH THE DARKNESS...coming to rest on Michael's pale face. Michael looks up at the ceiling. EXT. PARADISE FALLS GAS 'N' GRUB - ROOF - NIGHT A hatch opens and out comes Michael followed by Bob, Percy and Kyle. They quickly take their places behind the "Paradise" sign. Pitch black surrounds them. The RUMBLE OF ENGINES is gone, leaving only the RUSH OF THE WIND coming up off the desert. KYLE Where the hell did they go? Bob turns to Michael sharply. BOB Alright, Rambo. You got us up here. Now you mind explaining what the fuck we're fighting? Michael is about to answer, when: PERCY Listen! Over the wind, another sound becomes audible. The delicate chime of a CALLIOPE. PERCY You hear what I'm hearing? BOB Yeah...The hell is that? The CALLIOPE MUSIC grows louder, the melody more distinct. Now we recognize the song: SANTA CLAUS IS COMING TO TOWN. But instead of filling them with cheer, it fills them with dread. 44. PERCY It sounds almost like... KYLE Ice cream. TWO HEADLIGHTS appear in the darkness. And sure enough, an ICE CREAM TRUCK rolls slowly toward the diner. The EERIE CALLIOPE MUSIC emanates from a speaker on its roof. It's too dark to see who's behind the wheel. KYLE You've got to be fuckin' kidding me. MICHAEL Alright. There's a safety switch on the side of your gun. Push it all the way down. Two clicks. The men quickly do as they're told. MICHAEL Now when this starts, you hold on tight, you hear me? If you don't, you're going to blow your hand off. Understand? Kyle, Bob shoot quick anxious looks at Percy. PERCY The fuck y'all lookin' at me for? INT. PARADISE FALLS GAS 'N' GRUB - SAME Jeep faces the boarded up front door, awkwardly holding the MP5, trying to assume a tough guy posture. If only he could stop shaking, it might be believable. Charlie and Audrey peer between the slats covering the windows. The ICE CREAM TRUCK'S HEADLIGHTS fan across the diner. Audrey and Charlie back away from the windows. Charlie stops next to Jeep. Senses him shaking. Rests a hand on his arm. And that seems to help...a little. Howard smiles weakly at the familiar sound of the CALLIOPE. HOWARD Oh, honey, listen. It's the Ice Cream Man. 45. EXT. PARADISE FALLS GAS 'N' GRUB - ROOF - SAME The Ice Cream Truck pulls to a stop with its headlights facing the diner. Everyone aims their guns at the truck. Tense. From the Ice Cream Truck...a DARK BLOODY SHOE STEPS to the ground. MOVING up the long grey pant leg spotted with blood stains to reveal a skeletally thin man in tattered coveralls. Say hello to THE ICE CREAM MAN. He looks like he's been through hell -- literally. As he steps into the beams of the headlights we can see him even more clearly. He's tall. Too tall. His clothes don't seem to fit him. And he's unnaturally thin as if he's been stretched like taffy. If he got down on all fours, you might mistake him for some kind of spider. He surveys the diner, the garage, the roof -- assessing the situation. On the roof, the men wait for something to happen. KYLE (WHISPERS) Ah, he don't look that bad. The Ice Cream Man's gaze snaps up to the roof. He heard. KYLE Oh, shit. Oh, shit. Oh, shit. That's when the Ice Cream Man's JAW UNHINGES, STRETCHING TORTUROUSLY DOWN TO NEARLY THE MIDDLE OF HIS CHEST! ROW AFTER ROW OF A RAZOR SHARP TEETH FORM with the sickening sound of CRACKING OF BONES. From his new mouth, the Ice Cream Man lets out an earth shattering HOWL. Everyone except Michael is practically hyperventilating with fear. MICHAEL Get ready! And the ICE CREAM MAN BOLTS for the diner with STARTLING SPEED! His movements aren't at all like those of a normal man, but rather like some kind of HUMAN INSECT. Michael aims. 46. BLAM! BLAM! BLAM! Bullets rip into the creature's body, knocking him flat on his back. Still. Arms and legs in a twisted, twitching mess. Michael keeps his aim. Waits. The CALLIOPE music continues to play. KYLE Is that it? Not even close. A RUMBLING OF ENGINES. HEADLIGHTS. A freeway full of VEHICLES of every variety punch through the wall of dust, racing toward the diner. They are THE COMMUTERS. MICHAEL Now! Shoot now! The men let loose with FEROCIOUS FIREPOWER. WINDSHIELDS SHATTER! TIRES BLOW OUT! ENGINES EXPLODE! Vehicles swerve and COLLIDE! DARK SHAPES bolt from the burning vehicles, scattering. In the FLASH OF BATTLE we catch glimpses of them: BUSINESS PEOPLE. CONSTRUCTION WORKERS. EVEN AN ENTIRE HIGH SCHOOL FOOTBALL TEAM. All deformed by some demonic force. Many mere BALLS OF FLAME drifting through the darkness. MICHAEL Spread out! Don't let them get close to the windows! The DARK SHAPES converge on the diner from all directions. They move so strangely fast it seems that their feet don't actually touch the ground. From the roof it's a full-on turkey shoot as the men follow Michael's instructions and cut down everything in sight. Their faces lighting up with each FLASH. SHELL CASINGS spray from their weapons like water drops from a sprinkler. BODIES BURST and crumble to the dirt. The creatures don't seem to be afraid of dying. Their strategy appears to be in their sheer numbers. With each wave, the dark figures get ever closer to the diner. 47. ON BOB firing madly. Then... CLICK! CLICK! Oh, no. He's out of ammo. BOB Shells! Percy tosses him a box of shells. But Bob fumbles the catch and the box slides halfway down the sloped roof. BOB Fuck! With the gun still in one hand, Bob reaches frantically down for the ammo. Stretching... Further... A HIDEOUSLY WOUNDED MIDDLE-AGED HOUSEWIFE CATAPULTS UP FROM BELOW THE ROOFLINE! Her hair must have been in curlers before most of it BURNED AWAY. Her nightdress hangs in tatters off her body. Her jaw CLICKS RAPIDLY, as she clatters up at Bob like a GIANT INSECT. Bob tries to pull back, but he has no traction and he starts to slip down toward her. She's coming fast! Percy sees his friend in trouble. PERCY Bob! Bob swings the shotgun like a club -- CRACK! -- knocking the bitch clear off the roof. But the move has made his slide even faster. He drops the shotgun, trying to hold on, but he can't stop! BOB IS ABOUT TO HIT THE EDGE WHEN THE HORRID WOMAN POPS UP RIGHT IN FRONT OF HIM! She doesn't even have a chance to react as Bob does something akin to a swimmer's push right off her body! WHAM! The creature goes flying back off the roof and the opposing force halts Bob's slide. PERCY (extending his hook) Grab my hand! Bob reaches up and clasps Percy's hook, praying that it stays on. But this chick ain't finished yet. Up she comes once more. Her razor sharp fingernails claw up the metal roof. SCREECH! BOB Gun! 48. Percy tosses Bob a Glock. Fortunately this time Bob deftly catches it with his free hand just as the deranged woman pounces on him. BOB (jamming the gun in her MOUTH) Fuck off! BLAM! BLAM! BLAM! The back of her head EXPLODES. Her body goes limp. Bob struggles to push the corpse off of him. BOB Pull me up! Percy extends his hook hand, helping Bob ascend to safety. INT. PARADISE GAS `N' GRUB - SAME Hiding in the shadows... listening to sounds of WAR just outside. Sandra squeezes her hands over her ears. A few feet away, Audrey clutches a butcher's knife. Jeep's eyes darting from one window to another. Trying to keep it together. Charlie is crouched down behind the counter, holding the handgun close to her pregnant belly. Distant EXPLOSIONS rattle the plates on the shelves. Charlie peers out from behind the counter to look at the front windows. Momentary FLASHES of intense light outline the closed blinds. Another FLASH lights up Charlie's face. Staring. EXT. PARADISE FALLS GAS 'N' GRUB - ROOF - SAME Percy is swivelling left and right, firing like mad. PERCY Come on, motherfuckers! Come on! Closer and closer the creatures come. Most are eviscerated by the fire from the rooftop. 49. INT. PARADISE FALLS GAS 'N' GRUB - SAME ON CHARLIE staring at the window. CLOSER. Charlie's eyes go wide as -- SMASH! A DARK SHAPE crashes through the window. Glass, sand and dust swirl in. Audrey and Sandra SCREAM. Charlie springs up from her hiding place, gun ready. Jeep spins around, pointing his gun, searching frantically for the intruder. It's so dark! JEEP Where is it?! Audrey shakes her head, tears streaming down her cheeks. She looks over at her mother. Sandra's eyes are closed. It's too much. AUDREY Mom! Open your eyes! SANDRA I can't! I can't! Suddenly Howard's body is TORN AWAY from Sandra. Something's got hold of his legs! That gets Sandra's eyes open! SANDRA (springing after her HUSBAND) Howard! Howard screams deliriously as he's dragged rapidly through the diner toward the broken front window. He flails about, desperately trying to grab a hold of something. Sandra scrambles after her husband. Reaching for him. AUDREY Daddy! The creature reaches the window. Sandra dives for Howard's outstretched hands. She has him! The creature's progress is abruptly halted at the shattered window. It turns back toward Sandra -- a shaft of light falling across its face, reveals: A TEENAGE GIRL of about Audrey's age. Her skin is a deathly blue. Her pupils a GHASTLY WHITE. 50. Deep human fingernail scratches have torn open the bloated flesh on her arms, neck and face. The self-inflicted wounds of a drug addict. Her voice is not QUITE HUMAN. TEENAGE GIRL See what you made me do, mother!? Sandra screams, holds on. SANDRA No! Charlie and Audrey rush to Sandra's side, grabbing Howard's arms. Jeep is right behind them ready to fire at the creature, but with the women in the way, he can't get a clear shot. So he discards the gun and grabs Howard's arms. Howard screams as his body is torturously stretched. A human tug-of-war. ON HOWARD'S FEET -- TWO MORE SETS OF SINEWY MUSCLE AND BONE CLAWS REACH THROUGH THE WINDOW AND GRAB HIS LEGS. Howard's body lurches further out the window. SANDRA Howard! Howard's torso is almost entirely out the window. Charlie daringly reaches for Howard's belt, desperate to gain leverage. ANOTHER DISFIGURED HAND PUNCHES THROUGH THE BLINDS AND LOCKS ONTO CHARLIE'S ARM! Charlie screams as she's yanked painfully toward the window, losing her grip on Howard's belt. Through the broken window, she sees the face of a RAGGEDY LOOKING MAN. He smiles at her like a father coming home to his baby girl. RAGGEDY MAN (SWEETLY) There you are! And he starts to pull her arm even harder...Other creatures suddenly notice her as well, focusing their attack as if she alone was their target. Jeep immediately let's go of Howard and dives for Charlie, grabbing her free arm just before she's pulled through. 51. Without the help, Audrey and Sandra can't hold on any longer. Howard is ripped from of his family's hands and out the window. AUDREY Daddy! EXT. PARADISE GAS `N' GRUB - ROOF - SAME The tide is turning. The men seem to have gotten their game on and the dark shapes are starting to pull back. KYLE They're running! We got `em! Kyle turns happily to Michael. Gone. Kyle looks around the roof with alarm. INT. PARADISE FALLS GAS 'N' GRUB - SAME Only a few more inches separate Charlie and certain death through the window. Jeep's losing her! A FLASH OF STEEL. SCHING! Charlie and Jeep fall back into the diner, the claw like hands still grasping Charlie's arm no longer attached to their owners. Michael leaps over her, a butcher's knife in one hand, a machine gun in the other. He lights up everything in his path. The window blinds become a WALL OF FIRE. Creatures SCREECH and flee into the night, having successfully taken their first victim. Charlie flings the severed appendages off her and she and Jeep scoot away from the window. Hysterical, Sandra tries to push past Michael. She's going after Howard. He intercepts her before she can make it out. SANDRA Let me go! He's alive! Sandra slaps at him frantically as he carries her away from the window and thrusts her down into a back booth. SANDRA He's alive! MICHAEL No... Not anymore. Sandra breaks down. 52. As Charlie climbs slowly to her feet -- a sudden pain. She clutches her belly. Winces. Jeep catches her arm to steady her. CHARLIE (RECOVERING) I'm okay. I'm fine. She glances back at Michael. He's watching her. Those eyes. CHARLIE Thanks... MICHAEL I told you not to do anything brave. Charlie doesn't know how to respond. She's about to say something when -- Kyle rushes into the room. A smile on his face. KYLE We got `em runnin'! Then Kyle notices the broken window, takes in the room, his excitement falling. KYLE Where's Howard? No one responds. Sandra and Audrey are huddled together. Crying. Bob and Percy follow Kyle in, still shaking from the adrenaline. MICHAEL Someone needs to be on the roof. KYLE I'll go. Bob grabs Kyle's arm. BOB Hold on. (approaches Michael, DETERMINED) You better start talking. All eyes on Michael. These people want answers. Finally: 53. MICHAEL The first time God lost faith in Man he sent a flood. The second time...he sent what you see outside. Everyone takes that in for a moment, then: PERCY You sayin' this is the Apocalypse...? MICHAEL I'm saying this is an extermination. (BEAT) Those things out there are vessels. The Possessed. The weakest willed are the easiest to turn. KYLE Possessed by what? Demons? MICHAEL No...by angels. That silences the room. PERCY (pulls out his bible) Son, I don't know what bible you been readin', but in my version, the angels are the good guys. Michael looks squarely at Percy. MICHAEL That's where your book is wrong. SANDRA How come you know so much about them? MICHAEL I know because until last night, I was on their side. JEEP You mean you're... Michael considers Jeep, then: MICHAEL Not anymore... 54. BOB Right and yesterday I was the fuckin' Easter Bunny. You know, fuck this. I don't even believe in God. MICHAEL That's fine, because He doesn't believe in you either. Bob stares at Michael, uncertain how to respond to that. PERCY C'mon, Bob. Have you looked outside recently? Those aren't exactly our regular customers out there. BOB How do we know he didn't bring them here himself? CHARLIE He brings them here and then he saves us from them? You're a genius, Bob. Bob falls silent, confounded. Audrey hesitantly approaches Michael. AUDREY So you're here to protect us? MICHAEL Not you... (looks at Charlie) Her. Charlie reacts in shock, as all eyes are suddenly on her. CHARLIE Me?! Why me?! MICHAEL Because your child is the only hope humanity has of surviving. In response to that, Charlie does the only thing someone can do when told such a thing. She LAUGHS. CHARLIE No way! But Michael isn't joking and Charlie's laughter becomes genuine fear. 55. CHARLIE (STUNNED) Jesus Christ... MICHAEL Exactly. Jeep stares at Charlie, as if suddenly his entire life is starting to make sense. JEEP You're sayin' she's the mother of the Messiah? BOB Wait a minute, isn't Mary supposed to be a vi-- CHARLIE Go fuck yourself, Bob! PERCY Makes you wonder about Mary. CHARLIE (approaches Michael, panic setting in) Look, this is not possible! I'm just a waitress! I'm nobody! I can't give birth to the Savior of Mankind! (and finally) I don't even own a car! MICHAEL None of that matters anymore. Either your child lives or Mankind dies. KYLE So what, we're supposed to just hold those things off until Mary over there squeezes one out? MICHAEL That's right. CHARLIE That can't be. I'm only eight months pregnant. KYLE Oh we're fucked. We are so fucked! 56. SANDRA How are we supposed to survive here for a month? MICHAEL We won't have to... At this Charlie goes white, the realization hitting her. CHARLIE It's coming soon, isn't it? Michael nods. Charlie sways on her feet. Jeep rests a hand on her shoulder, steadying her. With a CLANK Michael re-arms his weapon, turns to the group with finality. MICHAEL If you want to live you'll do what I say. This first attack was a test of our strength. The next one will be a test of our weakness. (BEAT) Something much worse is on its way. Everyone exchanges terrified looks. Finally, Kyle steps forward. KYLE Okay, what's your plan? MICHAEL We'll keep watch on the roof in shifts of two. Jeep, go get some tools. We need to close up this window before somebody else goes out. Jeep looks anxiously at Charlie, silent, scared, and then he follows after Michael, leaving Charlie to stare at the SHATTERED WINDOW, the blinds flipping wildly in the wind. INT. PARADISE FALLS GAS 'N' GRUB - ROOF - LATE NIGHT Percy and Kyle keep watch, rifles at their sides. They're wrapped up from head to toe in blankets to protect them from the cold and the flies. Percy scans the horizon. Momentary SPECTRAL FLASHES dot the darkness. 57. PERCY They're out there. Sons of bitches. I can feel `em. (BEAT) Damn it's cold! Percy makes the unconscious motion of rubbing his "hands" together to keep them warm. Kyle notices. Sees the dog tags. KYLE You were in the Army? PERCY Navy, two tours. But the second one didn't work out so well, so I didn't get to go back for a third. Suppose that makes me lucky in a way. Served with Bob, you know. That's how I ended up in this place. KYLE What was it like? Being in a war? PERCY Dark. Like this. Kyle nods. Scared. He takes out his 45. Nervously switches it from hand to hand. PERCY So what's with that gun? KYLE What? PERCY Your piece. The one you killed grandma with. Don't reckon it's for huntin' buck. KYLE No. I uh -- keep it for protection. PERCY Protection from what? KYLE From people. Percy looks at him skeptically. PERCY People. 58. KYLE Yeah, people who might try to give me a hard time, you know? PERCY Just regular people or uh... KYLE Yeah, well, no, not regular, regular people. PERCY Irregular people then. KYLE I'm talkin' people whose job it is to give other people a hard time. Kinda person who doesn't get enough fiber in their diet, you know what I'm sayin? PERCY So it's a work thing, is it? KYLE Exactly. Strictly business. PERCY This business of yours... You like it? Kyle's eyes narrow. KYLE Who the fuck are you to be sweatin' me, man? I got my reasons for doin' what I do. Percy just stares at him, penetrating. Finally: PERCY When I was a kid my father would sit by my bed every night before I'd go to sleep and he'd say to me, Percy, if you don't wake up tomorrow, if it turns out that today was your last day on earth, would you be proud of what you've done in this life? Cuz if you ain't, then you better start gettin' square. Kyle looks at Percy, fear in his eyes, then he turns back to the darkness...and the evil that surrounds them. CUT TO: 59. THE SILVER ZIPPO rolls between dirty fingers. INT. PARADISE FALLS GAS 'N' GRUB - NIGHT Bob plays with his trusty zippo with one hand and grills up some steaks with the other. He pauses in his cooking every few moments to take a slug from a can of beer. Can't get it down fast enough. Sandra sits at the counter across from him, staring at a prescription bottle tipped in front of her, pills spread around. Bob glances over, sees the devastation in her eyes. He pulls another can of beer from underneath the counter, pops it and places it in front of her. BOB On the house. She looks up at him. Smiles weakly. Takes a sip. SANDRA Thanks. BOB You hungry? SANDRA Couldn't eat if my life depended on it. BOB Well I figure just cuz the world's coming to an end, it doesn't mean a man's gotta starve. All I can say is thank heavens they left the gas on. Sandra takes another sip of beer. Considers it. SANDRA Never much cared for beer. Howard's the beer drinker in the family. The moment the words leave her mouth, the grief hits her again. She gathers up some pills from the counter, tosses them back and downs her beer like there's no tomorrow. This is a battle she's losing. 60. Meanwhile in a booth across the diner, Audrey is fiddling with Percy's old radio. Back and forth on the dial. Listening for anything. Nothing but STATIC. Up at the front of the diner, Jeep silently helps Michael nail broken table planks across the shattered window. He eyes the strange tatoos running down Michael's arms, the two jagged wounds visible above his shirt line. JEEP What did you do...you know, before you came here...? Michael considers the question a beat, then: MICHAEL I was a soldier, a general, in His army. JEEP Well, what changed? What made you leave? MICHAEL I was given an order I didn't believe in... (off Jeep's look:) He lost faith. I hadn't. Michael drives the last nail into place, securing the window. JEEP So what happens to you...after this is over? Michael pauses a beat, as if unsure how much to say, then: MICHAEL Sometimes we have to face the thing we fear the most in order to be free of it. Michael picks up his gun. MICHAEL It's almost time for the next shift. Michael heads for the roof, leaving Jeep to stare after him, deep in thought. CUT TO: 61. EXT. PARADISE FALLS GAS `N' GRUB - DAWN The faintest glint of sunlight through the dark red dusty haze. A new day has forced itself into existence. TITLE: "December 24th - 6:05am" EXT. PARADISE GAS `N' GRUB - ROOF - MORNING Michael is searching the horizon in front of the diner for movement. His expression focused, determined. On the other side of the roof, Bob keeps watch, struggling to stay awake. The beer taking over. His eyes droop closed. INT. PARADISE FALLS GAS 'N' GRUB - SAME Sandra awakens with a start. SANDRA Howard? But Howard's not there. And everyone else in the diner is still asleep. The drugs have started to wear off... and her fear is returning. INT. DINER BATHROOM - CONTINUOUS Sandra splashes water on her face. Stares at herself in the mirror. A living wreck. INT. PARADISE FALLS GAS 'N' GRUB - BACK OFFICE - CONTINUOUS Sandra steps out of the bathroom. VOICE (a whisper) Sandra... Sandra freezes. SANDRA Who's there? A beat then: VOICE Sandra... Sandra spins around. Searching. 62. SANDRA Howard? Is that you? It sure sounded like Howard. VOICE Help me... Please... This time, it's clear where the voice is coming from. Sandra turns to face the BACK DOOR. A desk blocks it. Sandra ever so slowly approaches the door. VOICE (from behind the door) Help me. Sandra... Sandra is stricken. What the hell is she going to do? That's when Sandra notices the TRANSOM WINDOW above the door. She climbs onto the desk and stretches up until she can see out. SANDRA'S POV: Howard. Her husband. Ten feet away from the door. NAILED TO AN UPSIDE-DOWN CROSS. But wait. It gets worse. His skin is covered with horrible black boils. And even worse than that. Howard's boils are breathing. Sandra goes slack with horror. HOWARD Help me, please! Howard's torn open shirt reveals the BREATHING PUSTULES covering his body. He writhes in slow, excruciating agony. SANDRA Howard! Sandra scrambles down off the desk and frantically pushes it away from the door. She's reaching for the dead bolt when Audrey and Kyle appear in the doorway. AUDREY Mom! Kyle races to restrain Sandra. SANDRA Let me go! He's alive! 63. She struggles against him, throwing a wild elbow that tags Kyle in the face. Down he goes. Sandra is about to open the door when Audrey pounces on her. INT. PARADISE GAS `N' GRUB - SAME The SHOUTING from the back office awakens the rest of the sleepers. Percy springs up. Charlie is shaking Jeep. EXT. PARADISE FALLS GAS 'N' GRUB - ROOF - SAME The ROAR OF WIND ripping off the plain is all that can be heard. ON BOB as his head drops down with drunken fatigue. Sleep. RISING OVER HIM TO SEE... Howard nailed to the upside-down cross below. INT. PARADISE GAS `N' GRUB - BACK OFFICE - SAME Sandra and Audrey are locked in battle. Sandra slaps Audrey hard. Audrey stumbles over Kyle and hits the floor. Percy appears in the doorway. Now is her last chance. Sandra whips open the back door and that's when the world hits SLOW MOTION. Howard is there. A few feet away. Alive. Sandra races toward him. Just behind her comes Percy. SANDRA Howard! And that's when the speed ACCELERATES TO NORMAL -- -- and the boils covering Howard's body explode -- spraying streams of dark fluid toward Sandra -- -- just at the moment Percy spins around her, shielding her from the spray, which hits him in the back. But he's not stopping. Percy pushes Sandra back into the diner, the door SLAMMING closed behind them. Percy releases Sandra, letting her stumble hysterically into the room. Kyle and Jeep grab her, forcing her to the ground. But she's not fighting anymore. Charlie turns to look at Percy who is still standing with his back to the door, breathing heavily. 64. CHARLIE Percy? He takes a step forward, then falls to ground. The entire back side of his body is gone. Burned away. CUT TO: A SHEET covering a body. EXT. PARADISE FALLS GAS `N' GRUB - FREEZER ROOM - DAY Percy's body lies covered on the table. Bob stares ruefully at his dead friend. A broken man. Tears stream down his face. He rolls the Zippo between his fingers. Jeep watches his father from the doorway. JEEP We should get back out there... BOB Just gimme another minute with him, okay? Jeep nods, quietly leaves his father at the side of his dead friend. CUT TO: SANDRA'S FACE Catatonic. INT. PARADISE FALLS GAS `N' GRUB - A SHORT WHILE LATER Michael and Bob are tying Sandra to a chair. Not like it looks like she's capable of going anywhere, but you never know. Across the diner, Charlie eyes Michael cautiously. Michael never goes for more than a few moments without looking up at her. It's not lecherous. More like a protective father making sure his child hasn't strayed too far. In a booth, Audrey watches, red-eyed, as Michael restrains her mother. Then she returns her attention to Percy's radio. Tuning. Trying to find something, anything in the STATIC. 65. She brings her ear up close. Wait. Is that a VOICE? She adjusts the antenna, trying to bring the signal into focus. CLEARER. AUDREY Hey... CLEARER. Yes. It's a VOICE! AUDREY Hey! You guys, I think I got something here! Everyone drops what they're doing and quickly gathers around the radio. THROUGH THE HAZE OF STATIC, A GRAVELY, TIRED VOICE. STRAINED BEYOND BELIEF. BUT STILL BROADCASTING. RADIO VOICE ... battling has been fierce. The numbers of casualties are unknown but all indications are that they must be unimaginably large. (BEAT) If you're just joining us, we're getting some of the first bits of good news, if you can call it that, since this apocalypse began just twenty-four ago. A human militia has formed on the outskirts of Las Vegas and has begun to engage the enemy. Also down in the Four Corners area, we've been receiving unconfirmed reports of another resistance force gathering in Red Rock National in the northern Mojave Desert area. JEEP Red Rock... CHARLIE That can't be more than an hour up the highway from here. AUDREY Does that mean we can leave? MICHAEL No. We're not going anywhere. BOB What the hell are you talkin' about? This is our chance! 66. MICHAEL We can't risk being on the move when the child comes. It's too dangerous. Bob looks over at Charlie, defeated. She shakes her head, anger building. She sweeps some plates off the counter and races for the bathroom. RADIO VOICE ... And as we fight this new enemy, may God give us the strength to survive and show mercy for those of us who are already lost... CUT TO: A CIGARETTE being lit. INT. DINER BATHROOM - NIGHT Charlie stands at the sink, cigarette to her lips, water running, stealing a private moment. She takes a deep drag, feels the smoke filling her lungs, defiant. Then she catches a look at herself in the mirror, runs her hand along the curvature of her belly. Tears well up in her eyes, fear and anger overtaking her. She stamps out the cigarette in a fit of frustration. INT. DINER - A SHORT WHILE LATER It's quiet. DRIFTING past sleeping figures to find Charlie, wide-awake, sitting at a booth, lost in thought. JEEP (O.S.) Guess it's your turn not to sleep. Charlie looks up to see Jeep sit down across from her. CHARLIE Hey... Jeep sees the strain on her face. JEEP You okay? 67. CHARLIE You mean besides the fact that I just found out that I'm the mother of the Messiah? Jeep smiles, nods. CHARLIE Crazy thing is...I didn't want this baby. I even went down to the clinic, you know that? (off Jeep's reaction:) I remember sitting there in the waiting room, absolutely sure I was doin' the right thing...And that's when the feeling started. Like I was falling into the deepest, darkest hole imaginable. I couldn't breathe, I couldn't speak. I kept thinking this must be what death is like. And when finally they called my name, I ran. (BEAT) For a while after that I tried pretending that it was just cold feet, that I could go back if I wanted to, that I could decide to end it like I'd planned. Then I'd start to have that feeling again and I knew I didn't have a choice. Somehow this had already been decided. And it made me hate this thing that's been growing inside me. A long beat, as Jeep considers her, then: JEEP You shouldn't say things like that, Charlie. It isn't right. You'll get through this. I know you will. She turns to him, the bitterness overtaking her: CHARLIE How come you have so much faith in me, Jeep? God knows I've never given you or anybody else a reason to. Or is it that you just can't find any other hard-luck case to follow around? Jeep's face hardens. He gets up. Hurt. Frustrated. 68. JEEP You know, you're not the only who's suffered, okay? Let me know when you stop feeling sorry for yourself. And with that, Jeep walks away, leaving Charlie to stare after him, disturbed and surprised by his response. CUT TO: EXT. PARADISE FALLS GAS 'N' GRUB - ROOF - LATE AFTERNOON Sand and wind. The INVISIBLE SUN is sinking. Kyle and Audrey are bundled together on the roof, keeping watch. Kyle is showing her how to hold the MP5. KYLE ...Then you just flip this -- Audrey flips the safety. AUDREY Yeah, I got it. All the way down. Two clicks. She points the gun out into the haze like she's been holding one all her life. Off Kyle's surprised look: AUDREY Dated this guy last summer. A marine. Had a thing for guns. Parents hated him. KYLE I bet they did. After a moment, Audrey switches the safety back on. Hands the gun over to Kyle. Audrey stares into the red nothingness surrounding them. Her expression growing distant. She seems to have aged years overnight. AUDREY My parents hate everything I do. That's why we were moving. KYLE Yeah? 69. AUDREY They thought a more "wholesome" environment would help me "change my ways." So fucked up. Only reason they care at all is cuz they don't want to be embarrassed in front of their friends at the country club. Kyle considers her thoughtfully. KYLE The only time my old man ever paid attention to me was when I was doing somethin' bad. So you know what I did? AUDREY What? KYLE I got really good at being bad. She smiles at this confession. Can obviously relate. He wipes a tear from her cheek. She leans in. Kisses him. Passionately. Desperately. His hands trace over her body. She claws at him. Her passion growing out of control. She's practically devouring him. Kyle can barely keep up. It's like something else beyond sensual need has taken over. She moves down his chest. Further. Kyle leans his head back. Further. Just then the SPOT LIGHTS that illuminate the roof sign come to life. The young couple stops to look up at the brilliant red word "Paradise" illuminated above them. Down below, the gas pumps LIGHT UP. The station's FLUORESCENTS flicker on. INT. PARADISE FALLS GAS `N' GRUB - SAME All at once the entire diner COMES BACK TO LIFE. The jukebox WHIRS ON, filling the room with Merle Haggard's "I'm a Lonesome Fugitive". Bob's TV glows with bright rolling STATIC. The electric fan spins on above the grill. 70. Jeep and Michael move to look through the slats at the window. Charlie is giving Sandra some water through a straw. Bob wanders in, squinting at the sudden presence of light. BOB We back in business? MICHAEL I don't think so. EXT. PARADISE FALLS GAS 'N' GRUB - ROOF - SAME The truck stop is lit up like a Christmas tree. If you didn't know better, you might mistake the place for business as usual. Kyle and Audrey stand on the roof, taking in the dramatic change. AUDREY Is it over? KYLE I don't know. HEADLIGHTS appear on the highway. KYLE (raising his gun) You better get downstairs. AUDREY No, I can handle it. Kyle stares at Audrey's beautiful, determined face. Then he pulls out his silver 45. KYLE (handing her the gun) Just in case. The headlights become a FAMILY MINIVAN careening wildly off the highway to stop at the pumps. KYLE Get ready. They aim their weapons at the vehicle. A well dressed MAN in his mid-thirties jumps out of the car. He looks around nervously, scared. Then, seeing that the coast is clear, he offers a calming wave to his WIFE and YOUNG BOY who wait anxiously for him inside the car. 71. He races around to the gas pump. KYLE (lowering his gun) Wait a minute. AUDREY Kyle, are they... A distant SCREECH from behind. Kyle and Audrey spin to look out over the back side of the diner. AN ARMY OF DARK SHAPES are swarming in fast. Kyle looks urgently back at the family. The father lifts the pump. Flips the lever. KYLE It's a trap. They saw them coming and turned on the lights. It's a fucking trap! Kyle and Audrey wave their arms frantically at the family. KYLE AND AUDREY Hey! Get back in your car! It's a trap! But down below, the man can only hear the sound of RAGING WIND as he pumps the gas. Kyle fires his gun in the air. BLAM! BLAM! BLAM! At the sound of gunfire, the man looks quickly up to the roof. His family heard it too and they start to SCREAM TO HIM. The man can only see silhouettes in this light, but he's not waiting around to see if it's friend or foe. Audrey watches in horror as the dark shapes reach the diner. AUDREY They're not gonna make it. The father dashes to the driver's side. He throws open the door. But he's too late. He looks over his shoulder just in time to see a BLUR OF MOVEMENT RUSHING AT HIM. His BLOOD PAINTS the car windows. Kyle raises his MP5 to fire upon the dark shapes that surround the vehicle like swarming insects. The wife and boy scream hysterically as they are torn from the vehicle by skeletal hands. 72. AUDREY (pushing his barrel down) Wait! You'll hit them too! So Kyle makes a desperately courageous play. He leaps onto the roof's sloped overhang -- sliding fast -- he drops to the ground in front of the diner. AUDREY Kyle! Kyle charges the dark mob. Creatures peel away from the woman and boy to confront Kyle head-on. He lets loose with a rain of bullets, eviscerating everything that comes at him. INT. PARADISE FALLS GAS 'N' GRUB - SAME The group gathered at the window sees Kyle racing out toward the pumps. BOB Jesus Christ, what the hell is that boy doin'! CHARLIE We have to get `im back in here! Bob springs into action. Pushes the booth away from the front door. The sound of a gun COCKING. Bob looks over to see Michael pointing a gun at his head. MICHAEL Don't. You open that door and we could all be dead. EXT. PARADISE FALLS GAS 'N' GRUB - SAME The Possessed move in from all sides, but Kyle is remarkably agile, dropping one after another in a stunning display. He closes in on the family, blasting back the creatures huddled around them. He finds the YOUNG BOY curled up with his hands protectively covering his face. Kyle swoops down and gathers the boy into his arms. 73. KYLE I got you! Kyle moves on to the mother. But something odd is happening. The creatures have stopped coming at him. In fact, they're just standing there watching him. Waiting. Kyle freezes. CLOSE ON HIM as he senses something terribly wrong. YOUNG BOY (O.S.) Mister... Kyle looks over at the boy in his arms. GHOSTLY WHITE EYES stare back at him. YOUNG BOY (WHISPERS) Fooled ya. A FLASH OF TEETH AS KYLE'S THROAT IS TORN OUT. Kyle drops to his knees. Up on the roof, Audrey watches helplessly as Kyle falls. AUDREY Kyle! INT. PARADISE FALLS GAS 'N' GRUB - SAME Bob kicks over a table in disgust. BOB Damn it all to hell! CHARLIE Oh, no. Audrey... Out the window they see Audrey drop down from the roof and run towards Kyle. EXT. PARADISE FALLS GAS 'N' GRUB - SAME The young boy stands over Kyle, silently watching the life drain from his body. The boy looks up to see Audrey approaching fast. Tears suddenly appear in his eyes. He opens his arms pleadingly to her. 74. YOUNG BOY I'm sorry! I didn't mean to! AUDREY Fuck you! Audrey raises the 45 and ... CLICK. CLICK. CLICK. She keeps pulling the trigger. Nothing. The boy's tears stop instantly. He looks at her with an eerie calm for someone so young. YOUNG BOY You're gonna die now. The boy moves toward Audrey, stepping over Kyle's body. Audrey backs away. She looks toward the entrance to the diner. Blocked by advancing creatures. They're everywhere. She's trapped. She notices the open door to the MINIVAN. And so she BOLTS. Audrey dives into the car as the throng of creatures rapidly closes in. She hammers the auto door lock. CLUNK! She moves to the center of the car as gruesome faces press against the windows. A nightmare come to life. INT. PARADISE FALLS GAS 'N' GRUB - SAME Panic. Charlie rushes to Michael's side. CHARLIE Do you have no heart?! She's just a kid! But he's immovable. CHARLIE You can't let her die! (grabbing a gun from the TABLE) I swear if you don't do something, I will! Charlie COCKS the gun, moves toward the door. MICHAEL Wait. 75. Charlie looks back at him, defiant. No one breathes. Then: MICHAEL (raising his guns) Open the door. Bob springs into action, clearing the door and flipping the dead bolt. The door is opened and Michael charges passed Charlie and out into hell. EXT. PARADISE FALLS GAS 'N' GRUB - CONTINUOUS With stunning calm, Michael marches straight for the pumps. IN THE MINIVAN, Audrey screams as the windows begin to CRACK. She's running out of time. Michael grabs a gas pump, flips the lever and points it at the minivan. What's he up to? The creatures covering the car turn to look at Michael as if they've just now noticed him. And that's when he starts spraying gas at them. But wait, there's more to this trick. Up comes Michael's Glock in his other hand and BLAM! BLAM! BLAM! The spray of gas EXPLODES into a SPRAY OF FIRE! The MINIVAN is engulfed in flames. Creatures tear away from the car like fiery comets through the night. The windows EXPLODE, showering Audrey with tiny shards of glass. Michael drops the gas pump. He reaches through a fire rimmed broken car window and unlocks the door. Audrey looks up to see Michael's expressionless face CIRCLED BY A RING OF FIRE. MICHAEL Come with me. Meanwhile, fire is spreading quickly under the car... Michael pulls Audrey from the flaming vehicle. MICHAEL Run. 76. And together they run toward the open diner door. BEHIND THEM THE MINIVAN EXPLODES. A BALL OF FIRE ROARS AT THEM! INT. PARADISE FALLS GAS 'N' GRUB - CONTINUOUS Everyone's eyes go wide at the insanity they're witnessing. Audrey is the first one in. Michael is almost there. But the fire is faster, ENGULFING HIM IN FLAME! CHARLIE Michael! BOB (pulling Charlie away from the door) Get back! BURSTING OUT OF THE FLAMES, Michael marches confidently into the diner. Jeep slams the door CLOSED just as the WALL OF FIRE REACHES THEM. Everyone hits the deck as the FIRE SHOOTS THROUGH THE SLATS covering the windows like spindly fingers reaching for prey. Michael's clothes are a smoky, smoldering mess. Jeep and Bob rush to pat him down. Audrey's coughing from the smoke. CHARLIE I'll get some water! Charlie dashes behind the counter to the sink. She fills up a pitcher of water. She turns away from the sink with the filled pitcher... And SCREAMS! The YOUNG BOY with the lifeless white eyes stands before her wielding an ENORMOUS BUTCHER'S KNIFE. The pitcher shatters LOUDLY on the floor. The boy swings the knife at her, slicing open the waitress outfit covering her pregnant belly. Charlie tumbles back to the ground behind the counter. She frantically pushes herself away from the approaching boy. 77. But she doesn't have far to go before she'll run out of room to maneuver. YOUNG BOY C'mon, don't be scared. I just wanna play with your baby. That's it. She's backed against the end of the counter! The boy raises the knife to strike. Charlie grabs a baking pan off a shelf. Swings it out in front of her body like a shield, as the KNIFE IS DRIVEN DOWN. CLANG! The knife hits the pan hard and stops. But the boy's hands don't. They slip off the handle and run right down the blade. The knife CLATTERS to the ground. The boy instinctively raises his hands to strike again, but there's no knife. Charlie watches in horror as the boy calmly realizes that his THUMBS ARE MISSING. Blood sprays from the stumps. Charlie pulls her legs in close then rockets them out at the boy's chest. He's catapulted away from her. Michael leaps over the counter, landing in front of Charlie, guns ready for action. But the boy is gone. MICHAEL Are you hurt? Charlie shakes her head no. CHARLIE Where is he?! That's when the electricity goes out once again, PLUNGING THE DINER BACK INTO DARKNESS. JEEP'S VOICE He's still in here! FLASHLIGHT BEAMS fan out across the diner. LIGHTING under chairs. Under tables. BOB'S VOICE Where the fuck is he?! A SCAMPERING SOUND... MOVING FAST. Everybody spins to track the location of the sound. 78. As soon as they move in one direction, the SCAMPERING is heard in another. Jeep's LIGHT CATCHES SOMETHING ON THE GROUND. A TRAIL OF BLOOD. JEEP He's bleeding! THE BEAMS OF LIGHT JOIN TOGETHER, MOVING FAST TO TRACK THE BLOOD ACROSS THE DINER WHERE IT ENDS AT... A WALL... Jeep raises his LIGHT UP THE WALL WHERE THE TRAIL OF BLOOD REACHES THE CEILING AND...STOPS. BOB What the fuck? SCREECH! THE BLOODY BOY SPRINGS OFF A TABLE BEHIND THEM AND LANDS ON BOB'S BACK. Bob flails around trying to pull the boy's small, but deadly strong arms away from his neck. JEEP Dad! Jeep can't get a clear shot. Bob's gasping for air. Michael grabs the boy and fiercely rips him off of Bob's back. He swings the boy around like a living shot put. MICHAEL Get ready! Jeep and Bob whip up their guns as Michael throws the wicked creature into the air. Sandra's vacant face flickers in the light as the SOUND OF GUNFIRE AND INHUMAN SCREAMING fill the diner. And then in moments... All is QUIET. BEHIND THE COUNTER, Audrey helps Charlie to her feet. She WINCES. Doubles over, clutching her stomach. CHARLIE Oh, no! Michael lowers his flashlight. CLEAR FLUID runs down Charlie's legs. CUT TO: 79. EXT. PARADISE GAS `N' GRUB - LATE NIGHT Inky darkness. A flickering light emanates from within the diner. TITLE: "December 25th - 3:33am" The sound of CHARLIE'S SCREAM, carries us to: INT. PARADISE FALLS GAS 'N' GRUB - LATE NIGHT Charlie, drenched in sweat is writhing on the ground with Michael holding down her arms and Audrey kneeling between her legs. Pots of steaming water surround them. AUDREY What am I supposed to do? Just `cause I'm a girl doesn't mean I automatically know how to do this! MICHAEL Just do as I say. AUDREY Yeah, but, how do you know how to do this?! EXT. PARADISE FALLS GAS 'N' GRUB - ROOF - SAME Bob and Jeep keep watch. The SPECTRAL LIGHTS in the distance seem to be growing larger -- closer. Charlie's SCREAMING rises up from below. BOB What a way to bring a child into the world. (looks over at Jeep) She ever tell you his name? JEEP She's never said. I just assumed it was Joe Danvers. You know how she's always had a thing for bad boys. Bob hears the spite in Jeep's voice. 80. BOB Jeep, sooner or later she'll realize you're the best thing that's ever happened to her. JEEP I thought you said I should move on? BOB Can't a father be wrong sometimes? Jeep considers Bob with a smile, then comes the sound... A DEEP, LONG, BODY RUMBLING TONE rising up off the plain, as if emanating from the largest HORN ever constructed. JEEP What was that...? The SPECTRAL LIGHTS dot the landscape now with untold numbers. INT. PARADISE FALLS GAS 'N' GRUB - CONTINUOUS Michael reacts to the sound. An urgency comes over him. Audrey arrives with more steaming water. AUDREY What is that?! MICHAEL He's coming. We have to hurry. AUDREY Who's coming? Whaddya mean hurry? This isn't something you can exactly hurry, is it? MICHAEL Charlie, I need you to push. I need you to push as hard as you can. AUDREY Michael, who's coming?! Charlie pushes, tears streaming down her face, delirious with pain. It's a gruesome, bloody affair. It's getting close. MICHAEL We're almost there... 81. EXT. PARADISE FALLS GAS 'N' GRUB - ROOF - SAME Jeep and Bob watch helplessly as the ARMY OF CREATURES has closed within a hundred yards of the diner. Their ranks stretch back seemingly without end into the darkness. JEEP We're not gonna make it outta here, are we? Bob looks at his son. The agony stretched across his face. BOB I'm sorry Jeep. This shouldn't be happening to you... Jeep rests a comforting hand on his father's shoulder. Bob pulls his son close and hugs him with all his might, tears filling his eyes. INT. PARADISE GAS `N' GRUB - SAME Amidst the dirt and darkness, Charlie lets out a final agonizing SCREAM... ...and then comes a BABY'S CRIES. Audrey, eyes wide, holds up the CHILD. Stunned. Elated. AUDREY Oh my god...we did it! Charlie, you did it! Audrey places the child in Charlie's arms. She stares at the baby, holding it at a distance, unsure of whether to embrace it or be terrified by it. A commitment she's not yet ready to make, even at this late hour. AUDREY (CONFUSED) It's okay. The baby's okay. Charlie looks to Audrey, tears streaming down her face. CHARLIE I don't...I... Audrey looks to Michael, unsure. MICHAEL Take him... Give her a minute. Audrey nods, takes the baby back from Charlie, tries to soothe him by pacing around the diner. 82. AUDREY It's okay...It's okay...Shhh... Another DRONE OF THE HORN RATTLES THE WALLS. Menacing. Closer. Audrey reacts, crosses to the counter, turns on the radio, trying to drown out the sound of the approaching menace. Out of the STATIC, the haunting sounds of BING CROSBY singing SILENT NIGHT fills the room. The quiet before the storm. Michael helps Charlie quickly clean herself up. She stares at him, a burning spite in her eyes. CHARLIE So are we safe now? Is it over? MICHAEL No. Killing the child would have ended the war before it had begun. Now, at least, he will have a chance to grow up, a chance to lead the world out of darkness. Those words provide her little comfort. CHARLIE And what happens until then...? MICHAEL You'll need to teach him how. Charlie shakes her head, this is all too much. CHARLIE What makes you think I can do that? What makes you think I want to do that? If he's so important, why don't you take him? MICHAEL Each of us has a burden. This one is yours and yours alone. Maybe someday you'll understand what that means. Off Charlie's look, we move across the diner where Audrey approaches her mother, kneels down in front of her. Despite how much her mother pisses her off, it breaks her heart to see her in such a demoralized state. AUDREY Mama? Can you hear me? (holds up the baby) We did it...The baby's alive. (MORE) 83. AUDREY (cont'd) (BEAT) Mama? If Sandra hears her daughter, it doesn't show in her face. Tears well up in Audrey's eyes as she moves away from her mother. But we HOLD here and... DRIFT DOWN BEHIND THE CHAIR TO REVEAL Sandra's hands are loosening the bonds. BLOOD TRICKLES from where the rope's cut through her skin. EXT. PARADISE FALLS GAS 'N' GRUB - SAME DRIFTING THROUGH the dark shapes as the BABY'S CRIES reverberate up and down the ranks. They begin to look about frantically, agitated by the sound. Some even begin to back away from the diner. DISSOLVE TO: EXT. DESERT - CONTINUOUS Off in the distance, the diner is but a dim flickering light above the plain. It could almost be mistaken for a stable in a desert town a long time ago. THREE STARS burn bright and low in the black sky. All around us the DARK CREATURES are cowering from sound of the CRYING INFANT whose wails seem to grow even LOUDER the further away from the diner we get. HIGH ABOVE THE TRUCK STOP In the darkness below we see the lights of the legions of creatures dot the landscape and at the center of it all, the truck stop. The sound of WINGS BEATING AGAINST THE WIND. AND WE'RE DRIFTING DOWN TOWARD THE DINER ENTRANCE. LIKE A BIRD CIRCLING ITS PREY. INT. PARADISE FALLS GAS 'N' GRUB - SAME Jeep and Bob enter the diner to see Michael helping Charlie to her feet, while Audrey continues to pace, the bundle of bloody blankets cradled in her arms. JEEP Something's happening. They're moving away. 84. MICHAEL The Possessed can't come near the child, so He sent someone that can. Someone like me. BOB Who? MICHAEL Gabriel. My lieutenant. He's come to do what I wouldn't. ON JEEP as the realization hits him. JEEP Your orders... Michael looks at Jeep. JEEP You were the one who was supposed to kill the baby? That was the order you didn't obey. Michael nods grimly. Charlie looks urgently at Michael. CHARLIE What's he talking about? The baby CRIES LOUDER. CHARLIE Michael, what the hell's he talking about?! MICHAEL There was never meant to be a Second Coming. But we've just changed that. The child lives. The future is unwritten. There's still hope. Charlie, shaken by this revelation, reaches out to Audrey. CHARLIE Audrey...? Audrey moves to hand over the baby to Charlie... ...AND THAT'S WHEN SANDRA SPRINGS OUT OF HER CHAIR AND SNATCHES THE BABY FROM AUDREY'S ARMS! Sandra backs away from them, moving toward the front door. Hers is the face of madness. 85. SANDRA Stay away from me! Don't come any closer! AUDREY Mom! BOB Don't do it, lady! SANDRA You heard what he said. They just want the baby. Maybe if we just give it to them, then they'll let us go! Michael cocks his gun. Points it at Sandra. THE HORN BLARES ONCE MORE, DEAFENING, SHAKING EVERYTHING IN THE DINER. IT'S RIGHT OUTSIDE THE DOOR. Charlie squares off with Sandra, panic in her eyes. CHARLIE Give him to me! SANDRA Why?! You never wanted him in the first place! Charlie stares at her in horror, the truth of those words rattling her to the very core. CHARLIE No... I... Sandra is almost to the front door. SANDRA It's just one baby. Just one. CRASH! THE DOOR IS TORN OFF ITS HINGES. A brilliant SPECTRAL LIGHT pours into the diner. Sandra is blinded. She raises a hand to block the light. And that's when Michael fires. BLAM! Sandra staggers back, blood dripping from the hole in her forehead, and... ...THE BABY GOES FLYING OUT OF HER HANDS! Charlie screams and the WORLD MOVES INTO SLOW MOTION... And everything suddenly goes very QUIET. 86. Michael fires again. Blowing Sandra's body back through the doorway. Jeep watches the baby sail SLOWLY through the air. The time for Jeep to act is now! Jeep DIVES for the baby...catching the bundle of rags mere inches from the ground! And then he looks up to see... The dark SILHOUETTE OF A MAN approaching from out of the spectral light. A MAN WITH WINGS. Jeep's eyes grow wide as the FIERCE ANGEL steps into the diner. But this looks like no angel we've seen before. This is a creature built for war. Rough hewn, battle scarred. His body armor making him appear disturbingly insect like. His wings are not feathery or gentle. Rather they are hard, mechanical, an organic machine. The angel's wings retract with clockwork-like precision. And now that we see the his face clearly, we notice his striking resemblance to Michael. We might even mistake them for brothers. His name is GABRIEL. Gabriel raises a massive, ferocious, strangely mechanical looking MACE in his powerful hands. And the world returns to NORMAL SPEED as Gabriel brings the mace arcing down at Jeep. Jeep rolls! CLANG! The weapon just misses him, hitting the floor in a spray of sparks, literally CRACKING THE GROUND. Gabriel brings the mace up again. Jeep won't be so lucky twice. BOB (O.S.) Sonuvabitch! Bob charges at the creature, sub-machine gun blazing. Gabriel reacts by instantly UNFOLDING HIS WINGS and launching himself into the air. The bullets clawing up the wall behind him. But Bob's heroic move has given Jeep time to get up and run with the baby for the back of the diner. He thrusts the child into Charlie's hands. And without even thinking, she pulls the child protectively to her chest. 87. Gabriel drops down in front of Bob, whipping his wings around like a deadly, RAZOR SHARP FAN! Bob stops firing, a look of surprise stretches over his face. His gun falling from his hands. Blood begins to pour out of the slice across his belly. JEEP No! With a sweep of his hand, Gabriel sends Bob flying across the diner where he crashes down behind the counter near the stove. Michael GRABS JEEP'S HAND before the boy can rush back into the fray. MICHAEL No, Jeep! You must protect the child now! JEEP Me?! What about you? MICHAEL My path ends here. You are the true protector. You always have been. Jeep shakes his head, panic setting in. JEEP But I don't know what to do! MICHAEL Find the Prophets. Learn to read the instructions. Michael lets go of Jeep's hand and turns away to face Gabriel, leaving Jeep to contemplate those final words. JEEP Prophets? What Prophets? What instructions?! And that's when Jeep opens his hand to find the KEYS to Michael's Police Cruiser. Jeep looks up from the keys to see Charlie, Audrey and the baby. The responsibility crashing in on him. Then he closes his hand around the keys, determination building. JEEP C'mon! 88. Charlie looks past Jeep to see Michael returning to the fray. CHARLIE Wait! We can't leave him! JEEP We have no choice! We have to get to Red Rock! He pulls Charlie past the counter toward the back office. Jeep stops when he sees his father's broken body lying on the ground by the stove in a pool of his own blood. Bob's half open eyes focus on his son. In his outstretched hand is that goddamn ZIPPO LIGHTER... and next to that, a BROKEN GAS PIPE leading to the stove. Jeep is terrified. JEEP Dad! Jeep tries to help him up. BOB Leave me, Jeep. My place is here, remember? JEEP But Dad...! Bob smiles weakly at his son and says simply: BOB Run. And so Jeep, fighting back tears, does what his father says. INT. PARADISE FALLS GAS 'N' GRUB - BACK OFFICE - CONTINUOUS Audrey and Jeep push the desk away from the door. Charlie opens it. Sand swirls in around her. And Jeep leads the trio out the door. INT. PARADISE GAS `N' GRUB - SAME Michael and Gabriel square off in the diner, not like enemies, but like brothers on opposite sides of a terrible family conflict. 89. MICHAEL I knew he'd send you, Gabriel. You were always so eager to please Him. GABRIEL Unlike you...the rebellious son. (noticing Michael's scars) Pity about your wings. They would have helped you now. MICHAEL To not feel their burden...is a dream. GABRIEL You think you can defy Him and not pay the price? MICHAEL The child lives. What happens to me doesn't matter now. GABRIEL Yours is a fool's sacrifice. You can help them sneak out the back door, but they won't escape. (BEAT) And neither will you, brother. Michael slowly approaches Gabriel. MICHAEL (SOFT) I'm not running anymore. Gabriel hesitates, doubt clouding his face. This was not what he was expecting. MICHAEL (SENSING) Join with me. You don't need do this. There's another way. A beat, then Gabriel's expression hardens. GABRIEL There is no other way... He pulls back from Michael, raising the mace -- SCHING! -- LONG DEADLY SHARP SPIKES BURSTS FROM ALL ITS SIDES...as if it wasn't bad-ass enough. And the fight begins. 90. It's mace against machine gun and strangely enough, it seems under Gabriel's deft control, the mace is the vastly superior weapon. With the aid of his wings, Gabriel moves with staggering speed, defying gravity to avoid the rain of bullets. The place is getting absolutely shot to hell. Michael leaps from table top to table top as Gabriel brings the mace brutally down -- splintering everything it touches. Michael leaps onto the last unbroken table top -- spins to fire. Gabriel pushes into the air, jabbing a spike straight into the barrel of Michael's MP5. The gun explodes in Michael's hands, sending him rocketing backwards where he lands on the counter. Gabriel swoops in fast. Michael kicks him in the chest, sending him fluttering back. Michael thrusts himself to his feet. Gabriel recovers, jabs again. Michael grabs a hold of Bob's ceiling mounted TV for support and lifts his body just above the deadly spike. Michael kicks Gabriel in the head, momentarily stunning him. Michael dives at Gabriel, landing an awesome flurry of punches. Gabriel is rattled back by the assault. He clumsily lifts his mace and thrusts with it. Michael narrowly evades the razor point, which drives into a wall. Michael smashes down on Gabriel's wrist, CRACKING the bones. A swift kick to the chest and Gabriel is thrust crashing back, losing his grip on the weapon. Michael takes a running leap onto Gabriel's back. Gabriel launches wildly into the air, trying to throw Michael off. They hit the ceiling, but Michael hangs on. Choking the life out of Gabriel. EXT. PARADISE FALLS GAS 'N' GRUB - CONTINUOUS Audrey and Jeep help Charlie quickly move around the side of the diner where the cruiser is parked. They are buffeted by winds and sand. Jeep puts Charlie and the baby into the front passenger seat while Audrey hustles in back. 91. Jeep rounds to the driver's side. Hops in. INT. POLICE CRUISER - CONTINUOUS Jeep frantically tries to get the right key into the ignition. It's in. Jeep turns the key but the ENGINE STRUGGLES TO FIRE UP. Panic. CHARLIE Come on, Jeep! JEEP I'm trying! Jeep gives it some gas, but the ENGINE'S NOT CATCHING. A DARK SHAPE POUNCES ONTO THE HOOD OF THE CAR. The light catches it, revealing the disfigured face and beard of a SHOPPING MALL SANTA CLAUS, his oversized belly gruesomely distended. Charlie screams. JEEP Fuck! Jeep pumps the gas and the ENGINE BURSTS TO LIFE! The creature's about to punch a fist through the glass JEEP (throwing the car in REVERSE) Hang on! Jeep floors it, causing the cruiser to rocket backwards toward the highway. BUT THE CREATURE HANGS ON! Jeep pulls the wheel hard and the cruiser whips around a full 180 onto the road. THE CREATURE SHOOTS OFF THE CAR AND HITS THE ASPHALT. Jeep throws it in drive just as the POSSESSED SANTA rises from the pavement. Pedal to the metal. 92. The creature doesn't have a chance as the cruiser PLOWS into him. BONES CRUNCH as a flash of red and white is sent sailing over the car and tumbling down onto the road behind them in a cloud of dust. Jeep clenches the wheel, pedal to the floor. JEEP Okay, we need to figure out our weapon situation. Hopefully Michael didn't take everything out of the car. Jeep places his Glock on the dash. He sees that he's got a police issue shotgun in the front seat rack. Charlie searches under her seat. Pulls out a...GRENADE. CHARLIE Is this what I think it is? JEEP Yes. Now just put it down... Slowly. Charlie places it onto the seat. Audrey fishes around in the backseat. AUDREY (holding up each item) Okay, all I got is a flare gun thing. Looks like we got a box of flares to go with it. JEEP Okay. Okay. Handgun. Shotgun. A a flare gun... And a grenade. Alright. (hands Charlie the Glock) Load this. (BEAT) Audrey, can you figure out how to load that flare gun without killing us all? AUDREY I can try. JEEP Try real hard, okay? Audrey anxiously sets about loading the flare gun. 93. INT. PARADISE FALLS GAS `N' GRUB - SAME Gabriel flies into a wall in an attempt to crush Michael. He fails that but succeeds in leaving a massive dent. Gabriel runs/flies for the opposite wall. This one doesn't hold and the two enemies crash through it into the bathroom. Unbelievably Michael is still holding on. Gabriel is up. He thrusts himself back into the bathroom mirror. It shatters painfully behind Michael. Gabriel rages out of the bathroom and into the diner. Michael continues to ride him like a wild bull. Gabriel slams Michael into a wall once more. It's a brutal struggle. Gabriel spots his mace sticking out of the wall within arms reach. He grabs it, holding it futilely in front of him. From this angle he'd never be able to hit Michael with it. Gabriel's strength is giving way. Michael is winning. Gabriel lets out a tremendous ROAR and plunges one of the mace's long spikes into his own stomach. Michael's eyes go wide with surprise, his grip loosens. Gabriel has run them both through. Gabriel rips the mace from his body and stumbles forward. Blood pours from a huge hole in Michael's chest. Right through his heart. Gabriel looks down at the hole in his own belly. Not nearly as bad as Michael's. Apparently there's not a lot of blood left in this guy. Michael falls to his knees. Weakening. Gabriel looms over Michael. Michael looks up at him, blood leaking from his mouth. GABRIEL You always wanted to live like one of them...Now you'll know how it feels to die like one of them. Gabriel raises the mighty mace above his head. Michael closes his eyes. Submitting. The mace comes swinging down... 94. INT. POLICE CRUISER - DRIVING - SAME The cruiser hits the FLY STORM. Black. Nothing is visible beyond the windows. BUZZING surrounds them. DEAFENING. Jeep turns on the windshield wipers. Hits the brights. PING! PING! PING! Driving blind! ON THE SPEEDOMETER as their speed slows to a crawl. AUDREY Go faster! JEEP I can't fuckin' see! Charlie's desperately trying to soothe her SCREAMING baby. ON THE AIR VENTS as FLIES start crawling in. JEEP Oh, no. INT. PARADISE FALLS GAS 'N' GRUB - SAME Gabriel is looking down upon Michael's broken body. Something is happening to his skin. The DARK WRITING THAT COVERS HIS BODY is beginning UN-WRITE itself and DISAPPEAR... INT. POLICE CRUISER - DRIVING - SAME Charlie is struggling to close the air vents to stop the inflow of BUZZING insects. It's not working! She looks to Jeep in desperation, but something more frightening catches her attention. The INTRICATE WRITING is beginning to appear on Jeep's arm, snaking its way up from his wrists like VINES. CHARLIE Jeep, your arm! Jeep sees it, eyes go wide. CHARLIE What is it? A beat, as Jeep remembers Michael's parting words... 95. JEEP The instructions... INT. PARADISE GAS `N' GRUB - SAME Gabriel watches as the last of the writing FADES from Michael's body when he hears a faint CLICKING sound from somewhere in the diner. Gabriel moves gracefully through the destroyed diner, toward the source of the CLICKING. He steps behind the counter and finds Bob lying in a massive pool of blood. It takes the creature a moment to realize that the CLICKING sound is coming from Bob's SILVER ZIPPO. Bob is focusing every last ounce of life in his body to lighting that lighter. CLICK... CLICK... CLICK... Bob looks at Gabriel. BOB Sorry... We're closed. And with one last brush of his thumb, Bob's trusty ZIPPO IGNITES. Gabriel's eyes go wide as the TINY FLAME DANCES in front of the stove's broken gas line. Gabriel spins and runs like hell as the gas explodes. A STREAM OF FIRE ENGULFS HIM AS HIS WINGS UNFOLD AND HE LEAPS INTO AWESOME FIERY FLIGHT. INT. POLICE CRUISER - DRIVING - CONTINUOUS The MASSIVE EXPLOSION rocks the slow moving vehicle. In the rearview mirror, Jeep sees the CLOUD OF FIRE MUSHROOMING UP in the sky behind them. It's eerily magnificent. CHARLIE The swarm, it's fading! Jeep looks back to the road as, sure enough, the FLY SWARM suddenly dissipates all around them, revealing a CLEAR VIEW of the highway ahead. Jeep knows at what price this good fortune has come. 96. JEEP Thank you... AND THAT'S WHEN THE WORD "PARADISE" CRASHES DOWN LIKE A BALL OF FIRE ONTO THE ROAD DIRECTLY IN FRONT OF THEM! JEEP Oh, shit! EXT. HIGHWAY - CONTINUOUS The cruiser PUNCHES through the burning "Paradise" sign, smashing it into fiery pieces! The cruiser charges on down the endless highway, burning bits of sign swirling in its wake. INT. POLICE CRUISER - DRIVING - CONTINUOUS From the back seat, Audrey watches the fire recede into the distance. AUDREY I can't believe it. Is it really over...? Up front Jeep stares out at the dark road ahead. JEEP No...It's just starting... EXT. PARADISE FALLS GAS 'N' GRUB - SAME Burning wreckage everywhere. DRIFTING THROUGH IT until we settle on the SPIKE-SCEPTER stuck firmly in the ground. Flames ring the handle. EXT. HIGHWAY - SAME The cruiser blazes down the highway. INT. POLICE CRUISER - DRIVING - SAME Charlie cradles the baby, apprehensive. The baby looks up at her, smiles. She can't help but smile back at him. Jeep eyes her. 97. JEEP Better not hold him too long. Might get attached. Charlie looks over, feels his lingering anger. CHARLIE Look, I'm sorry for what I said to you earlier, `bout you following me around. I didn't mean it. JEEP Nothin' to be sorry about. It's true. I did follow you around. At least now I know there was a good reason. Charlie's reacts, a bit stung. Jeep tries to hide his pleasure that the tables have turned at least a little. Charlie is about to respond when Audrey leans in from the back seat. AUDREY We're here. She points ahead to a beaten up road sign that says: "Now Entering Red Rock National Park, Next Rest Stop 30 MILES" JEEP Okay, all we gotta do is -- CRASH! The roof buckles above them. The windows BLOW OUT. EXT. RED ROCK NATIONAL PARK ROOD - CONTINUOUS GABRIEL SMASHES DOWN ON THE CRUISER'S ROOF WITH MASSIVE FORCE! USING HIS MIGHTY WINGS FOR BALANCE HE BEGINS TO STOMP ON THE ROOF, CRUSHING IT DOWN AS IF IT WERE A SODA CAN! INT. POLICE CRUISER - DRIVING - CONTINUOUS Jeep, Charlie and Audrey slip frantically down in their seats as the roof presses down at them. The windows BURST. Jeep grabs the Glock and fires wildly up at the roof. 98. EXT. POLICE CRUISER - DRIVING - CONTINUOUS Gabriel takes a direct hit in the thigh, causing him to slide off the roof and onto the trunk where he grabs a hold of the rear window frame for support. INT. POLICE CRUISER - DRIVING - CONTINUOUS With tremendous strength, Gabriel pulls his upper body through the broken back window toward Audrey. AUDREY Jeep! Jeep swings the gun around. JEEP Duck! BLAM! Gabriel takes one in the shoulder, but it doesn't slow him down. JEEP Audrey, the flare gun! Audrey desperately tries to load a flare while avoiding Gabriel's grasp. Jeep can't get off another shot without the risk of hitting Audrey. Gabriel is almost entirely in the car now. Audrey swings the flare gun toward Gabriel, but he knocks her hand aside just as she pulls the trigger and the flare goes off INSIDE THE CAR! Jeep ducks. The CAR SWERVES MADLY. The flare RICOCHETS through the cabin, lighting it up like the Fourth of July! Gabriel lunges for Charlie just as the flare bounces off the windshield - PING! - and nails him right in the face, SETTING HIS HAIR ABLAZE. And that gives Jeep the chance to swing around and FIRE. BOOM! Gabriel is blown back partially through the rear window. He holds onto the car with an iron grip. Starts to pull himself back in. Nothing slows this guy down. Jeep pulls the trigger again and...CLICK. No bullets! Audrey frantically reloads the flare gun. Brings it up to fire, but he's too fast! WHACK! Gabriel knocks her into the side of the car with a sweep of his hand. She's out cold. 99. Now he's clawing his way unobstructed toward Charlie again. Jeep knows there's only one thing to do. JEEP Get down on the floor! Charlie pushes herself and the baby down on the floor in front of the passenger seat. Jeep PUNCHES IT. The speedometer leaps ahead. 70...80...90... Gabriel's now completely in the car. They're helpless. Gabriel lunges over the passenger seat, grasping for Charlie, his ferocious hand only inches from her and the baby, when... AUDREY (O.S.) Get off her, you fucking asshole! Audrey leaps onto Gabriel, pulling him away from Charlie just in time. He flails wildly about but this young girl rides him like one helluva a cowboy. 100...110...120... AUDREY Do it, Jeep! Do it now! JEEP SLAMS ON THE BREAKS, SENDING GABRIEL AND AUDREY SHOOTING FORWARD THROUGH THE WINDSHIELD LIKE A BULLET. The intertwined bodies of Gabriel and Audrey hit the road with a sickening crunch and ROLL INTO A BALL OF FIRE. EXT. RED ROCK PARK - CONTINUOUS The Cruiser spins out of control, swerving off the road and careening into a large rock formation. This ride is over. INT. POLICE CRUISER - CONTINUOUS Jeep's side of the car is crushed. Blood is running down his forehead. Charlie crawls up from the floor. CHARLIE C'mon, Jeep! 100. He tries to focus on her. CHARLIE Jeep! She kicks open her door and begins pulling him out. JEEP The baby? CHARLIE Alive. JEEP And what about... CHARLIE Nothing could have survived that. JEEP (ANGUISHED) Audrey... CHARLIE She saved us, Jeep. Audrey saved us. Now c'mon, we gotta go! Charlie, the baby bundled in her hands, leads Jeep away from the demolished Cruiser. EXT. RED ROCK RIDGE - PRE-DAWN Jeep and Charlie, battered and bruised, struggle to make the long climb up the ridge. Charlie looks up. STARS completely fill the pre-dawn sky. Breathtaking. CHARLIE How can this happen? JEEP What? CHARLIE How can this happen in a world so beautiful? Jeep follows her gaze to the sky. Endless stars. Confounding. Jeep shifts his eyes to the TOP OF THE RIDGE just ahead. 101. JEEP C'mon, we're almost there. They are only a few steps from the EDGE OF THE RIDGE when -- GABRIEL ROCKETS UP IN FRONT OF THEM! Charlie screams! Jeep pushes her and the baby out of the way just as Gabriel comes down hard in front of them, kicking up a cloud of dust. Gabriel's mechanical wings haltingly retract. The crash has done some serious damage. Much of his skin has burned away. Chunks of his armor and flesh are missing as well, including a large part of his head, revealing that under his human visage is a NIGHTMARISH CREATURE. Gabriel charges at Jeep fast. Jeep whips up his Glock, BLAM! Gabriel takes the bullet, then slaps the gun out of Jeep's hand. Jeep throws a wild punch, connects with Gabriel's chin, rocking him back. More annoyed than surprised, Gabriel knocks Jeep savagely to the ground. Jeep struggles quickly to his feet, comes right back at Gabriel swinging. But Gabriel simply knocks him to the dirt again. Jeep slowly gets up once more, bleeding, hurt. Raises his fists. This kid will simply not give up. Jeep moves in again, swinging hard, but Gabriel blocks it, shoots out a hand and grabs Jeep by throat, lifting him clear off the ground. GABRIEL So brave. So pointless. You should have worried more about saving yourself. Jeep's feet dangle. His eyes bulge out. He claws at Gabriel's iron-fast grip, but there's no hope. Charlie watches in horror. CHARLIE Stop! Please! Don't kill him! But Gabriel is doing just that. Jeep is rapidly losing consciousness. The battle is lost. GABRIEL Go to sleep... Jeep's eyes flutter. He's almost gone. 102. CHARLIE Stop it! I'LL GIVE YOU THE BABY! This gets Gabriel's attention. Charlie climbs to her feet, holding the bloody bundle out to him. CHARLIE I don't want this responsibility! Tears run down her face. She's dead fucking serious. Gabriel lets go of Jeep. He falls to the ground, gasping desperately for air. JEEP Charlie, no! Gabriel takes the bundle from Charlie, turning away from her. GABRIEL "And as the child's cries are extinguished, an eternal darkness at last descended upon the world." He peels the cloth back, revealing... THE GRENADE. He spins around to face Charlie. She's holding the pin. KABOOM! GABRIEL IS BLOWN TO BLOODY BITS. The creature is gone at last. The sound of a BABY COOING. Charlie picks the child up out of the brush. She helps Jeep to his feet and together they slowly make their way to the top of the ridge. EXT. RED ROCK RIDGE - DAWN Jeep and Charlie stand overlooking the desert valley below. ON THEIR FACES, reacting to what they see. Charlie takes Jeep's hand in hers. 103. JEEP We made it. CHARLIE Yep, we sure did. And now we see it too: THE MOJAVE DESERT - DAWN Vast. Barren. No signs of life. No resistance force. No nothing. ON JEEP AND CHARLIE Taking it in. Breathing hard. JEEP I'm sure they're just over the next ridge. He glances at Charlie. Worry in her eyes. CHARLIE What if we're on our own now? JEEP Don't be afraid. We'll be okay. (BEAT) Believe me. At those words, Charlie looks deep into Jeep's eyes. Sees a confidence in them she's never seen before. And she leans in and kisses him. Tender. When they part, Jeep stares back at her with surprise. Then the surprise melts into a smile. And they descend the ridge...out of sight, leaving us with a view once again of -- THE MOJAVE DESERT - DAWN A BLOOD RED SUN rises behind the distant mountains. The unbearable cold will soon become an unbearable heat. And we're back where we started. A YOUNG WOMAN'S VOICE. Solemn. Weary. Determined. 104. IT'S CHARLIE'S VOICE. CHARLIE'S VOICE Someday when my son is older, I will tell him about the time of his birth when all the world was covered in a great darkness... DISSOLVE TO: INT. CAR - DRIVING - MORNING - WEEKS LATER Jeep is at the wheel. He looks aged, scarred from the experience. His exposed arms are completely covered with the INTRICATE WRITING...The Instructions. The boy he once was is gone at last and the warrior protector has replaced him. CHARLIE'S VOICE ... And how just at the moment when everything seemed lost... Charlie sits across from him, the baby cradled in her arms. It's strange, but you might actually mistake them for a happy family. Of course you'll have to ignore the ARSENAL OF WEAPONRY in the back seat. CHARLIE'S VOICE (CONT'D) ...a mighty warrior fell in order to save me. Jeep glances over at Charlie and the baby. He smiles at the image of maternal bliss. CHARLIE'S VOICE (CONT'D) And a boy faced his fear and rose up to save us all. The sun shines through the car windows, filling our eyes with its fiery light. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Les Miserables.txt b/unformated_scripts/Script_Les Miserables.txt new file mode 100644 index 0000000000000000000000000000000000000000..93597c3d7518c11740e91979ca7632a186e2a921 --- /dev/null +++ b/unformated_scripts/Script_Les Miserables.txt @@ -0,0 +1 @@ + LES MISERABLES Written by William Nicholson Alain Boublil, Claude- Michel Schˆnberg and Herbert Kretzmer Adapted from the Stage Musical "Les MisÈrables" Based on the novel by Victor Hugo May 20, 2012 BLACK SCREEN SUPERIMPOSE CAPTION: The year is 1815. The French revolution is a distant memory. Napoleon has been defeated. France is ruled by a King again. A1 EXT. TOULON PORT - DAY A1 RISE UP out of the iron-grey surface of the ocean, seething in the wind, towards the shore. Winter rain slices the air. Ahead, the port of Toulon, home of the French navy. A forest of tall masted warships. The great ships heave at anchor, the wind whipping their rigging. Through the sea spray we see the great ribs of warships under construction, and warships being refitted. SUPERIMPOSE CAPTION: Toulon Home port of the French navy 1 EXT. TOULON DOCK - DAY 1 Storm-lashed sea and driving rain. A great wave rises up and hammers down. As it recedes we see the figures of men heaving on great ropes, the sea water streaming down over their faces. The harsh storm light catches glints of metal: these men are CONVICTS, chained by manacles, heads shaved, wearing red shirts with prison numbers crudely stitched onto them. Now we see that the ropes run up to a ship that is being hauled ashore - a storm-damaged man-of-war, its masts broken, rising and falling on the surge. As yet another great wave rolls over the convicts, we follow the straining ropes down into the base of the slipway, and find the convict JEAN VALJEAN, up to his waist in water, chained by two sets of manacles, as the rain and spray and wind scream round him. A great brute of a man, he seems to feel nothing. 2.The convicts sing in time with the rhythmic pulls on therope - CONVICTS Ha - Ha - CONVICT 3 Ha - Ha - Look down, look down Don't look them in the eye CONVICTS Look down, look down You're here until you die. CONVICT 4 No God above And Hell alone below CONVICTS Look down, look down There's twenty years to go.The camera RISES UP to find JAVERT, the officer in charge of the convict workforce, looking on, his face rain-lashed and expressionless. He stands above the men on the top ofthe dock, as lines of convicts labour beneath him on thesteep steps of the dock wall.Behind Javert, through the storm rain we glimpse a forest of half-built ships, their ribbed frames like great skeletons in the mist. FOREGROUND convicts are at work on another ship that isalmost completed, labouring in the crashing spray. CONVICT 2 I've done no wrong Sweet Jesus, hear my prayer! CONVICTS Look down, look down Sweet Jesus doesn't care. CONVICT 5 I know she'll wait I know that she'll be true - CONVICTS Look down, look down They've all forgotten you. CONVICT 1 When I get free You won't see me Here for dust! 3. CONVICTS Look down, look down Don't look'em in the eye. CONVICT 3 How long, O Lord Before you let me die? CONVICTS Look down, look down You'll always be a slave. Look down, look down You're standing in your grave.With a last great heave the lines of convicts haul the damaged ship onto the slipway. CRACK! The stern flagpole of the ship snaps in a vicious gust of wind and crashes down into the shallow water near Valjean. Javert sees and points his stick at Valjean in silent command. Valjean stares back for a beat, defying him. Then he drops down into the seething water and re-emerges with the great mast in his hands, held over his head. His head breaks water with his bitter gaze still on Javert, as he throws the mast ashore in a deliberate display of strength. Javert nods to the guards, and they begin to form thechained men into lines to return to their prison. The stormis passing now, blown by the driving wind.Javert approaches Jean Valjean. JAVERT Now Prisoner 24601. Your time is up And your parole's begun. You know what that means? VALJEAN Yes. It means I'm free. JAVERT No! It means you get Your yellow ticket-of-leave.He hands Valjean a folded yellow paper. JAVERT This badge of shame You'll show it everywhere. It warns you're a dangerous man. VALJEAN I stole a loaf of bread My sister's child was close to death And we were starving. 4. JAVERT You will starve again Unless you learn the meaning of the law. VALJEAN I know the meaning of those nineteen years A slave of the law! JAVERT Five years for what you did, The rest because you tried to run. Yes, 24601! VALJEAN My name is Jean Valjean! JAVERT And I'm Javert! Do not forget my name. Do not forget me - 24601! He strides away to command the lines of convicts as they're marched away. Valjean walks away, hardly able to take in that he is free at last. The convicts sing as he goes. CONVICTS Look down, look down You'll always be a slave. Look down, look down You're standing in your grave.2 EXT. ROAD OUT OF TOULON - DAWN 2 Valjean makes his way up a rising track, a worn knapsack on his back. He comes to a stop at the top of the hill, and there before him, lit by the rising sun, spreads a wide vista of fields and towns and villages, stretching into the distance, with the snow capped Alps beyond. Behind and below him lies Toulon at the sea's edge. As we hear the musical theme ('Freedom is Mine'), we see for the first time the darkness in his face give way to a new hope. VALJEAN Freedom at last - How strange the taste! Never forget the years - the waste, Nor forgive them for what they've done. They are the guilty - Everyone! The day begins (more) 5. VALJEAN (cont'd) And now lets see What this new world Will do for me!3 SCENE OMITTED 34 EXT. COUNTRY ROAD - DAY 4 Valjean strides down the long rising road, pulling his thin coat close round him against the cold winter wind. He passes a long line of labourers working. He approaches the OVERSEER. VALJEAN Monsieur can I help? A day's work? The overseer notices shaved hair showing under his cap. OVERSEER Take your hat off. Valjean takes his hat off, revealing his shaved and scarred head. OVERSEER Passport. The overseer scans the yellow paper, and hands it back. OVERSEER No work here. 5 SCENE OMITTED 56 EXT. MOUNTAIN ROAD - END OF DAY 6 Valjean slogs on up the rising track into the mountains. Snow on the ground here, and darkness falling. He looks up and sees ahead a village built on a rock cliff, its lights twinkling, the snowy mountains rising behind. The tower of its handsome church rises up like a promise of refuge. This is Digne.6A EXT. DIGNE - DUSK 6A Valjean enters Digne. As he drinks from the fountain, he sees a guard standing outside the Mairie. 6.6B INT. MAIRIE, DIGNE - DUSK 6B Valjean stands waiting. The officer fastidiously writes down the name of Valjean in his huge ledger and the name of the town in his passport. The officer signs and stamps the passport. OFFICER Valjean. The officer hands back the passport. Valjean leaves. 6C EXT. DIGNE - DUSK 6C Valjean walks down the high street, spies the warm glow of an inn and enters.7 INT. COUNTRY INN, DIGNE - DUSK 7 Valjean sits in the corner, his hat low over his head. He eyes hungrily a group of cart drivers tucking into a roast meal by a roaring fire place. The innkeeper serves him a beer. As he reaches for it his coat sleeve rides up to reveal his wrist, calloused and scarred by manacles. The innkeeper eyes him warily. He discusses Valjean with two other men, then asks for his paper. Sees the phrase "Extremely Dangerous". VALJEAN'S POV - From the yellow paper in the innkeeper's hands up to the innkeeper's face. A blank stare, a shrug of refusal. INNKEEPER My inn is full.7A EXT. DIGNE - NIGHT 7A Valjean moves off wearily through the village. As he passes down the narrow street, faces peer at him from doorways, but the doors close when he goes by. A shadowy figure follows him. Word has spread that he's a `dangerous man'. Passing the uncurtained window of a cottage, he comes to a stop. Through the window he sees a scene that breaks his heart: a father at a table by lamplight, his young wife before him, his children on either side. Nothing special, and yet everything he's never had.8 EXT. PRISON, DIGNE - NIGHT 8 He stops at the local jail. An iron chain attached to a bell hangs from the prison door. He rings. A grate slides open. 7. VALJEAN Jailer. Would you let me stay here for tonight? JAILER This is a prison, not an inn. Get yourself arrested. Then we will open up for you. The grate slides shut. As Jean Valjean walks away, some children who have been following begin throwing stones at him. He threatens them with his stick and they scatter.8A EXT. DIGNE - NIGHT 8A He sees over a garden wall a low doorway in a stone turret. Valjean stoops through the doorway and lies down on some straw. He hears a ferocious growl and sees the head of an enormous mastiff. It is a dog kennel.8B EXT. DIGNE - NIGHT 8B Snow falling as Valjean makes his way down the road, hungry, weary, moving slowly, his trousers ripped and bloody from where the dog has bitten him. At the end of a road, the snow-covered church; beside it, a dark churchyard. 9 EXT. CHURCH YARD, DIGNE - NIGHT 9 Snow-covered gravestones in moonlight. Exhausted, Valjean collapses to the ground and huddles himself into the shelter of a doorway. A lantern glows in the dark. The lantern approaches, throwing shadows. Its little circle of light comes to rest on the crumpled figure of Valjean. He stirs and opens his eyes. VALJEAN'S POV - The glow of the lantern in the darkness. Beyond it, the half-seen features of a kind old man. The BISHOP. BISHOP Come in, sir, for you are weary And the night is cold out here. Though our lives are very humble What we have we have to share. Bewildered, fearful, suspicious, Valjean gets up and goes with the Bishop into the house by the church. 8.10 INT. BISHOP'S HOUSE - NIGHT 10 A simple table on which is laid out bread and wine, with silver cutlery. Two silver candlesticks light the room, illuminating walls painted with religious scenes. The Bishop ushers the bewildered Valjean into the room. The bishop's sister Madame Baptistine stands. Valjean hesitates. BISHOP There is wine here to revive you. There is bread to make you strong. There's a bed to rest till morning - Rest from pain, and rest from wrong. BISHOP Sit, my brother. The Bishop gestures to the housekeeper Madame Magloire. BISHOP Madame, set one more place. (to Valjean) Please sit. The Bishop gently takes his arm and draws him into a chair. Valjean sits, and the Housekeeper lays food before him. Famished, Valjean eats like an animal. The Bishop says a short grace. BISHOP May the Lord bless the food we eat today. Bless our dear sister and our honoured guest. (To Valjean) Please, eat. Where are you travelling to my brother? VALJEAN Pontarlier. BISHOP Is that where your family is? VALJEAN No. The destination is compulsory. That is where the Law sends me. I have no home. BISHOP Then let this be your home, for as long as you need it. 9.11 INT. BEDROOM, BISHOP'S HOUSE - NIGHT 11 The Bishop leads Valjean to a bedroom where the walls are also painted with religious imagery. Across the passage, Valjean sees the open door to the Bishop's own bedroom. There the Housekeeper is putting the table silver away in a cupboard. He turns to see a bed made up with clean white linen waiting for him. He hasn't slept in such a bed ever in his life. But the Bishop is smiling, offering it to him. BISHOP Sleep well. Tomorrow morning before you leave you will have a cup of milk from our cows, nice and hot. The Bishop turns away to go to sleep. VALJEAN You let me sleep here next to you? How do you know I'm not a murderer? Valjean laughs a strange laugh. BISHOP God will take care of that. LATER THAT NIGHT - Valjean lies on the bed, fully dressed, deeply asleep. Outside a dog barks. Valjean's eyes snap open. The first thing he sees by the light of the moon is an image of God the Father gazing down on him from the painted ceiling. In panic, fearing judgement, he sits bolt upright. Then he looks round, and remembers. He gets out of bed, and opens the door. There, across the narrow passage, the door stands open to the Bishop's bedroom. In the moonlight, he sees the Bishop lying asleep. Above his bed, the cupboard where the silver is kept. Valjean moves silently into the Bishop's room, holding a metal miner's spike which he pulls from his bag. The floor boards creak. He looks down at the old man, holding his breath, but the bishop is peacefully and innocently asleep. He reaches up to the cupboard. It is unlocked. The cupboard door opens with a sharp cracking sound. The Bishop, disturbed in his sleep, moves a little. At once Valjean is over him, like a wild animal, spike raised to strike should he wake. The Bishop sleeps on. The moon comes out and lights up his beautific, smiling face. Valjean is thrown. He turns back and opens the cupboard door fully: there is the silver. 10. Carefully he picks it out, fearful of every clink. One last look at the sleeping old man, and he makes a run for the door.12 EXT. CHURCHYARD - NIGHT 12 Valjean rushes out of the back door of the house. He crosses the graveyard, scrambles over a back wall, and he's gone.13 INT. BISHOP'S HOUSE - DAY 13 The Bishop is coming in from morning Mass in his vestments when the door bursts open and two policemen drag Valjean before him. Valjean hangs his head, unable to meet the Bishop's eyes. CONSTABLE Monsignor, we caught the thief red-handed! He has the nerve to say you gave him all this! He upends Valjean's kitbag, and the silver tumbles out. The Bishop looks from the silver to Valjean. BISHOP That is right. Amazed, Valjean looks up. BISHOP But my friend, you left so early, You forgot I gave these also. Would you leave the best behind? The old Bishop is holding out the two silver candlesticks. BISHOP (to policemen) Messieurs, release him. For this man has spoken true. I commend you for your duty Now God's blessing go with you. Silenced by the Bishop's gentle tones, the policemen turn and leave. Valjean, utterly bewildered, takes the silver candlesticks. BISHOP But remember this, my brother - See in this some higher plan. You must use this precious silver To become an honest man. By the witness of the martyrs, (more) 11. BISHOP (cont'd) By the passion and the blood, God has raised you out of darkness - I have bought your soul for God.14 INT. CHURCH, DIGNE - DAY 14 Valjean kneels in the church. He takes out his yellow passport and stares at it. He turns towards the altar, and the crucifix above it. VALJEAN What have I done? Sweet Jesus, what have I done? Become a thief in the night Become a dog on the run! And have I fallen so far And is the hour so late That nothing remains but the cry of my hate? The cries in the dark that nobody hears Here where I stand at the turning of the years. If there's another way to go I missed it twenty long years ago. My life was a war that could never be won. They gave me a number and murdered Valjean When they chained me and left me for dead Just for stealing a mouthful of bread! Yet why did I allow this man To touch my soul and teach me love? He treated me like any other He gave me his trust He called me brother. My life he claims for God above... Can such things be? For I had come to hate the world - This world that always hated me! Take an eye for an eye! Turn your heart into stone! This is all I have lived for! This is all I have known! One word from him and I'd be back Beneath the lash, upon the rack. Instead he offers me my freedom! (more) 12. VALJEAN (cont'd) I feel my shame inside me like a knife. He told me that I have a soul... How does he know? What spirit comes to move my life? Is there another way to go? Slowly, he examines the yellow passport and raises it high, as if to the altar. VALJEAN I am reaching, but I fall And the night is closing in... As I stare into the void - To the whirlpool of my sin. Valjean stands and turns, walking fast to the door of the church. VALJEAN I'll escape now from that world - From the world of Jean Valjean. Jean Valjean is nothing now! 15 EXT. CHURCH, DIGNE - DAY 15 Valjean comes out of the church into the graveyard and reaches a bell set on the edge of a promontory. Below lies the steep drop down the mountainside to the dark valley below. VALJEAN Another story must begin! He rips the yellow paper into pieces and throws the pieces out over the valley. The scraps flutter in the wind. FOLLOW the scraps of yellow paper as they dance in the wind then fall away into the void below. One scrap of paper dances upwards in the sunlight. We follow this and accelerate upwards leaving Valjean and the town of Digne far below, towards the sun gloriously breaking through the heavens with the alps beyond. The camera then starts to tumble back down through mist and cloud below - through time and space - down to discover -16 EXT. ROAD TO MONTREUIL - DAY 16 The camera hurtling towards three horses riding down a long muddy road on a flat plain towards the walled town of Montreuil-sur-Mer. Montreuil sits on an estuary leading out to the sea. We see ships sitting in low tide on the mud of the estuary along the dockside of the town, and red brick factory buildings. 13. SUPERIMPOSE CAPTION: Eight years later Montreuil-sur-Mer, 1823. The camera closes in to ground level to reveal the horseriders: Javert, flanked by two policemen. 16A EXT. GATES TO MONTREUIL - DAY 16A As the riders enter the walled town we see the poor clustered around the gates - destitute and sick people clammering to get in. BEGGARS' CHORUS At the end of the day you're another day older And that's all you can say for the life of the poor. It's a struggle! It's a war! And there's nothing that anyone's giving. One more day standing about - What is it for? One day less to be living. Javert sees the destitution of the people. Expressionless as ever. BEGGARS' CHORUS At the end of the day you're another day colder And the shirt on your back doesn't keep out the chill. And the righteous hurry past They don't hear the little ones crying And the plague is coming on fast Ready to kill - One day nearer to dying! TRACK PAST a plague victim, wrapped in a shroud, being thrown onto a cart. The police enter the harbour. 17 EXT. HARBOUR - MONTREUIL - DAY 17 The beggars are pushed back as the gates open and close for the police. 14. BEGGARS' CHORUS At the end of the day there's another day dawning And the sun in the morning is waiting to rise Like the waves crash on the sand Like a storm that'll break any second There's a hunger in the land There's a reckoning still to be reckoned And there's gonna be hell to pay At the end of the day! Javert looks round at the factory buildings, the boats in the harbour, the poor clamouring behind him, and rides on. 18 SCENE OMITTED 18 19 EXT. FACTORY YARD, MONTREUIL - DAY 19 Heavy carts wait to be loaded with wooden crates of goods. Workmen carry the crates out of the factory as the FOREMAN strides in through the doors, gesturing to a cart driver, FAUCHELEVENT, who's taking a quick rest on a crate.19A INT. FACTORY, MONTREUIL - MEN'S SECTION - DAY 19A The foreman passes men packing boxes on tables and loading boxes onto crates. He passes through a door under a first floor office. 20-22 INT. FACTORY, MONTREUIL - WOMEN'S SECTION - DAY 20-22 The long work space is full of tables at which conservatively dressed women are working, making jewelry out of shellac, a black resin which looks like jet. An impressive sight: obviously a very successful business. A wooden staircase climbs one wall to a glass-windowed business office. The figure of a man within. FOREMAN (flirtatiously, to women) At the end of the day you get nothing for nothing! Sitting flat on your bum doesn't buy any bread! FACTORY WOMAN 4 There are children back at home - FACTORY WOMAN 2 And the children have got to be fed. 15. FACTORY WOMAN 7 And you're lucky to be in a job -The Foreman has stopped beside FANTINE, a pretty young woman. As he leans over to whisper in her ear Fantine, surprised, pricks her finger with her needle. FOREMAN (quietly, to Fantine) And in a bed! FACTORY WOMAN 8 (to Fantine, as a warning) And we're counting our blessings! The Foreman continues his rounds, encouraging the women to speed up their work. FOREMAN At the end of the day just be glad to be working For a master who cares for the lives of the poor. FACTORY WOMAN 7 He's a riddle.. FACTORY WOMAN 4 He's no fool.. FACTORY WOMAN 6 He's the answer to anyone's prayer FACTORY WOMAN 8 And he paid for the brand new school FACTORY WOMAN 4 It's no wonder they made him the mayor! FACTORY WOMEN Bless the man who leads the way! At the end of the day!They get on with their tasks, all glancing up at the boss in the office above. The Foreman returns to Fantine, trying to help her. MAIN FACTORY WOMAN Have you seen how the foreman is fuming today With his terrible breath and his wandering hands? 16. FACTORY WOMAN 3 It's because little Fantine won't give him his way. FACTORY WOMAN 5 Take a look at his trousers, you'll see where he stands! FACTORY WOMAN 2 And the boss, he never knows That the foreman is always on heat. MAIN FACTORY WOMAN If Fantine doesn't look out, Watch how she goes, She'll be out on the street! The Foreman rings a bell, announcing the end of the work day. The women start to take off their overalls and pack up their tools for the day. FACTORY WOMEN/FOREMAN At the end of the day its another day over With enough in your pocket to last for a week Pay the landlord, pay the shop Keep on working as long as you're able Keep on working till you drop Or it's back to the crumbs off the table Well, you've got to pay your way At the end of the day! The women queue up to be paid by the Foreman at the door. Fantine has taken out a letter. The main factory woman snatches the letter away from Fantine. MAIN FACTORY WOMAN And what have we here, little innocent sister?The letter is passed surreptitiously down the line of women workers. MAIN FACTORY WOMAN Come on, Fantine, let's have all the news. (reading) `Dear Fantine, you must send us more money, Your child needs a doctor, There's no time to lose.' 17. FANTINE Give that letter to me It is none of your business. With a husband at home And a bit on the side! Is there anyone here Who can swear before God She has nothing to fear? She has nothing to hide?The main factory woman starts to take Fantine's letter over to the Foreman. Fantine tries to get the letter back. The women scuffle.The owner enters the factory floor. We see him only from behind: a well-dressed prosperous man. VALJEAN What is this fighting all about? Will someone tear these two apart? This is a factory, not a circus.As he sings, the CAMERA MOVES ROUND to discover him. Clean-shaven, well-fed, transformed: it's Valjean. VALJEAN Now come on, ladies, settle down. I run a business of repute.Suddenly Valjean sees Javert appear on the first floor balcony of his office. His world drops away. VALJEAN (to the foreman) Deal with this, Foreman. Be as patient as you can. He walks back to the stairs up to his office. On the factory floor - FOREMAN Now someone say how this began!The factory women all turn on Fantine. FANTINE/FACTORY WOMAN 5 At the end of the day she's the one who began it! MAIN FACTORY WOMAN There's a kid that she's hiding in some little town. FACTORY WOMAN 5 There's a man she has to pay 18. MAIN FACTORY WOMAN You can guess how she picks up the extra - You can bet she's earning her keep Sleeping around! And the boss wouldn't like it. FANTINE Yes, it's true there's a child And the child is my daughter And her father abandoned us, Leaving us flat. Now she lives with an innkeeper man and his wife And I pay for the child. What's the matter with that?Fantine continues to defend herself to the Foreman, as the women sing - FACTORY WOMEN At the end of the day she'll be nothing but trouble And there's trouble for all when there's trouble for one! While we're earning our daily bread She's the one with her hands in the butter - You must send the slut away Or we're all going to end in the gutter And it's us who'll have to pay At the end of the day!The Foreman pulls Fantine away. FOREMAN I might have known the bitch could bite! I might have known the cat had claws! I might have guessed your little secret! Ah yes, the virtuous Fantine Who keeps herself so pure and clean - You'd be the cause, I had no doubt Of any trouble hereabout. You play a virgin in the light But need no urging in the night! MAIN FACTORY WOMAN She's been laughing at you While she's having her men! 19. FACTORY WOMEN She'll be nothing but trouble again and again! FACTORY WOMAN 5 You must sack her today! FACTORY WOMEN Sack the girl today! FOREMAN Right, my girl! On your way! Below, Fantine turns and calls to Valjean in his office above with a pitiful cry. FANTINE M'sieur Mayor, help me! I have a child! Valjean hears the cry, but he has other concerns. He turns round to face Javert. Javert stares at him. On the factory floor below, the Foreman hustles Fantine out, as she struggles against him. 23 INT. FACTORY OFFICE - DAY 23 Javert bows. JAVERT I introduce myself, Inspector of Police. I've come to take the watch I'm here to keep the peace. Please know me as Javert. I'm here at your command With honour due to each. With justice in our hands No man's beyond our reach. Let all beware. VALJEAN Welcome, sir Come guard our laws I'm sure we're here In common cause. Javert turns to look through the high window onto the men's factory floor below. The last men are leaving for the day. JAVERT You've done the city proud, You've raised their banner high. (more) 20. JAVERT (cont'd) You manufacture gems That anyone can buy Your people thrive. Valjean shows some demonstration samples of their work. VALJEAN The dignity of toil To stay alive. Javert is puzzled. He's sure he recognises Valjean, but from where? JAVERT It seems to me We may have met. Valjean throws him a sharp glance. VALJEAN Your face is not a face I would forget. A CRASH from outside in the yard - shouts -24 EXT. TRACK LEADING TO FACTORY, MONTREUIL - DAY 24 Valjean and Javert hurry out across the factory yard and down the muddy track beyond to discover - A heavily laden cart has toppled onto the cart driver - Fauchelevent, the worker seen before taking a rest on a crate. The cart driver and the Foreman are trying to lift the cart off the crushed man, but it's too heavy, and the ground is too soft. Fauchelevent screams as the cart slowly sinks in the mud. Valjean, Javert and Javert's assistant all hurry to help, but they can't get a proper purchase in the spongy ground. All the time the cart is sinking further, pushing Fauchelevent deeper into the mud that will soon bury him. Then Valjean sees a way. At one end the wheels of the cart have stopped sinking - the ground is harder here. He throws himself under the cart at this higher end, and braces himself to lift it from beneath. VALJEAN Get back! It may fall! FOREMAN No, Monsieur le Mayor! CROWD It'll kill you as well! 21.Javert stands back and looks on. As he looks, we see amemory stirring in him.JAVERT'S POV - Valjean's posture beneath the cart isexactly the same as the convict beneath the fallen mast.The same crouching power. The same almost-suicidaldetermination.Valjean sees Javert looking at him, and knows exactly whathe's thinking. For a moment he hesitates. Then he hearsFauchelevent's choking scream as the mud gags his mouth.Valjean strains every muscle, and slowly one end of thecart begins to rise. As soon as it clears the crushed andgasping man, the others pull him clear.Valjean lets the cart down again, and climbs out. As hebrushes himself down he finds Javert staring at him. JAVERT Can this be true? I don't believe what I see! A man your age To be as strong as you are! A memory stirs... You make me think of a man From years ago A man who broke his parole.. He disappeared. He shakes his head, realising how absurd his suspicionsare. JAVERT Forgive me, sir. I would not dare - VALJEAN Say what you must. Don't leave it there.Valjean holds Javert's gaze, challenging him to say more. Javert is not yet confident enough to continue. Valjean goes to help Fauchelevent. VALJEAN Let me help you up. Fauchelevent groans as he rises. FAUCHELEVENT Monsieur le Mayor, you come from God! You are a saint! VALJEAN No more cart driving for you! 22. Javert stares. He can't rid himself of his suspicion. JAVERT Monsieur le Mayor. He draws himself up and gives a bow. As he walks away, he discusses something with his assistant. 25 EXT. HARBOUR, MONTREUIL - NIGHT 25 Fantine makes her way to the harbour wall. Beggars shelter in the tunnels under the red brick buildings. 26 EXT. RED LIGHT DISTRICT, MONTREUIL - NIGHT 26 Fantine makes her way down wet slimy steps. This leads to an alleyway that runs down to the harbour and three ships lying on the mud at low tide. At the far end, the largest is the rotting hulk of a vast old warship. A single whore sits in a doorway. FANTINE Excuse me, is this where the Pawnbrokers is? WHORE 1 (pointing) It's just there. FANTINE Thank you. Drunken sailors spill out into the alleyway below. The first sailor is trying to find the whorehouse. SAILOR 1 I smell women! Smell'em in the air! Think I'll drop my anchor In that harbour over there! They spot Fantine, mistaking her for a whore. Fantine presses on down the steps, trying to ignore the sailors. SAILOR 2 Lovely ladies! Love `em till your broke! Seven months at sea can make you Hungry for a poke! The sailors then see whores start to appear from the shadows of warehouse doorways. SAILOR 3 Even stokers need a little stoke! 23.A man with no legs, reacting to the sailors, cranks up an organ-grinder and from doorways and overhead windows harbour whores appear and tout for business. A man selling dentures stands by his cart and we hear fragments of his sales pitch. WHORES TOOTH MANLovely ladies Lovely denturesWaiting for a bite! Guaranteed to biteWaiting for the customers They clean up real easyWho only come at night. You can take them out atLovely ladies nightReady for the call, Sell your teeth here make aStanding up or lying down pretty sumOr any way at all - Best Tooth Man in the harbour Bargain prices up against the Guaranteed no painful gumswall! Bargain prices up against the wall!During the above chorus, Fantine sells a locket containing a cutting of Cosette's hair to the pawnbroker. PAWNBROKER Hello sweetheart, I'll give you four francs. FANTINE It's worth at least ten. The pawnbroker goes back in his shop and Fantine watches the whores. FANTINE Alright, five. The pawnbroker takes the locket in exchange for the money. An old woman leers at Fantine from the shadows, beckoning. She approaches Fantine, reaching out to stroke her hair. HAIR CRONE What pretty hair! What pretty locks you've got there! What luck you got. It's worth a centime, my dear! I'll take the lot! FANTINE Don't touch me! Leave me alone! HAIR CRONE Let's make a price. I'll give you all of ten francs. Just think of that! 24. FANTINE It pays a debt... HAIR CRONE Just think of that. FANTINE What can I do? It pays a debt. Ten francs may save my poor Cosette. The hair crone leads Fantine down to her shop at the base of the stairs. Fantine is sat on a low stool. She bows her head before the hair crone, who at once whips out a razor blade and cuts off her hair at the roots. 26A EXT. RED LIGHT DISTRICT MONTREUIL - END OF DAY 26A Fantine walks down the steps with short hair, mocked by the voices of the whores on either side. A PIMP and the HEAD WHORE watch her progress as the organ- grinder grinds out the music. Whores sing from the warehouse doorways, from on top of the spars of the ships, writhing around figureheads and from the rotting ship. The few men in the street choose their whores and disappear by the end of the chorus. WHORES TOOTH MAN Lovely ladies Lovely dentures guaranteed to Waiting in the dark. bite Ready for a thick one They clean up real easy Or a quick one in the park. You can take them out at night HEAD WHORE Lovely teeth dear shining Long time, short time like the stars Anytime my dear! I'll whip em out quite Cost a little extra quickly If you want to take all year And I won't leave any scars. WHORES Quick and cheap is underneath the pier Fantine reaches the hair crone. FANTINE Please, you wouldn't have any work for me would you? Please, I sold you my hair. I could do anything. The hair crone points at the head whore and the tooth man. 25. HAIR CRONE Go and see them. Fantine looks towards the tooth man and the head whore. TOOTH MAN HEAD WHORE Come over here, Come here my dear. I'll pay well for your youth. I pay ten francs for a tooth. Fantine heads to the tooth man. TOOTH MAN You have, my dear, The clear advantage of youth. HEAD WHORE (whispers) Just the back ones. TOOTH MAN The pain won't last, You'll still be able to bite. She grabs Fantine's cheeks and forces open her mouth to inspect her teeth. TOOTH MAN I do it fast, I know my business all right. It's worth a go. The pimp pushes her down. FANTINE You'll pay me first What I am due. TOOTH MAN You'll get twice If I take two! She opens her mouth, and the pincers go in, as everyone gathers round to watch. Fantine screams as the first tooth is removed. 26B EXT. RED LIGHT DISTRICT MONTREUIL - NIGHT 26B The pimp is passing among the whores, checking that they're all fit for business. WHORES God, we're weary, Sick enough to drop! LOVELY LADY 1 Belly burns like fire, Will the bleeding ever stop! 26. PIMP Cheer up, deary! Show a happy face! Plenty more like you here If you can't keep up the pace. LOVELY LADY 1 Only joking! Deary knows her place!The pimp gestures at Fantine, now slumped in a doorway, hercropped head in her hands.A shy captain watches Fantine. The pimp notices. PIMP Gimme the dirt - Who's that bit over there? WHORE 1 A bit of skirt, She's the one sold her hair. HEAD WHORE She's got a kid, Sends her all that she can. PIMP I might've known There is always some man.He moves in on Fantine. PIMP Lovely lady, come along and join us! Lovely lady!Fantine looks up, a trickle of blood in one corner of hermouth. The whores cluster round her, hands reaching out todraw her in to their world. On the rotting warship, more whores appear out of the gaps of the hull to sing the chorus. WHORE 1 Come on, dearie, why all the fuss? WHORES ... why all the fuss. WHORE 2 You're no grander than the rest of us. WHORES ... than the rest of us. 27. WHORE 3 Life has dropped you at the bottom of the heap. WHORES ...at the bottom of the heap. Whore 3 bites her fingertip and applies her blood to rouge Fantine's cheeks. HEAD WHORE Join your sisters - WHORE 1 Make money in your sleep! WHORES ... make money in your sleep. WHORE 2 That's right, dearie, Show him what you've got! WHORES ... show him what you've got. WHORE 3 That's right, dearie, Let him have the lot! WHORES ...let him have the lot. The whores perform for the benefit of Fantine on the orders of the head whore, as the head whore leads her towards the hulk. WHORES Old men, young men, take'em as they come! Harbour rats and alley cats And every kind of scum! Poor men, rich men, leaders of the land - See them with their trousers off, They're never quite as grand! All it takes is money in your hand!The pimp leads the captain down the middle of the whores to Fantine who wears a filthy white dress. The pimp joins the captain and Fantine's hands as the head whore officiates - like a twisted wedding ceremony. WHORES Lovely ladies Going for a song, (more) 28. WHORES (cont'd) Got a lot of callers But they never stay for long... Fantine puts on a show of courage as she leads the captain into the ship's hulk, which is a brothel. FANTINE Come on, Captain, you can wear your shoes. Don't it make a change to have a girl who can't refuse? 27 INT. ROTTING SHIP'S HULK, MONTREUIL - NIGHT 27 Fantine, pale and frail, her bodice loosened, leads the captain down to the damp dregs of the ship. We see the rotting straw mattress within as they enter, then Fantine lays down. FANTINE Easy money lying on a bed. Just as well they never see The hate that's in your head! Don't they know they're making love To one already dead? 28 INT. ROTTING SHIP'S HULK, MONTREUIL - NIGHT 28 CLOSE ON a man's hand leaving money. We hear him exit. MOVE TO FIND Fantine lying alone on the mattress. She pulls herself into a sitting position against the head of the mattress. She draws her legs up and wraps her arms round her knees, huddling against the misery of the world. FANTINE There was a time when men were kind, When their voices were soft And their words inviting. There was a time when love was blind And the world was a song And the song was exciting. There was a time... Then it all went wrong. I dreamed a dream in time gone by, When hope was high And life worth living. I dreamed that love would never die. I dreamed that God would be forgiving. (more) 29. FANTINE (cont'd) Then I was young and unafraid And dreams were made and used and wasted. There was no ransom to be paid, No song unsung, no wine untasted. But the tigers come at night With their voices soft as thunder As they tear your hope apart As they turn your dream to shame. He slept a summer by my side, He filled my days with endless wonder. He took my childhood in his stride But he was gone when autumn came. And still I dream he'll come to me! That we will live the years together... But there are dreams that cannot be And there are storms we cannot weather... I had a dream my life would be So different from this hell I'm living - So different now from what it seemed! Now life has killed the dream I dreamed. As she ends her song, her next customer is waiting. The head whore beyond. 29 EXT. RED LIGHT DISTRICT, MONTREUIL - NIGHT 29 Fantine is out on the snow and ice-covered quayside, shivering, waiting for trade. She looks pale and sickly, but still attempts an alluring smile. She moves past the anchored ships, beneath the bowsprits, trying pathetically to attract custom. Then she comes to a stop, staring. She has seen and recognised Valjean, some way off. He's out in the harbour district. He is talking to a beggar. Before he moves on, he hands over some money. As Fantine watches Valjean on his mission of mercy, a well- dressed young man, BAMATABOIS, comes up to her. He arrives with two friends and a valet. 30. BAMATABOIS Here's something new. I think I'll give it a try. Come closer, you! I like to see what I buy. The usual price For just one slice of your pie. FANTINE I don't want you! No! No, M'sieur! Let me go! BAMATABOIS Is this a trick? I won't pay more! FANTINE No, not at all! BAMATABOIS You've got some nerve, you little slut! You've got some gall! It's the same with a tart as it is with a grocer The customer sees what he gets in advance It's not for the whore to say "yes sir" or "no sir" It's not for the harlot to pick and to choose or to lead me a dance! He pulls her clothing open and laughingly stuffs snow down her cleavage. Fantine reacts with fury. They fall over in the snow and Bamatabois laughs. FANTINE I'll kill you, you bastard! Try any of that! Even a whore who has gone to the bad Won't be had by a rat! Fantine scratches Bamatabois across the face. Bamatabois touches his face and sees the blood on his fingers. His friends drag Fantine against the harbour wall. BAMATABOIS (furious but aroused) By Christ you'll pay for what you've done! This rat will make you bleed, you'll see! I guarantee I'll make you suffer! For this disturbance of the peace For this insult to life and property! 31.Bamatabois suddenly sees that police have arrived. FANTINE I beg you, don't report me, sir. I'll do whatever you may want. BAMATABOIS Make your excuse to the police!Bamatabois' friend drags Fantine towards the police. It's Javert. JAVERT Tell me quickly what's the story. Who saw what and why and where? Let him give a full description, Let him answer to Javert! In this nest of whores and vipers Let one speak who saw it all. Who laid hands on this good man here? What's the substance of this brawl? BAMATABOIS Javert, would you believe it? I was walking, it was dark When this prostitute attacked me You can see she's left her mark!He shows the blood. Javert turns to Fantine. JAVERT She will answer for her actions When you make a full report. You may rest assured, M'sieur, That she will answer to the court.Fantine is almost fainting with fear, still racked withoccasional spasms of coughing. Unseen by her, Valjean isapproaching from behind. Javert's assistants pick Fantine up. Javert covers his mouth with a handkerchief as he approaches Fantine. FANTINE There's a child who sorely needs me, Please, m'sieur, she's but that high. Holy God, is there no mercy? If I go to jail she'll die. JAVERT I have heard such protestations Every day for twenty years. Let's have no more explanations, (more) 32. JAVERT (cont'd) Save your breath and save your tears.Javert indicates to the two policemen to drag Fantine away. Valjean steps out of the shadows. VALJEAN A moment of your time, Javert. I do believe this woman's tale. JAVERT Monsieur le Mayor! VALJEAN You've done your duty. Let her be. She needs a doctor, not a jail. JAVERT Monsieur le Mayor! Javert looks on, containing his anger, as Valjean reachesout a hand to Fantine. To Fantine, it's as if he's come toher in a dream - FANTINE Can this be? VALJEAN Where will she end - This child without a friend?He holds Fantine's hands, looking into her face. VALJEAN I've seen your face before. Show me some way to help you. How have you come to grief In such a place as this? FANTINE M'sieur, don't mock me now, I pray It's hard enough I've lost my pride. You let your foreman send me away. Yes, you were there And turned aside. I never did no wrong. VALJEAN Is it true what I've done - FANTINE My daughter's close to dying. 33. VALJEAN - to an innocent soul? FANTINE If there's a God above - VALJEAN Had I only known then! FANTINE He'd let me die instead. VALJEAN In His name my task has just begun. I will her to the hospital. Valjean picks Fantine up in his arms. Javert is quietly coldly furious. JAVERT Monsieur le Mayor! FANTINE Bring Cosette back to me. VALJEAN Where is she? FANTINE At an inn in Montfermeil... JAVERT Monsieur le Mayor! VALJEAN I will see it done! I will send for her immediately! As Valjean and Fantine move away, Javert stares after them, then turns and quietly instructs his assistant to follow after them. 30 EXT. POLICE STATION, MONTREUIL - DAY 30 As Javert walks up the steps to his police station his assistant stops him with an urgent letter. JAVERT'S ASSISTANT From Paris, Monsieur. Javert seizes it, opens it, and reads. As he reads, his expression changes. Appalled, he realizes he's made a terrible mistake. 34.31 INT. FACTORY, MONTREUIL - NIGHT 31 Valjean is at his desk in his office, going through his papers once everyone else has gone, when Javert enters and stands before him. He looks up. JAVERT Monsieur le Mayor I have a crime to declare! I have disgraced The uniform that I wear. I've done you wrong, Let no forgiveness be shown. I've been as hard On every rogue I have known. I'll bear the blame, I must be treated Just the same. VALJEAN I don't understand. What is this crime, Javert? JAVERT I mistook you for a convict, I have made a false report. Now I learn they've caught the culprit - He's about to face the court. Valjean conceals his shock. JAVERT And of course the thief denies it, You'd expect that from a con. But he couldn't run for ever, No, not even Jean Valjean. VALJEAN You say this man denies it all, And gives no sign of understanding or repentance? You say this man is going to trial, And that he's sure to be returned to serve his sentence? JAVERT He will pay, and so must I. Press charges against me, sir! VALJEAN You have only done your duty It's a minor sin at most. All of us have been mistaken You'll return, sir, to your post. 35. JAVERT Must I do as you say? VALJEAN It's your duty to obey! Javert is about to protest again, but Valjean raises one commanding hand, to indicate his decision is made. Javert gives an abrupt bow, and departs. Left alone, Valjean paces his office, deeply disturbed. VALJEAN They think that man is me - Without a second glance. This stranger they have found - This man could be my chance! Why should I save his hide? Why should I right this wrong? When I have come so far And struggled for so long? If I speak I am condemned. If I stay silent, I am damned! He goes out onto the balcony that looks down on the empty factory. VALJEAN I am the master of hundreds of workers - They all look to me. Can I abandon them? How would they live If I am not free? If I speak they are condemned. If I stay silent, I am damned!31A INT. VALJEAN'S HOUSE, MONTREUIL - NIGHT 31A Valjean is sitting staring at the Bishop's candlesticks. Who am I? Can I condemn this man to slavery? Pretend I do not feel his agony? This innocent who bears my face, Who goes to judgement in my place... Who am I?31B INT. VALJEAN'S HOUSE, MONTREUIL - NIGHT 31B Valjean is furiously packing stuff up. 36. VALJEAN Can I conceal myself for ever more? Pretend I'm not the man I was before? And must my name until I die Be no more than an alibi?31C EXT. COUNTRY ROAD - NIGHT. 31C Close on two horses panting. A stopped carriage in a wide night landscape. The driver is Valjean, hesitating. Must I lie? How can I ever face my fellow men? How can I ever face myself again? 31D INT/EXT. COURTROOM - NIGHT 31D Valjean hesitates outside the courtroom and in the lobby of the courtroom, pacing back and forth. VALJEAN My soul belongs to God, I know, I made that bargain long ago. He gave me hope when hope was gone! He gave me strength to journey on! Who am I? Who am I? I'm Jean Valjean! Valjean pushes through the crowds at the back of the courtroom. 32 INT. COURTROOM - NIGHT 32 The man accused of being Jean Valjean, a wretched down-and- out, stands before the JUDGE. He looks uncannily like the real Valjean. Before the judge has a chance to speak, the doors open and Valjean bursts in. Sensation in the court. VALJEAN And so, your honour, you see it's true That man bears no more guilt than you! Who am I? 24601! 37. The judge is too stunned to respond. The others in the court can't believe what they've just heard. The Mayor of Montreuil-sur-Mer, a convict! VALJEAN If you don't believe me ask Inspector Javert. He knows where to find me. The judge goes over to Valjean and gently leads him out. JUDGE Monsieur le Mayor, you are not well, you must come with me, do you have a carriage outside? Monsieur le Mayor, we must get you home to bed immediately!! 33 INT. HOSPITAL, MONTREUIL - NIGHT 33 The hospital is in the long attic of Valjean's factory. Valjean hurries into the hospital, breathless. He sees a nursing sister outside Fantine's room. VALJEAN Is her daughter with her? NURSE No, monsieur. Her guardian sent this. She gives Valjean a note. He reads it with mounting anger. VALJEAN `Money not enough. Send more. Thenardier.' What sort of man is this?34 INT. HOSPITAL, MONTREUIL - NIGHT 34 Fantine lies in bed, delirious. She is dressed in pure white. Her eyes are closed. FANTINE Cosette, it's turned so cold! Cosette, it's past your bedtime! You've played the day away And soon it will be night. Fantine's eyes open and she sees Cosette, playing in the room. She looks healthy and is dressed prettily. Come to me, Cosette, the light is fading. (more) 38. FANTINE (cont'd) Don't you see, the evening star appearing? Come to me, and rest against my shoulder, How fast the minutes fly away and every minute colder? Valjean enters, and sees at once that Fantine is close to the end. He drops to his knees by her bed. VALJEAN Dear Fantine, Cosette will be here soon! Dear Fantine, she will be by your side FANTINE (trying to get out of bed) Come Cosette, the night has grown so cold! VALJEAN (putting her back in bed) Be at peace! Be at peace ever more. FANTINE My Cosette - VALJEAN - shall live in my protection. FANTINE Take her now!She pushes into his hand a scrap of paper on which she'swritten her wishes. VALJEAN Your child will want for nothing. FANTINE Good m'sieur, you come from God in heaven. VALJEAN And none shall ever harm Cosette as long as I am living.Fantine has stopped looking towards the window. All herfading strength is now directed towards Valjean. She triesto reach up to him. FANTINE Take my hand... The night grows ever colder. 39. VALJEAN Then I will keep you warm.He wraps her in his arms. FANTINE Take my child I give her to your keeping. VALJEAN Take shelter from the storm. FANTINE For God's sake, please stay till I am sleeping... And tell Cosette I love her And I'll see her when I wake...Fantine starts to spasm. She sees something over Valjean's shoulder. Valjean doesn't realise. Her eyes go glassy as she passes away. Valjean then hears the unforgettable voice of Javert behind him. JAVERT Valjean, at last We see each other plain! `M'sieur le Mayor' You'll wear a different chain!Valjean stands to face Javert. VALJEAN Before you say another word, Javert, Before you chain me up like a slave again, Listen to me! There is something I must do. This woman leaves behind a suffering child. There is none but me who can intercede - In mercy's name, three days are all I need, Then I'll return, I pledge my word! Then I'll return...Javert draws his sword and aims it at Valjean. JAVERT You must think me mad! I've hunted you across the years. Men like you can never change - A man such as you!Valjean breaks a section of timber beam from the roof. 40.The men start to circle each other. They sing at the same time, duelling in song. VALJEAN Believe of me what you will There is a duty that I'm sworn to do. You know nothing of my life - All I did was steal some bread. You know nothing of the world - You would sooner see me dead. But not before I see this justice done! JAVERT Men like me can never change. Men like you can never change. No, 24601! My duty is to the law. You have no rights. Come with me, 24601!The two men fight. VALJEAN I am warning you, Javert, I'm a stronger man by far! There is power in me yet! My race is not yet run! JAVERT Now the wheel has turned around - Jean Valjean is nothing now. Dare you talk to me of crime And the price you had to pay. Every man is born in sin Every man must choose his way.Javert disarms Valjean and drives him backwards towards an attic door. You know nothing of Javert! I was born inside a jail. I was born with scum like you. I am from the gutter too.Valjean is pushed through the doors out onto a wooden loading platform beneath a hoist. Below, the walls of the factory lead straight down to the black sea at high tide. Javert is triumphant. Valjean glances down and pushes back, dropping into the darkness of the ocean. Javert goes to jump after him and cannot bring himself to do it. 41. Javert stares into the black sea - there is no sign of Valjean. 34A EXT. HARBOUR, MONTREUIL - NIGHT 34A Javert and various police search the harbourside with lanterns. Valjean, dripping wet, watches from a tunnel under a factory, as Fantine's body wrapped in a shroud is dumped on a cart. They sing to themselves, continuing their duet without knowing. VALJEAN And this I swear to you tonight - JAVERT There is no place for you to hide. VALJEAN Your child will live within my care - JAVERT Wherever you may hide away - VALJEAN And I will raise her to the light. JAVERT/VALJEAN I swear to you, I will be there! 35 EXT. MONTFERMEIL - DUSK 35 The village street is bright with booths set up for a Frost Fair. Families and visitors are out buying baubles, or laughing at the antics of travelling players. Small girls cluster round a stall that displays prettily-dressed dolls. Amongst them is a prettily-dressed girl of 8 or 9 years: EPONINE. Across the road from this stall stands a shabby inn. A sign lashed to an old cart swinging in the wind reveals the inn to be `The Sergeant of Waterloo'. The inn is still closed despite the small crowd at the fair. MOVE IN on the frosted window of the inn, through which we see a little girl, COSETTE, gazing out at the display of dolls. 42.36 INT. INN, MONTFERMEIL - END OF DAY 36 Cosette is in the process of sweeping the floor. She's come to a stop, gazing out of the window, mesmerized by the sight of the most beautiful doll in the display, and jealous that Eponine can see it and touch it up close. COSETTE There is a castle on a cloud I like to go there in my sleep. Aren't any floors for me to sweep, Not in my castle on a cloud. Cosette gets out from a hiding place in the wall a knotted grimy rag - this is her "doll", the knot is the doll's head. There is a lady all in white Holds me and sings a lullaby. She's nice to see and she's soft to touch (holding doll to her ear and whispering) She says, Cosette, I love you very much. I know a place where no one's lost I know a place where no one cries. Crying at all is not allowed, Not in my castle on a cloud. Madame Thenardier comes bustling down the stairs in a bad mood. She glowers at little Cosette and changes the closed sign from "closed" to "open". MADAME THENARDIER Now look who's here! The little madam herself, Pretending once again She's been so awfully good! Better not let me catch you slacking! Better not catch my eye! Ten rotten francs your mother sends me - What is that going to buy? Now take that pail, My little Mademoiselle, And go and draw some water from the well. We should never have taken you in In the first place - How stupid the things that we do! Like mother, like daughter, the scum of the street. 43.Cosette goes to put the broom away. Eponine comes in from outside. MADAME THENARDIER Eponine, come my dear. Eponine, let me see you. You look very well in that little blue hat! There's some little girls who know how to behave And they know what to wear And I'm saying thank heaven for that!Madame Thenardier sees that Cosette far from going is hiding behind the far wall. We see Cosette's frightened eyes peering out from a tiny gap in this wall. MADAME THENARDIER Still there, Cosette? Your tears will do you no good! I told you to fetch some water from the well in the wood. COSETTE (singing through the gap) Please do not send me out alone. Not in the darkness on my own.Madame Thenardier imitates Cosette as she sings. MADAME THENARDIER (singing through the gap) Enough of that, or I'll forget to be nice! You heard me ask for something, And I never ask twice! The innkeeper's gang posing as customers who have been loitering outside come in, explaining to a fifth man who is a newer recruit a story from Monsieur Thenardier's past. Madame Thenardier goes outside to open up the rather pathetic frost fair stall on the porch of the inn. CUSTOMER 1 Mine host Thenardier He was there, so they say, At the field of Waterloo. CUSTOMER 2 Got there, it's true, When the fight was all through But he knew just what to do. CUSTOMER 3 Crawling through the mud, So I've heard it said, (more) 44. CUSTOMER 3 (cont'd) Picking through the pockets of the English dead. CUSTOMER 4 He made a tidy score from the spoils of war. We suddenly hear the voice of the landlord, Thenardier. He has been there all the time, asleep on a bench. He wakes from his drunken slumbers and roars out: THENARDIER My band of soaks, My den of dissolutes, My dirty jokes, my always pissed as newts, My sons of whores, Spend their lives in my inn! Homing pigeons homing in - They fly through my doors, And their money's as good as yours!36A EXT. INN, MONTFERMEIL - DUSK 36A Madame Thenardier is trying to sell something unappealing from her stall to a portly looking man when slushy snow from the stall's roof falls on the man's head. Madame Thenardier ushers him inside. 37 INT. INN, MONTFERMEIL - DUSK 37 THENARDIER Welcome, m'sieur! Sit yourself down And meet the best Innkeeper in town! Madame Thenardier pretends to accidentally drop a comb from her hair and the customer helpfully picks it up, allowing Madame Thenardier to pick his wallet from a back pocket as he stands up. Monsieur Thenardier takes his coat which allows the couple to see the customer transfer a pocket watch from coat to jacket pocket. THENARDIER As for the rest - All of them crooks Rooking the guests And cooking the books. Seldom do you see Honest men like me A gent of good intent Who's content to be - He pours a strong drink for the new customer - 45. THENARDIER Master of the house! Doling out the charm Ready with a handshake And an open palm Thenardier has thieved the pocket watch using his handshake as a distraction. He passes this off to Madame Thenardier. THENARDIER Tells a saucy tale Makes a little stir Customers appreciate a bon-viveur Glad to do a friend a favour Doesn't cost me to be nice But nothing gets you nothing Everything has got a little price! THENARDIER Master of the house! Keeper of the zoo! Ready to relieve'em Of a sou or two - (serving wine) Watering the wine37A INT. KITCHEN, INN, MONTFERMEIL - FLASHBACK - DAY 37A Thenardier is pissing into the very wine bottle he's using to serve the customer. 37B INT. INN, MONTFERMEIL - DUSK 37B THENARDIER Making up the weight Picking up their knick-knacks When they can't see straight Everybody loves a landlord Everybody's bosom friend! I do whatever pleases - Jesus! Won't I bleed'em in the end!37C EXT. INN, MONTFERMEIL - DUSK 37C At Madame Thenardier's stall, a frost fair customer is covered by snow, only this time we realise Madame Thenardier is responsible for pushing the snow off the awning with a stick. THENARDIER/CUSTOMERS Master of the house! Quick to catch your eye (more) 46. THENARDIER/CUSTOMERS (cont'd) Never wants a passer-by To pass him by! Madame Thenardier ushers the customer inside. 37D INT. INN, MONTFERMEIL - DUSK 37D Again Madame Thenardier drops her comb in front of the new customer but this time the thieving is foiled by little Cosette who helpfully picks it up. Over the chorus she shouts at little Cosette to get out. THENARDIER/CUSTOMERS Servant to the poor Butler to the great Comforter, philosopher and lifelong mate Everybody's boon companion Everybody's chaperone - THENARDIER But lock up your valises - Jesus! Won't I skin you to the bone! A FAMILY enters the inn. Thenardier fusses over them. THENARDIER Enter, messieurs! Lay down yer load Unlace yer boots And rest from the road. This weighs a ton Travel's a curse But here we strive To lighten your purse. He's got the father's purse out, and is removing notes. THENARDIER Here the goose is cooked Here the fat is fried And nothing's overlooked Till I'm satisfied - Food beyond compare Food beyond belief 38 INT. KITCHEN, INN, MONTFERMEIL - FLASHBACK - DAY 38 Thenardier shows off the secrets of the squalid kitchen - every possible animal being used to make mince meat. THENARDIER V/O Mix it in a mincer And pretend it's beef Kidney of a horse (more) 47. THENARDIER V/O (cont'd) Liver of a cat Filling up the sausages With this and that!38A INT. INN, MONTFERMEIL - DUSK 38A Thenardier serves the disgusting food that we've seen him create in the flashback to the family. THENARDIER Residents are more than welcome Bridal suite is occupied 38B INT. BRIDAL SUITE - FLASHBACK - NIGHT 38B A groom and bride consummate their union. Thenardier is going through the groom's trousers. THENARDIER V/O Reasonable charges Plus some little extras on the side. 38C INT. INN, MONTFERMEIL - NIGHT 38C THENARDIER Charge'em for the lice Extra for the mice Two percent for looking in the mirror twice. Here a little slice There a little cut Three percent for sleeping with the window shut. When it comes to fixing prices There are lots of tricks he knows How it all increases All those bits and pieces - Jesus! It's amazing how it grows.39 EXT. INN, MONTFERMEIL - NIGHT 39 Thenardier comes out of the inn, backed by a posse of his gang of loyal customers, and takes control of a brass band to sing to the Frost Fair. THENARDIER/CUSTOMERS Master of the house! Quick to catch your eye Never wants a passer-by To pass him by! 48. Further down the street, carrying her empty buckets, Cosette turns to look sadly back at the cheery sight. THENARDIER Servant to the poor Butler to the great Comforter, philosopher and lifelong mate Everybody's boon companion Gives'em everything he's got - The Portly Customer has discovered he's been robbed. He comes out to protest, holding out his emptied wallet. At once two of Thenardier's thugs grab him and hustle him off. THENARDIER Dirty bunch of geezers Jesus! What a sorry little lot!39A INT. INN, MONTFERMEIL - NIGHT 39A Madame Thenardier approaches a handsome soldier who is drinking at a table by the fire in the inn. She sits on his lap and gets him to look back at Thenardier, so allowing her to see inside his coat and spot his wallet. MADAME THENARDIER I used to dream That I would meet a prince But God almighty Have you seen what's happened since? `Master of the house' Isn't worth my spit! Comforter, philosopher And lifelong shit! Cunning little brain Regular Voltaire Thinks he's quite a lover But there's not much there. As Madame Thenardier reaches for the man's groin, she lifts his wallet skillfully and hands it off to Monsieur Thenardier. THENARDIER What a cruel trick of nature Landed me with such a louse. God knows how I've lasted Living with this bastard in the house! She pulls the young man into a dance, enabling her to steal everything else of value he has. Father Christmas has also been lured from the frost fair and the Thenardiers slit his presents sack and exchange it for a sack containing snow. 49. THENARDIER/CUSTOMERS Master of the house! MADAME THENARDIER Master and a half! THENARDIER/CUSTOMERS Comforter, philosopher - MADAME THENARDIER Don't make me laugh! THENARDIER/CUSTOMERS Servant to the poor Butler to the great - MADAME THENARDIER Hypocrite and toady And inebriate! THENARDIER/CUSTOMERS Everybody bless the landlord! Everybody bless his spouse! THENARDIER Everybody raise a glass! MADAME THENARDIER Raise it up the master's arse! THENARDIER/CUSTOMERS Everybody raise a glass to the master of the house!40/41 SCENES OMITTED 40/4142 EXT. WOOD BY THE INN - NIGHT 42 Cosette has filled her buckets at the well in the wood, and is now heading back. Through the dark trees ahead we glimpse the cheerful lights of the Frost Fair and the distant inn. She goes slowly, because the buckets are heavy. She hums to herself to keep her spirits up, a wordless verse of `Castle on a Cloud'. After a few steps she pauses to rest the weight of the buckets. Strong arms reach for the buckets and lift them out of her hands. She looks up, amazed. There's Valjean. VALJEAN Hush now, do not be afraid of me. Don't cry. Show me where you live. (more) 50. VALJEAN (cont'd) Tell me, my child, what is your name? COSETTE I'm called Cosette. VALJEAN Cosette? She gazes up at him. Hardly knowing why, the little girl trusts this stranger. Valjean picks up the heavy buckets, and they head back towards the inn. As they go, they hum `Castle on a Cloud' together.43 INT. INN, MONTFERMEIL - NIGHT 43 Valjean enters with Cosette. Madame Thenardier hurries over. Madame and Monsieur Thenardier try to thieve from Valjean using the same tricks established earlier, but he evades every attempt. Eponine watches silently from a corner. VALJEAN I found her wandering in the wood This little child, I found her trembling in the shadows. And I am here to help Cosette, And I will settle any debt you may think proper. I will pay what I must pay To take Cosette away. This is a duty I must heed. There is a promise I have made. For I was blind to one in need, I did not see what stood before me. Now your mother is with God. Her suffering is over, And I speak here with her voice, And I stand here in her place, and from this day, and ever more - MADAME THENARDIER Let me take your coat, m'sieur! VALJEAN Cosette shall live in my protection. THENARDIER You are very welcome here! VALJEAN I will not forget my vow. 51. THENARDIER Take a glass! MADAME THENARDIER Take a chair! VALJEAN Cosette shall have a father now.Thenardier turns to his wife. THENARDIER What to do? What to say Shall you carry our treasure away? What a gem! What a pearl! Beyond rubies is our little girl! How can we speak of debt? Let's not haggle for darling Colette! MADAME THENARDIER Cosette! THENARDIER Cosette - Dear Fantine - gone to rest - Have we done for her child what is best? Shared our bread - shared each bone - Treated her like she's one of our own! Like our own, m'sieur! VALJEAN Your feelings do you credit, sir. And I will ease the parting blow. Let us not talk of bargains and bones and greed.He gives Thenardier money. VALJEAN Now may I say we are agreed? MADAME THENARDIER That would quite fit the bill If she hadn't so often been ill. Little dear, cost us dear! Medicines are expensive, m'sieur. Not that we begrudged a sou - It's no more than we Christians must do.Valjean gives more money. 52. THENARDIERS One thing more! One small doubt! There are treacherous people about! No offence! Please reflect! Your intentions may not be correct! Valjean hands over more money. VALJEAN No more! Here's your price! Fifteen hundred for your sacrifice. Come, Cosette, say goodbye. Let's seek out some friendlier sky. Thank you both for Cosette - It won't take you too long to forget. He leads Cosette to the door.44 EXT. INN, MONTFERMEIL - NIGHT 44 Valjean lifts Cosette into the waiting cab. VALJEAN Where I go, you will be. COSETTE Will you be like a Papa to me? VALJEAN Yes, Cosette! This is true! I'll be father and mother to you! The cab sets off down the road.45 INT. INN, MONTFERMEIL - NIGHT 45 Madame Thenardier takes the bunch of notes from her husband's hand and inspects them. THENARDIER Not bad! MADAME THENARDIER Not enough! Through the open door Thenardier sees a man on horseback rattling up to the inn. 53. MADAME THENARDIER There's a copper at the door! What the devil have you done? Javert strides into the inn. JAVERT Where's the child Cosette? MADAME THENARDIER She's gone with a gent, Didn't tell us where they went, Didn't leave his home address. JAVERT Did you catch the fellow's name? Both Thenardiers shake their heads. Javert stares once, contemptuously, round the seedy inn, and departs without a further word. Thenardier goes to the doorway to watch him leave. MADAME THENARDIER You're a bloody fool Look at what we got. THENARDIER Should have struck the iron, Struck it while it's hot. THENARDIER/MADAME THENARDIER Next time round we'll be here And we're gonna get the lot.46 EXT. OUTSKIRTS OF PARIS - NIGHT 46 Valjean's cab, moving fast, passes down the road into the city. IN CAB - Valjean has one arm round Cosette to protect her from the jolting of the cab. He gazes at her as she slips into a fitful sleep. VALJEAN Suddenly I see Suddenly it starts When two anxious hearts Beat as one. Yesterday I was alone Today you walk beside me Something still unclear Something not yet here Has begun. Suddenly the world Seems a different place Somehow full of grace (more) 54. VALJEAN (cont'd) And delight. How was I to know That so much love Was held inside me? Something fresh and young Something still unsung Fills the night. How was I to know at last That happiness can come so fast? Trusting me the way you do I'm so afraid of failing you Just a child who cannot know That danger follows where I go There are shadows everywhere And memories I cannot share Nevermore alone Nevermore apart You have warmed my heart Like the sun. You have brought the gift of life And love so long denied me. Suddenly I see What I could not see Something suddenly Has begun. He brushes the hair from her face, and satisfies himself that she's comfortable. Then he puts his head out of the window. At the gate into Paris, soldiers are checking documents of occupants of carriages. Valjean slips out of the carriage with Cosette and makes his way along the wall, away from the gate. 46A EXT. PARIS BROKEN WALL - NIGHT 46A Valjean finds a section of tumble down wall and climbs over. 46B EXT. PARIS SLUM STREET - NIGHT 46B Valjean and Cosette make their way down a darkened street. 46C EXT. PARIS - RIVER SEINE - NIGHT 46C Valjean and Cosette turn down a narrow street, no longer hurrying. The narrow street turns, and opens out onto the river. Valjean stops. There, on the other side of the river, in the light of a lamp, stands Javert. 55.47 SCENE OMITTED 47 48 EXT. MAZE OF OLD STREETS - NIGHT 48 Now Valjean and Cosette are running - down narrow alleys, into small dark courtyards, not knowing which way to turn. Whenever Valjean thinks they've thrown their pursuer, there he is, not far behind. And he's no longer alone. With him are a detachment of soldiers. Javert and his team never seem to run. But he's always there.49 EXT. DEAD END - NIGHT 49 Valjean and Cosette turn into a street that is walled in by high windowless houses. They follow it round a corner to find - a dead end. A high wall before them. They're trapped. Valjean looks round. No way out. Then he sees a nearby lamp bracket. Hanging from it is the rope that is used to lower the oil lamp for lighting. He tears off the rope and ties one end round Cosette, beneath her armpits. Then holding the other end, he scales the wall, using the corner to brace himself as he rises. Once on the top, he hauls Cosette up by the rope. Only then does he turn to look down onto the other side. A cloister. A building in the middle, windows glowing. Grave stones black against the white snow. The sound of women's voices, singing a psalm. NUNS Te lucis ante terminum Rerum Creator poscimus Ut pro tua clementia Sis praesul et custodia... Valjean lowers Cosette down into the garden, and drops down after her. Javert and his men enter the dead end to find them gone.50 INT. CONVENT CLOISTER - NIGHT 50 Valjean crouched low, with Cosette in his arms, holding her still and quiet until Javert is gone. Then he straightens up and looks round. He takes in the sound of singing. NUNS Procul recedant somnia Et noctium phantasmata (more) 56. NUNS (cont'd) Hostemque nostrum comprime Ne polluantur corpora...He goes closer to the windows of the building. Through theblurry glass he can make out a chapel, and a line of nunssinging.Valjean continues and sees a man filling in a new grave.The man starts as he sees Valjean. FAUCHELEVENT Who's that?Valjean jumps, takes Cosette protectively into his arms.Turns to answer. FAUCHELEVENT Why, it's Monsieur Mayor!It's Fauchelevent, now a gardener, still limping from hisinjury. VALJEAN Who are you? FAUCHELEVENT Don't you remember? The cart fell on me! VALJEAN Monsieur Fauchelevent! FAUCHELEVENT You saved my life! You got me this job as a gardener!Valjean gazes at him, and remembers. VALJEAN Now you can do the same for me. We need a place of sanctuary. This child and I, we need to disappear. FAUCHELEVENT In this place of Holy Orders You are brought to God's domain May the sisters grant you shelter May their prayers ease your pain.Valjean and Cosette follow him to the convent. VALJEAN We'll give thanks for what is granted What the sisters may ordain Here we pray for new beginnings - Here our lives can start again. 57. Valjean looks to the heavens. The camera soars into the air and heads east as dawn breaks over Paris. We rush low over Paris as the sun comes up, towards the Place de la Bastille.51 EXT. PLACE DE LA BASTILLE, PARIS - DAY 51 SUPERIMPOSE CAPTION: Nine years later The dawn light glows on a massive ELEPHANT. The monument, made of wood and plaster, now ruined and crumbling, stands on a plinth on one side of the wide open square. On the far side, the remains of the great fortress that was the Bastille. In the middle, scaffolding surrounds a half-built triumphal column, which is being erected to celebrate the new regime. SUPERIMPOSE CAPTION: Paris, 1832. The streets that run from the square lead in one direction to the Paris of power and wealth; in the other direction into the slums. The camera sweeps in and down to meet the elephant. A head pops out of one of the elephant's many holes - GAVROCHE, a street urchin. He gives a shrill whistle. At once a dozen more street urchins show themselves, from every crack in the monument's skin. Agile as a monkey, Gavroche drops to the ground, followed by his band.52 EXT. PARIS BOULEVARD - DAY 52 FOLLOW GAVROCHE in as he races down a grand boulevard, dodging the crowds of strolling bourgeoisie and beggars, weaving in and out of the lines of carriages attempting to make their way in either direction. These are the conveyances of the rich, fine gilded coaches with matched horses and footmen on the back. Virtually at a standstill, they lend Gavroche a platform as he leaps from coach to coach, a street urchin dancing on the heads of the elite. As he goes, the poor on the pavements sing to the stony- faced rich in their golden high-sprung glory - BEGGARS CHORUS Look down and see the beggars at your feet! Look down and show some mercy if you can! Look down and see the sweepings of the street! (more) 58. BEGGARS CHORUS (cont'd) Look down, look down, Upon your fellow man!The fine ladies and grand gentlemen in the carriages averttheir eyes, or raise the blinds of their carriage windowsto shut out the sight of the losers of their world.Gavroche, bounding over their heads, evading the swipes ofliveried footmen, lands on the running board of one particularly grand carriage and begs/taunts the RICH OCCUPANT. GAVROCHE `Ow do you do? My name's Gavroche! These are my people, here's my patch. Not much to look at - nothing posh! Nothing that you'd call up to scratch. This is my school, my high society! Here in the slums of St Michel. We live on crumbs of humble piety Tough on the teeth - but what the hell! Think you're poor? Think you're free? Follow me! Follow me! BEGGARS CHORUS Look down and show some mercy if you can! Look down, look down, upon your fellow man!STILL RUNNING WITH Gavroche as he hops onto the back ofanother very grand carriage, the traffic now moving at last, hitching a ride on the back - one or two of his gang hop on back of carriage with him, the others run panting after to hear his political lecture. GAVROCHE There was a time we killed the King We tried to change the world too fast. Now we have got another King, He is no better than the last. This is the land that fought for liberty - Now when we fight we fight for bread! Here is the thing about equality - Everyone's equal when they're dead. Take your place! (more) 59. GAVROCHE (cont'd) Take your chance! Vive la France! Vive la France!53 EXT. LAMARQUE'S HOUSE, PARIS - DAY 53 The carriage has reached an arch into a courtyard where a crowd of a couple of hundred is gathered outside a house of sickness. The carriage stops as its occupant wants to watch what is going on. The street is padded with straw. Many eyes gaze up at the draped windows. People cross themselves. A priest is seen hurrying into the house, accompanied by two altar boys. Gavroche jumps off as the carriage stops and joins the crowd. The crowd is made up of citizens of Paris, student revolutionaries, the poor and beggars. The students hand out printed leaflets and try to excite the crowd. STUDENTS/BEGGARS CHORUS Look down and show some mercy if you can! Look down, look down, upon your fellow man! COURFEYRAC When's it gonna end? BEGGAR 1 When we gonna live? JOLY Something's gotta happen now! BEGGAR 2 Something's gotta give! STUDENTS AND BEGGARS It'll come, it'll come, it'll come... It'll come, it'll come, it'll come... A student, ENJOLRAS, stands on a raised step, making an impassioned speech with fellow student MARIUS. The occupant of the stopped carriage is MONSIEUR GILLENORMAND, Marius' Grandfather. He is clearly deeply unhappy to see his grandson engaged in such an activity. In the crowd a young street girl, EPONINE, has her eyes fixed longingly on the handsome Marius. ENJOLRAS Where are the leaders of the land? Where are the swells who run this show? 60. MARIUS Only one man, General Lamarque Speaks for the people here below!Marius looks towards Lamarque's house behind him. ENJOLRAS Lamarque is ill and fading fast - Won't last a week out, so they say. MARIUS With all the anger in the land, How long before the Judgement Day? ENJOLRAS Before we cut the fat ones down to size? STUDENTS Before the barricades arise?Mounted Police ride in to break up the crowd. POLICE Look down, look down, don't look us in the eye! Look down, look down, stay here and you die! The crowd breaks up. The students shout to the crowd: ENJOLRAS Tomorrow we will return! MARIUS Tell everyone you know COURFEYRAC We will show them! COMBEFERRE Lamarque is the only leader on our side! COURFEYRAC We have a right to pray for Lamarque! JOLY We need more people, then the police will not dare ride against us! MARIUS Vive le General Lamarque! 61. Marius turns to see his Grandfather staring him down, furious. GILLENORMAND Do you have any idea of the shame you bring on your family! You're behaving like a child. Gillenormand spies a gun poking out of his jacket. Gillenormand turns to get back in his carriage. 54 INT. GORBEAU TENEMENT 54 Through a crack in a door, we see Marius sitting on a tatty mattress in a tiny hovel of a room. He is taking out a hunting rifle from under the mattress, wrapped in a rag. His eye is caught by the ring on his finger. CLOSE ON a signet ring, a family crest. Marius stares at the ring then takes it off his finger. We reveal EPONINE staring at him through the door. EPONINE Hey there Monsieur what's new with you? Haven't seen much of you of late. Planning no doubt to change the world? Plotting to overthrow the state? Still living here in this old sewer Might as well doss down in a ditch You still pretending to be poor Everyone knows your Grandpa's rich Marius rushes down the stairs of the slum, Eponine following. We see glimpses of misery off the stairwell. MARIUS How did you...? EPONINE There's lots of things I know MARIUS Won't take a franc that I've not earned All of those bridges have been burned. EPONINE I like the way you talk Monsieur! MARIUS I like the way you always tease. 62. Eponine comes to a stop, looking wistfully after Marius. EPONINE Little he knows - Little he sees.55 EXT. RUE DE LA CHANVRERIE - END OF DAY 55 Marius is stopped as he exits the front door of the Gorbeau Tenement by a passing carriage. Once it passes Marius sees two people in the street outside. One is an old gentleman, Valjean. The other is a beautiful young girl, Cosette. The two are giving alms to beggars as they walk back from evening church service. Marius can't take his eyes off Cosette. He's never seen anyone so lovely in his life. We hear the instrumental foreshadowing of `A Heart Full of Love'. As if drawn by Marius's gaze, Cosette looks up and meets his eyes. She too is amazed: he's looking at her as if he already knows her. A second carriage breaks their held gaze. Marius continues on down the street and when he looks back, at that precise moment Cosette looks at him again. Valjean instinctively puts his arm round her, guarding her jealously from this distant boy's gaze. We cut further down the street to an alleyway where the Thenardiers, heavily disguised, are waiting for Valjean's approach with their gang of crooks, Babet, Brujon, Clacquesous, Montparnasse. THENARDIER Everyone here, you know your place - Brujon, Babet, Clacquesous - You, Montparnasse, watch for the law - With Eponine - take care. (Montparnasse hurries over to the doorway where Eponine was watching Marius) You turn on the tears! (to Madame Thenardier who is holding a baby) No mistakes, my dears! Thenardier approaches Valjean and lures him into the mouth of the alleyway where Madame Thenardier is sat on the ground holding the crying infant. Cosette is a few steps behind, still entranced by the sight of Marius. 63. THENARDIER Please, M'sieur, come this way. Here's a child that ain't eaten today. Save a life, spare a sou! God rewards all the good that you do.As Valjean bends down to look at Madame Thenardier she recognizes him. MADAME THENARDIER Wait a bit! Know that face! (to Monsieur Thenardier) Ain't the world a remarkable place! THENARDIER Men like me don't forget - You're the bastard who borrowed Cosette! VALJEAN What is this? Are you mad? No, Monsieur, you don't know what you say!Thenardier pulls off his disguise. Valjean recognises him. THENARDIER You know me! I know you! And you'll pay what I'm due.He signals to his gang. A door opens in the alleyway revealing the huge Brujon. The gang move in on Valjean menacingly. EPONINE (shouts from up the street) It's the police! Disappear! Run for it! It's Javert! The gang spill out into the street to find themselves confronted by Javert now with his men. Marius watches, as does Gavroche, drawn by the rumpus. JAVERT Another brawl in the square! Another stink in the air! Was there a witness to this? Well, let him speak to Javert!He sees man with his arm protectively round a girl but does not recognize Valjean as Valjean has averted his face. 64. JAVERT Monsieur, these streets are not safe. But let these vermin beware, We'll see that justice is done!He turns back on the Thenardier gang in the passage. JAVERT Look upon this fine collection Crawled from underneath a stone. This swarm of worms and maggots Could have picked you to the bone! I know this man over here, I know his name and his trade. And on your witness, m'sieur, I'll see him suitably paid.He turns back to find Valjean and Cosette gone. JAVERT But where's the gentlemen gone? And why on earth did he run? THENARDIER You will have a job to find him! He's not all he seems to be - And that girl he trails behind him She's the child he stole from me!Marius, equally baffled, goes off in search of them. JAVERT Could it be he's that old jailbird That the tide now washes in? Heard my name and started running... All the omens point to him.Thenardier, listening, hears this all with great interest.So Valjean is a crook like him. JAVERT And the girl who stood beside him, When I turned they both had gone. Could he be the man I've hunted? Could it be he's Jean Valjean? THENARDIER In the absence of a victim, Dear Inspector, may I go? And remember when you've nicked him It was me what told you so. 65. JAVERT (to himself) Let the old man keep on running I will run him off his feet! (to the crowd) Everyone about your business! (to Gavroche) Clear this garbage off the street!Gavroche is sitting on a horse trough and falls back into it when Javert surprises him. He is furious. He sings to Javert's departing back, and to Marius who is close by. GAVROCHE That inspector thinks he's something But it's me who runs this town! And my theatre never closes And the curtain's never down! Trust Gavroche! Have no fear! You can always find me here! EPONINE Cosette! Now I remember... Cosette! How can it be? We were children together. Look what's become of me.She turns back to find Marius gazing down the street. MARIUS Eponine! Who was that girl? EPONINE That bourgeois two-a-penny thing! MARIUS Eponine, find her for me! EPONINE What will you give me? MARIUS Anything! EPONINE Got you all excited now, But God knows what you see in her. Aren't you all delighted now? No, I don't want your money, sir. 66. MARIUS Eponine, do this for me, Discover where she lives. But careful how you go - Don't let your father know. Eponine! I'm lost until she's found. EPONINE You see? I told you so! There's lots of things I know! Eponine, she knows her way around.56-61 SCENES OMITTED 56-61 62 EXT. PARIS POLICE HQ - NIGHT 62 WIDE of the Police Headquarters on the Isle de la Cite: a huge bureaucracy. The camera finds Javert standing inside looking out of a door leading onto the roof. As he sings he walks out onto the roof and stands by the symbol of the HQ, a monumental stone eagle. He looks down at the lights reflected in the river below. Then up at the great city. Javert too has a God, and this is his prayer. JAVERT There, out in the darkness A fugitive running Running from God Fallen from grace - God be my witness I never shall yield Till we come face to face - Till we come face to face... He knows his way in the dark Mine is the way of the Lord Those who follow the path of the righteous Shall have their reward And if they fall As Lucifer fell - The flame! The sword! Stars in your multitudes! Scarce to be counted Filling the darkness With order and light - You are the sentinels Silent and sure Keeping watch in the night - Keeping watch in the night... You know your place in the sky You hold your course (more) 67. JAVERT (cont'd) And your aim And each in your season Returns and returns And is always the same And if you fall As Lucifer fell You fall In flame! And so it must be, and so it is written On the doorway to paradise That those who falter And those who fall Must pay the price! Lord, let me find him That I may see him Safe behind bars! I will never rest till then! This I swear This I swear by the stars! Javert stands silhouetted against the stars, his arms raised up to the night sky.63 EXT. RUE DE LA CHANVRERIE - NIGHT 63 Marius comes down the street, his mind full of thoughts of Cosette.64 INT. CAF… MUSAIN - NIGHT 64 Marius arrives at the first floor front room. Here a group of students are cleaning rifles and sharing their excitement at the coming revolution: ENJOLRAS, COMBEFERRE, COURFEYRAC, JOLY, GRANTAIRE, FEUILLY, PROUVAIRE and others. ENJOLRAS Well, Courfeyrac! Do we have all the guns? Joly, Prouvaire! Our time is running short! COURFEYRAC Students, workers, everyone! There's a river on the run! Like the flowing of the tide, Paris is coming to our side! COMBEFERRE Enjolras! At Notre Dame The sections are prepared! 68. FEUILLY At Rue du Bac They're straining at the leash! ENJOLRAS Grantaire, put the bottle down! Did we get the guns we need? GRANTAIRE Give me brandy on my breath And I'll breathe them all to death! ENJOLRAS The time is near... So near it's stirring the blood in their veins. And yet beware! Don't let the wine go to your brains. For the army we fight is a dangerous foe With the men and the arms that we never can match. It is easy to sit here and swat them like flies But the National Guard will be harder to catch. We need a sign To rally the people To call them to arms To bring them in line!Joly turns goes over to Marius at the back, a faraway look on his face. JOLY Marius, wake up! What's wrong today? You look as if you've seen a ghost. GRANTAIRE Some wine, and say what's going on!They sit. MARIUS A ghost, you say? A ghost maybe! She was like a ghost to me - One minute there - then she was gone! GRANTAIRE I am agog! I am aghast! Is Marius in love at last? I've never heard him Ooh and Aah. You talk of battles to be won (more) 69. GRANTAIRE (cont'd) And here he comes like Don Juan! It is better than an opera!They burst into laughter. But Enjolras isn't smiling. ENJOLRAS It is time for us all To decide who we are. Do we fight for the right To a night at the opera now? Have you asked yourselves What's the price you might pay? Is this simply a game For rich young boys to play? The colours of the world Are changing day by day - Red - the blood of angry men! Black - the dark of ages past! Red - a world about to dawn! Black - the night that ends at last! MARIUS Had you seen her today You might know how it feels To be struck to the bone By a moment of breathless delight! Had you been there today You might also have known How the world may be changed In just one burst of light And what was right seems wrong And what was wrong seems right! GRANTAIRE Red! MARIUS I feel my soul on fire! GRANTAIRE Black! MARIUS My world if she's not there! STUDENTS Red! MARIUS The colour of desire! STUDENTS Black! 70. MARIUS The colour of despair! ENJOLRAS Marius, you're no longer a child - I do not doubt you mean it well But now there is a higher call! Who cares about your lonely soul? We strive towards a larger goal - Our little lives don't count at all! ENJOLRAS Red! STUDENTS The blood of angry men! ENJOLRAS Black! STUDENTS The dark of ages past! Red - a world about to dawn! Black - the night that ends at last! A scuffle at the door - Gavroche struggling with thebarman. Courfeyrac lets him through. GAVROCHE Listen! Listen to me! COURFEYRAC Listen, everybody! GAVROCHE General Lamarque is dead!Enjolras turns to his companions. ENJOLRAS Lamarque is dead... Lamarque... His death is the hour of fate. The people's man... His death is the sign we await! On his funeral day they will honour his name With the light of rebellion ablaze in their eyes. From their candles of grief we will kindle our flame. On the tomb of Lamarque shall our barricades rise! The time is here! (more) 71. ENJOLRAS (cont'd) Let us welcome it gladly with courage and cheer! STUDENT Let us take to the street with no doubt in our hearts COURFEYRAC But a jubilant shout! LESGLES They will come one and all! STUDENTS They will come when we call! As the students sing, Eponine enters wanting to talk to Marius. Marius sees her. 65 INT. VALJEAN'S HOUSE, RUE PLUMET - NIGHT 65 Cosette is pacing in her bedroom. It's a pretty room, the best room in this small summer house. Her shutters are open, giving a view of a wild unkempt garden. She looks at herself in a mirror, aware of her looks perhaps for the first time. COSETTE How strange - This feeling that my life's begun at last! This change - Can people really fall in love so fast? What's the matter with you, Cosette? Have you been too much on your own? So many things unclear - So many things unknown... In my life There are so many questions and answers That somehow seem wrong. In my life There are times when I catch in the silence The sigh of a faraway song And it sings Of a world that I long to see - Out of reach Just a whisper away Waiting for me! Does he know I'm alive? Do I know if he's real? (more) 72. COSETTE (cont'd) Does he see what I see? Does he feel what I feel? In my life I'm no longer alone - Now the love in my life Is so near... Find me now! Find me here!Valjean knocks and opens her door. He closes her shutters. VALJEAN Dear Cosette, You're such a lonely child. How pensive, how sad you seem to me. Believe me, were it within my power I'd fill each passing hour. How quiet it must be, I can see, With only me for company. COSETTE There's so little I know That I'm longing to know Of the man that you were In a time long ago... There's so little you say Of the life you have known, Why you keep to yourself, Why we're always alone. So dark! So dark and deep, The secrets that you keep! In my life Please forgive what I say You are loving and gentle and good. But papa, dear papa, In your eyes I am still like that child Who was lost in a wood. VALJEAN No more words - No more words. It's a time that is dead. There are words That are better unheard, Better unsaid. COSETTE In my life I'm no longer a child and I yearn For the truth that you know Of the years... Years ago! 73. Valjean leaves and goes into his own bedroom. A simple wooden shack at the back of the summerhouse, Valjean himself lives with spartan simplicity - he has given the best room to Cosette. Cosette follows. Valjean sits on his bed, his back to Cosette. VALJEAN You will learn. Truth is given by God To us all in our time, In our turn. 66 EXT. RUE PLUMET - NIGHT 66 Marius rushes down the street, Eponine following. At the far end is the walled garden behind which lies Valjean's house. MARIUS In my life She has burst like the music of angels The light of the sun! And my life seems to stop As if something is over And something has scarcely begun! Eponine, you're the friend Who has brought me here. Thanks to you I am one with the Gods And heaven is near! And I soar through a world that is new, That is free! EPONINE Every word that he says Is a dagger in me! In my life There's been no one like him anywhere, Anywhere, where he is If he asked... I'd be his! MARIUS/EPONINE In my life There is someone who touches my life - MARIUS (sees Cosette in the garden) Waiting near! 74. EPONINE Waiting here! MARIUS A heart full of love!Cosette sees Marius. She comes up the garden path towards him. She sees Eponine by Marius's side. MARIUS A heart full of song! I'm doing everything all wrong - Oh God, for shame - I do not even know your name. Dear Mad'moiselle, Won't you say? Will you tell?Cosette holds the wrought-ironwork of the gate with both hands, eyes on Marius. Eponine looks on and suffers. Marius wraps his hands round Cosette's. COSETTE A heart full of love! No fear, no regret! MARIUS My name is Marius Pontmercy. COSETTE And mine's Cosette. MARIUS Cosette... I don't know what to say - COSETTE Then make no sound. MARIUS I am lost - COSETTE I am found! MARIUS A heart full of light - COSETTE/MARIUS A night bright as day - MARIUS And you must never go away, Cosette - Cosette! COSETTE This is a chain we'll never break. 75. MARIUS Do I dream? COSETTE I'm awake. MARIUS A heart full of love - EPONINE He was never mine to lose Why regret What could not be? COSETTE A heart full of you - EPONINE These are words he'll never say Not to me, not to me Not for me! MARIUS A single look and then I knew! COSETTE I knew it too! EPONINE His heart full of love... MARIUS From today - EPONINE He will never feel this way. COSETTE Every day... MARIUS/COSETTE For it isn't a dream - Not a dream After all!Valjean comes to the door. VALJEAN Cosette! Cosette! Cosette turns and runs in to the house.Valjean walks down the overgrown garden path to the gate. Marius moves quickly away, instinctively nervous ofdiscovery, and hides behind the wall. 76.Valjean peers into the shadows. He senses that perhapsCosette has been talking to someone. He looks pensive.Valjean returns inside. Cosette has dropped a keepsake through the gate. Marius picks it up. Marius makes his way back down the street, filled with thoughts of his love. Completely forgetting Eponine is there. Shadows move up the street from the other direction. It's Thenardier and his gang. They gather at the wrought-irongate. MONTPARNASSE This is his lair! I've seen the old fox around. BABET He keeps himself to himself He's staying close to the ground. THENARDIER I smell profit here! Ten years ago He came and paid for Cosette. I let her go for a song. It's time we settled the debt. This'll cost him dear. BRUJON What do I care Who you should rob? Gimme my share! Finish the job! THENARDIER You shut your mouth! You'll get what's yours!Brujon starts working on the gate lock. He finds Eponinelurking in the shadows. BRUJON What have we here? THENARDIER Who is this hussy? BABET It's your brat Eponine! Don't you know your own kid? Why's she hanging about here? 77. THENARDIER Eponine, get on home! You're not needed in this. We're enough here without you. EPONINE I know this house, I tell you! There's nothing here for you! Just the old man and the girl. They live ordinary lives. THENARDIER Don't interfere! You've got some gall! Take care, young miss, You've got a lot to say! BRUJON She's going soft! CLACQUESOUS Happens to all! MONTPARNASSE Go home, Eponine! Go home, you're in the way! They huddle round the garden gate, which is now broken open. EPONINE I'm gonna scream! I'm gonna warn them here! THENARDIER One little scream and you'll regret it for a year! He goes to the gate and opens it. Eponine screams. 67 SCENE OMITTED 67 68 INT. RUE PLUMET, PARIS - NIGHT 68 Valjean, now in his own bedroom, hears the scream and turns to the window.69 EXT. RUE PLUMET - NIGHT 69 Thenardier and his gang shrink into the shadows, as Eponine's scream ends at last. 78. THENARDIER Make for the sewers! Get underground! Leave her to me, Don't wait around! He turns on Eponine and slaps her hard across the face. THENARDIER You wait, my girl! You'll rue this night! I'll make you scream! You'll scream all right! His men have levered up a grating, and now Thenardier and the gang disappear down into the sewers.70 INT. VALJEAN'S HOUSE - RUE PLUMET, PARIS - NIGHT 70 Valjean comes running into Cosette's room. Valjean takes her in his arms. VALJEAN My God, Cosette! I heard a cry in the dark. I heard the shout of angry voices in the street. COSETTE Three men I saw beyond the wall... Three men in shadow moving fast! VALJEAN This is a warning to us all! These are the shadows of the past! He moves away to his own bedroom. VALJEAN Must be Javert. He's found my cover at last. I've got to get Cosette away Before he returns. He comes back to Cosette. VALJEAN We must get away from shadows That will never let us be. Tonight we leave Cosette! COSETTE To where? 79. VALJEAN Rue de L'Homme Armee. COSETTE No! No! VALJEAN And then a ship across the sea. VALJEAN Hurry, Cosette! Prepare to leave, And say no more. Tonight we'll away! COSETTE (overlapping) No! Please no! We can't go! VALJEAN Hurry, Cosette! It's time to close another door And live another day! Valjean leaves to start packing. Feverishly, Cosette scribbles a letter. 71 SCENE OMITTED 71 72 EXT. GARDEN, RUE PLUMET - NIGHT 72 Cosette hurries down the garden to the gate, and goes to put the folded letter in the grill where her and Marius' hands entwined. Then she sees Eponine. Eponine steps forward. She thrusts her letter into her hand. COSETTE Please give this to Marius! He must know where to find me. She runs back inside.73 EXT. RUE PLUMET/BRIDGE/RUE DE LA CHANVRERIE - NIGHT 73 Eponine crumples up the letter. She walks sadly away down the street. Rain is just starting to fall. EPONINE And now I'm all alone again - Nowhere to turn, no one to go to. Without a home, without a friend, (more) 80. EPONINE (cont'd) Without a face to say hello to. The city goes to bed And I can live inside my head. On my own Pretending he's beside me All alone I walk with him till morning Without him I feel his arms around me And when I lose my way I close my eyes And he has found me.She crosses a bridge over the river. EPONINE In the rain The pavement shines like silver All the lights Are misty in the river In the darkness the trees are full of starlight And all I see is him and me forever and forever! And I know it's only in my mind - That I'm talking to myself and not to him. And although I know that he is blind, Still I say there's a way for us. I love him But when the night is over He is gone - the river's just a river. Without him the world around me changes - The trees are bare and everywhere The streets are full of strangers. I love him But every day I'm learning All my life I've only been pretending. Without me, his world will go on turning A world that's full of happiness That I have never know. I love him I love him I love him But only on my own. 81. Her solitary journey has brought her to the Gorbeau slum. She goes inside. 73A INT. GORBEAU TENEMENT - NIGHT 73A Eponine stands outside Marius' door. She opens the letter, reads it, then hides it in her pocket. She pushes open Marius' door. Marius looks up. EPONINE I came to tell you she's gone. MARIUS Gone? What do you mean? EPONINE She's gone to England. Marius sets off at a run towards the Rue Plumet. 74 EXT. RUE PLUMET - NIGHT 74 Marius finds the gate broken open, sees the house beyond dark and deserted. He pushes in to the garden, up to the house windows, sees the rooms empty within. He stands staring, in shock. Eponine has followed him, and watches him in silence.75 SCENE OMITTED 75 76 INT. CARRIAGE - NIGHT. 76 Valjean and Cosette sit on either side of the carriage, apart, staring out of their respective windows. A stark contrast to the carriage scene when Valjean sang to Cosette as a little girl. VALJEAN One day more! Another day, another destiny. This never-ending road to Calvary. These men who seem to know my crime Will surely come a second time - One day more!77 EXT. RUE PLUMET - NIGHT 77 Marius by the empty house. 82. MARIUS I did not live until today - How can I live when we are parted? 78 INT. CARRIAGE - NIGHT 78 VALJEAN One day more! COSETTE Tomorrow you'll be worlds away And yet with you my world has started!79 EXT/INT. RUE PLUMET/CARRIAGE - NIGHT 79 INTERCUT between Eponine at the gate, Cosette and Valjean in the carriage, and Marius in the dark garden. EPONINE One more day all on my own... MARIUS/COSETTE Will we ever meet again? EPONINE One more day with him not caring... MARIUS/COSETTE I was born to be with you! EPONINE What a life I might have known... MARIUS/COSETTE And I swear I will be true! EPONINE But he never saw me there.80 INT. CAF… MUSAIN GROUND & 1ST FLOOR/EXT. RUE DE LA 80 CHANVRERIE - NIGHT Enjolras and the students have a production line under way for making bullets. The rifles are now stacked and ready for the uprising. Grantaire is downstairs flirting with a BARMAID. MADAME HUCHELOUP the proprietress of the Cafe Musain is sewing a red revolutionary flag to help the students. ENJOLRAS One more day before the storm! 83. INTERCUT WITH Marius walking back sadly through the Rue de la Chanvrerie. Eponine follows him at a distance. MARIUS Do I follow where she goes? ENJOLRAS At the barricades of freedom! MARIUS Shall I join my brothers there? ENJOLRAS When our ranks begin to form - MARIUS Do I stay and do I dare? ENJOLRAS (from top of stairs, for Grantaire's benefit) Will you take your place with me? Grantaire rather reluctantly goes upstairs. ALL The time is now! The day is here! One day more!81 INT. PARIS POLICE HQ - NIGHT 81 Javert is briefing a hundred uniformed police about the coming day in a grand ornate old room at Police Headquarters. JAVERT One day more to revolution. We will nip it in the bud. We'll be ready for these schoolboys. They will wet themselves with blood!82 INT. CARRIAGE - NIGHT 82 VALJEAN One day more!83 INT. CAF… MUSAIN - GROUND & 1ST FLOOR - NIGHT 83 Monsieur and Madame Thenardier are in the ground-floor bar, slyly watching a student smuggling some rifles up the stairs disguised in a piece of cloth. 84. Joly takes a tray and collects empty tankards. As he ascends the stairs, Madame Hucheloup tries to get him to give the tankards back. THENARDIERS Watch'em run amuck! Catch'em as they fall! Never know your luck When there's a free-for-all. Here a little dip, There a little touch - Most of them are goners So they won't miss much! The drinkers in the bar raise their glasses to the students with their rifles. The students appeal to them. Grantaire is drunk already. Joly starts to melt the tankards in a pot to make more bullets. Marius enters the ground floor and takes the red flag from Madame Hucheloup that she has just finished. The citizens on the ground floor join the students. STUDENTS/CROWD One day to a new beginning! Raise the flag of freedom high! Every man will be a king! Every man will be a king! There's a new world for the winning! There's a new world to be won! Do you hear the people sing? Marius enters the first floor to join them at last. MARIUS My place is here! I fight with you!84 INT/EXT. RUE DE L'HOMME ARMEE/RUE DE LA CHANVRERIE/CAF… 84 MUSAIN GROUND & 1ST FLOOR/POLICE STATION - NIGHT Valjean and Cosette arrive at their new hideout - Marius ties the red flag onto a flagpole - VALJEAN One day more! COSETTE/MARIUS I did not live until today How can I live when we are parted? Eponine outside the cafÈ, gazing longingly towards Marius - EPONINE One more day on my own... 85. Javert in the police station to his men - JAVERT I will join these people's heroes I will follow where they go. I will learn their little secrets, I will know the things they know. VALJEAN/JAVERT One day more! MARIUS/COSETTE Tomorrow you'll be worlds away And yet with you my world has started. JAVERT One more day to revolution We will nip it in the bud We'll be ready for these schoolboys - THENARDIERS Watch'em run amuck Catch'em as they fall Never know your luck When there's a free-for-all! VALJEAN Tomorrow we'll be far away. VALJEAN/JAVERT Tomorrow is the judgement day. ALL Tomorrow we'll discover What our God in heaven has in store - One more dawn! One more day! One day more! We pull back from Enjolras and Marius holding their flag at the first floor window with the students beyond them to see that citizens have spilled out of the Cafe Musain into the street and have all joined in the final chorus. 85 EXT. PARIS STREETS - DAY 85 All is still. Then comes the soft beating of draped drums. The tramp of feet. All down the streets, waiting, the silent faces of the poor. Among them we see Enjolras, Marius, and the radical students. 86.Police and national guardsmen control the growing crowds. Now into view come the leaders of a great FUNERALPROCESSION. An entire battalion of infantry, marching withweapons reversed. A column of black-suited dignitariescarrying branches of laurel. A division of Cavalry rides in front, behind a section of military drummers who drum a military tatoo. INTO FRAME comes a team of black horses stepping slowly, black plumes nodding, drawing behind them a gun carriage draped in the tricolour flag. On the carriage stands a COFFIN. Softly, in time with the drums, the watching people begin to sing. CROWD Do you hear the people sing Singing the song of angry men? It is the music of a people Who will not be slaves again!The police and guardsmen look round to see who is singingso subversively, but they can't be sure where it's comingfrom. The singing grows stronger. CROWD When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes!The dignitaries become aware of the singing, and glanceuneasily from side to side. CROWD Will you join in our crusade? Who will be strong and stand with me? Beyond the barricade Is there a world you long to see?As the coffin on its carriage draws level with the students, Enjolras suddenly steps out in front of the horses drawing the carriage and waves the red flag, stopping the horses and the procession. ENJOLRAS Then join in the fight That will give you the right To be free!The students break the ranks of the crowd and surround the coffin carriage. 87. STUDENTS/CROWD Do you hear the people sing Singing the song of angry men? It is the music of a people Who will not be slaves again! When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes!Enjolras, Marius and Courfeyrac and other students climb onto the top of the carriage as the horses and led by Combeferre. ENJOLRAS Will you give all you can give So that our banner may advance? COURFEYRAC Some will fall and some will live Will you stand up and take your chance? ENJOLRAS/MARIUS/COURFEYRAC The blood of the martyrs Will water the meadows of France!The crowd supports them and surround the coffin carriage, blocking the attempts of the police to intervene, singingwith passion. STUDENTS/CROWD Do you hear the people sing Singing the song of angry men? It is the music of a people Who will not be slaves again! When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes!Enjolras, the students, and the impassioned crowd have nowbecome the procession. They turn off the main street away from the expected course of the funeral procession. Gavroche's elephant looms over this side street. Gavroche and his gang jump down from the elephant to join in. As the procession turns off, the calvary division gallop ahead and disappear round a corner. STUDENTS/CROWD Will you join in our crusade? Who will be strong and stand with me? Somewhere beyond the barricade Is there a world you long to see? Do you hear the people sing? (more) 88. STUDENTS/CROWD (cont'd) Say, do you hear the distant drums? It is the future that we bring When tomorrow comes! The students and crowd come face to face with the calvary. On one side, muskets of the infantry poke through the broken down fence surrounding the elephant. Other infantry have taken up position in a cafe opposite, upending tables to provide cover. There is a tense, prolonged silence. Then suddenly one nervous SOLDIER lets off a round. It hits a middle aged kindly looking WOMAN CITIZEN in the crowd around the coffin carriage. The crowd is furious. Students charge the soldier, grab his musket and knock him down with the hilt of the gun. More shots ring out. The cavalry charges. The funeral explodes into a riot. The people of Paris turn on the dragoons, the National Guards, the police. More squadrons of dragoons charge into the crowd, sabres unsheathed. Women run screaming in terror. ENJOLRAS To the barricades! STUDENTS/CROWD To the barricades! To arms! To arms! Some students fire weapons into the air, some into the cavalry and at the infantry. Enjolras knocks a calvary officer off his horse and Marius jumps on the horse. The students break away and race off through the cafe into a side street where citizens begin to erect a barricade. A cavalry rider gives chase and is shot by one of the students and falls through the window of an upended carriage. The students, with Marius on horseback, race to the slums. 86 EXT. RUE DE LA CHANVRERIE/INT. CAFE MUSAIN - DAY 86 FOLLOW the students as they burst into their home street. They have been joined by a motley collection of citizens including burghers and an old eccentric man FATHER MABEUF who works as hard as anyone. They raid a fencing shop and a gun shop for weapons, they force wives to give up their husbands' muskets and chalk up the debt to the revolution on their front doors, they encourage homeowners to contribute furniture sometimes appearing at high windows to help overcome any reluctance. Soon the street is raining tables, chairs, mattresses, sofas. They smash streetlamps. They set to work to build their barricade. Students commandeer an omnibus which is overturned to form the barricade's heart. Three students arrive in the street hauling an uprooted tree. 89.They pull up paving stones, rip boards, timbers and front doors from house and shop-fronts, pull down buttresses, and raid the Cafe Musain, systematically stripping it of every item of furniture despite the lamentations and protestations of Madame Hucheloup and her barmaid. As the barricade rises they bring down from the first floor of the cafe the rifles and ammunition they've gathered, to prepare to defend their chosen ground. A student stands on a stone post distributing weapons. They line the first and second floor front rooms with paving stones to create protected shooting positions. The inside of the barricade is built neatly with steps up made from paving stones. The outside is a crazy knarled mess. ENJOLRAS Here upon these stones We will build our barricade. In the heart of the city We claim as our own Each man to his duty And don't be afraid.A man in worker's clothing is helping build the growing barricade,. He wears the insignia of the rebels, and keeps his head down. ENJOLRAS Wait! I will need a report On the strength of the foe.The man who's just arrived looks up. It's Javert. JAVERT I can find out the truth! I know their ways, Fought their wars, Served my time In the days Of my youth.He slips away through the barricade, which is still rising. PROUVAIRE See! The people unite! GRANTAIRE Pray your right COMBEFERRE Dogs will bark! GAVROCHE Fleas will bite! LESGLES They will do what is right. 90.87 EXT. BARRICADE - DUSK 87 The barricade is now complete: an impressive wall up to twelve feet high, with one heavily guarded section that can be wheeled open to allow access. Two smaller barricades protect the left and right side of the cafe. Enjolras climbs halfway up the main barricade and turns to his little army. Grantaire prises the final piece of Madame Hucheloup's furniture from her arms - her favourite sewing armchair - and adds it to the barricade. As the men sing she steals it back defiantly. ENJOLRAS Red, the blood of angry men! ALL Black, the dark of ages past! Red, a world about to dawn! Black, the night that ends at last!87A EXT. BARRICADE - NIGHT 87A It is night. The students have been waiting for hours. A single flaming torch atop the barricade caged in by cobbles underlights a fluttering red flag. There is no sign yet of any opposition. A boy climbs down from sentry duty on the barricade. Marius realizes its Eponine. She sits down with her back to him. MARIUS Hey, little boy, what's this I see? God Eponine the things you do! EPONINE I know this is no place for me, Still I would rather be with you! MARIUS Get out before the trouble starts! Get out, `Ponine, you might get shot! EPONINE I've got you worried now, I have! That shows you like me quite a lot... MARIUS Get Out! Joly, sentry on the main barricade, sees a figure approach. 91. JOLY He's back!Javert, still in his disguise as a rebel, is let backthrough the guarded `gate' into the barricaded street. JAVERT Listen, my friends, I have done as I said. I have been to their lines, I have counted each man. I will tell what I can. Better be warned They have armies to spare And our danger is real - We will need all our cunning To bring them to heel. ENJOLRAS Have faith! If you know what their movements are We'll spoil their game. There are ways that a people can fight - We shall overcome their power! JAVERT I have overheard their plans. There will be no attack tonight. They intend to starve you out Before they start a proper fight - Concentrate their force, Hit us when it's light - GAVROCHE Liar!They all look up. There's Gavroche, on the top of thebarricade. GAVROCHE Good evening, dear Inspector. Lovely evening, my dear! I know this man, my friends. His name's Inspector Javert! So don't believe a word he says Cause none of it's true. This only goes to show What little people can do. Guns swing round to aim at Javert. He stares back indefiance.Gavroche comes dancing down the barricade to Courfeyrac's delighted embrace. 92. COURFEYRAC Bravo, little Gavroche! You're the top of the class!Gavroche grabs Grantaire's red cap and puts it on his ownhead, mimicking the students. PROUVAIRE So what are we going to do With this snake in the grass?Enjolras faces Javert. ENJOLRAS Tie this man and take him To the tavern in there! The people will decide your fate, Inspector Javert! JAVERT Shoot me now or shoot me later - Every schoolboy to his sport! Death to each and every traitor! I renounce your people's court! ENJOLRAS Take this man. Bring him through. There is work we have to do.Javert is led into the cafe. As they pass through the front door only one student is holding Javert. Seizing his opportunity, Javert breaks free and the students have to subdue him by force. Javert is on his knees and is being tied to the staircase. ENJOLRAS When are they coming!? Silence. Suddenly, out of the darkness, the students and citizens atthe barricade here an ominous distant sound. The sound ofmarching feet, hundreds of men, marching in unison. Firstsoft, then building louder and louder, closer and closer.Boots on cobbles. The sound comes right into the end of thestreet.Enjolras and all the students man the main barricade. Silence.They peer over the barricade. In the pitch blackness, allthey can make out is hundreds of gossamer thin slivers. Theseare bayonets and musket barrels dimly lit by the reflectionfrom the torch.A voice shouts out from the darkness. 93. ARMY OFFICER Who's there?At the same time we hear the clatter of guns being levelled. ENJOLRAS French Revolution. ARMY OFFICER Fire!A flash turns all the facades of the street bright crimson asthough the door of a furnace has suddenly open and shut.A dreadful explosion bursts over the barricade. The red flagfalls, the pole sliced through. Bullets richochet off thecornices of the houses, bore into the barricade and woundseveral men. ENJOLRAS (as students return fire) Comrades, do not fire back! Do not waste powder! In the darkness, the clang of ramrods in muskets - the troop reloading weapons. Enjolras picks up the fallen flag and is about to take it up when the old man Father Mabeuf who has seen many insurrections before this takes the flag and runs up onto the top of the barricade. ARMY OFFICER Who's there? Get down! MABEUF Vive la France! ARMY OFFICER Fire!A second volley.Father Mabeuf falls down dead. While everyone is reacting to the dead old man and the wounded, the men are distracted from noticing that some French soldiers have used the cover ofdarkness to creep down the street.All at once the FIRST FULL ATTACK begins. Shouts and therattle of gunfire as SOLDIERS throw themselves up and overthe barricade. The students run for their guns and returnfire. They are taken by surprise. All could be lost in thefirst instant. Some soldiers make it up to the top of thebarricade, where they're driven back by the fierceresistance of the defenders. Eponine sees one soldieraiming his rifle at Marius - she throws herself in front ofMarius just as the rifle fires - and Marius is safe. 94.They are being overrun. Panic ensues. The gun battle isfierce. Marius in a flash of inspiration realises all is lost unless they do something. He drags a barrel of gunpowder tothe top of the barricade, grabs the torch and with a face ofdeadly resolve he tips the torch towards the barrel. MARIUS Clear out or I'll blow up the barricade!Everyone freezes. ARMY OFFICER Blow it up then and take yourself with it! MARIUS And myself with it!Marius brings the torch closer to the powder keg.But already the soldiers have cleared out.Marius comes down from the barricade. FEUILLY (to Marius) Thank you! LESGLES What were you thinking! As everyone surrounds Marius in amazement he spots Eponinelying propped against the barricade. MARIUS Eponine! What have you done?He kneels by her side. Eponine is dying. EPONINE Here... It's from Cosette... I kept it from you...With a struggle she pulls the letter out of her pocket, andpushes it into his hand. EPONINE Don't be too hard on me...Marius is shocked to find blood pouring from her wound. MARIUS Eponine, you're hurt! You need some help!Rain begins to fall. 95. EPONINE Don't you fret, M'sieur Marius - I don't feel any pain. A little fall of rain Can hardly hurt me now. You're here - that's all I need to know And you will keep me safe And you will keep me close And rain will make the flowers grow... MARIUS But you will live, Eponine - Dear God above! If I could close your wounds with words of love - EPONINE Just hold me now, and let it be. Shelter me... Comfort me... MARIUS You will live a hundred years If I could show you how... I won't desert you now... EPONINE The rain can't hurt me now... This rain will wash away what's past And you will keep me safe And you will keep me close I'll sleep in your embrace at last.Marius tries to comfort Eponine in his arms. MARIUS Hush-a-bye, dear Eponine You won't feel any pain A little fall of rain Can hardly hurt you now I'm here. EPONINE So don't you fret, M'sieur Marius I don't feel any pain A little fall of rain Can hardly hurt me now... MARIUS I will stay with you Till you are sleeping. EPONINE That's all I need to know And you will keep me safe (more) 96. EPONINE (cont'd) And you will keep me close And rain.. Will make the flowers... Grow... Eponine dies in Marius's arms. Marius looks up at the others, his eyes full of tears. ENJOLRAS They were the first to fall. The first to fall upon this barricade. MARIUS Her name was Eponine! Her life was cold and dark, yet she was unafraid! COMBEFERRE We fight here in her name... PROUVAIRE She will not die in vain... LESGLES She will not be betrayed... They pick up Eponine's body and carry her into the tavern. COURFEYRAC (to Gavroche) Are you alright? GAVROCHE That was my sister. 88 EXT. BARRICADE - NIGHT 88 Marius reads the letter Eponine has given him. He takes out pencil and paper and writes a note. Looking round, he sees Gavroche. MARIUS Gavroche! Do you know the Rue de l'Homme ArmÈ? GAVROCHE Course I do! MARIUS Will you take this for me? He holds out his note. 97.89 INT. INN, RUE DE L'HOMME ARMEE, PARIS - NIGHT 89 The LANDLADY climbs the stairs, followed by Gavroche. The landlady indicates the door, and Gavroche knocks boldly. The door opens a crack to reveal a cautious Valjean. GAVROCHE Letter for Cosette. VALJEAN I'll take it. Gavroche holds out the letter with one hand, not quite giving it, the other hand open for a tip. Valjean gives him a coin, which he pockets as he hands over the letter. GAVROCHE Something for you, something for me. Who needs charity?90 INT. VALJEAN'S ROOM, LODGING HOUSE - NIGHT 90 ON VALJEAN - As he reads the note. VALJEAN `Dearest Cosette, you have entered my soul And soon you will be gone. Can it be only a day since we met And the world was reborn? If I should fall in the battle to come Let this be my goodbye. Now that I know you love me as well It is harder to die. I pray that God will bring me home To be with you. Pray for your Marius. He prays for you.' He looks up, deeply distressed. He can't bear the thought of losing Cosette. VALJEAN They haven't got a chance, these boys They almost certainly will die She'll be alone And she will need me all the more And we will go on as before When he is gone I dare not think like this I must find this boy 98.91 EXT. PARIS STREETS - NIGHT 91 Valjean walks the streets, not caring where he goes, struggling with his tormented thoughts. He sees a barricade being dismantled. And bodies. Suddenly he knows what he's going to do. He sees a dead soldier. He takes his jacket and swiftly pulls it on. He continues on his way in the dark. Looking up he sees that he's been walking all the time towards the very barricade where Marius waits. Now looking like a soldier, he passes unchallenged through their lines, and into the shadows. As he passes, he notices two soldiers climbing up onto the rooftops.92 EXT. BARRICADE - NIGHT 92 Glimpses through the barricade of a lone figure approaching from the far end of the narrow street. The figure comes into lamp light. It's Valjean, in the soldier's jacket. The student sentries level their guns. Gavroche jumps up. VALJEAN Don't shoot! JOLY Here comes a man in uniform! What brings you to this place? VALJEAN I come here as a volunteer. JOLY Approach and show your face! PROUVAIRE You wear an army uniform. VALJEAN That's why they let me through. The student sentries open the slot in the barricade to let Valjean enter. JOLY You've got some years behind you, sir. VALJEAN There's much that I can do. 99. JOLY You see that prisoner over there?He points to Javert, in a dark corner, his hands tied. GRANTAIRE A volunteer like you! COMBEFERRE A spy who calls himself Javert! GRANTAIRE He's going to get it too! Javert looks up and meets Valjean's eyes. A steady sharedlook. GAVROCHE Don't shoot! I know him! He's no soldier! Suddenly Valjean spots a couple of snipers creeping over the roofs to gain an angle of attack on them. They are aiming atEnjolras. Swiftly Valjean grabs a gun and shoots up at them sending them scattering. Quickly other students join in andthe snipers are driven back.There is a burst of gunfire from both ends of the street as a brief fire fight ensues. The snipers have disappeared. Enjolras turns to Valjean. ENJOLRAS For your presence of mind, For the deed you have done, I will thank you, M'sieur, When our battle is won. MARIUS Thank you, M'sieur. VALJEAN Give me no thanks, M'sieur. There's something you can do. ENJOLRAS If it is in my power. VALJEAN Give me the spy Javert! Let me take care of him.Javert hears this with grim satisfaction. 100. JAVERT The law is inside out. The world is upside down. ENJOLRAS Do what you have to do - The man belongs to you.He turns to his little army. ENJOLRAS The enemy may be regrouping! Hold yourselves in readiness! Come, my friends, back to your positions! The dawn is breaking fast.Valjean takes Javert out the back of the Cafe Musain. He carries a knife. VALJEAN We meet again... JAVERT You've hungered for this all your life. Take your revenge. How right you should kill with a knife.Valjean uses the knife to cut Javert free. VALJEAN You talk too much. Your life is safe in my hands. JAVERT Don't understand... VALJEAN Get out of here. JAVERT Valjean, take care! I'm warning you. VALJEAN Clear out of here! JAVERT Once a thief, forever a thief. What you want, you always steal. You would trade your life for mine. Yes, Valjean, you want a deal! Shoot me now for all I care - If you let me go, beware! You'll still answer to Javert! 101. VALJEAN You are wrong, and always have been wrong. I'm a man no worse than any man. You are free, and there are no conditions - No bargains or petitions. There's nothing that I blame you for. You've done your duty, nothing more. No doubt our paths will cross again.He raises his gun and points it at Javert. VALJEAN Go!As Javert goes, he raises the gun barrel and fires a singleshot into the air. ENJOLRAS Courfeyrac, you take the watch - They may attack before it's light. Everybody keep the faith, For certain as our banner flies, We are not alone - The people too must rise!Marius is manically working to raise the height of one of the smaller barricades. ENJOLRAS Marius, rest.Grantaire drunkenly starts singing a drinking song and it is taken up more seriously by Feuilly. Bottles are passed round. GRANTAIRE Drink with me to days gone by! FEUILLY Sing with me the songs we knew! PROUVAIRE Here's to pretty girls Who went to our heads! JOLY Here's to witty girls Who went to our beds! 102. STUDENTS Here's to them - (Marius sings to Valjean) And here's to you! GRANTAIRE Drink with me to days gone by! Can it be you fear to die? Will the world remember you when you fall? Can it be your death Means nothing at all? Is your life just one more lie? Grantaire glares at Enjolras and enters the cafe. ALL Drink with me To days gone by! To the life That used to be! At the shrine of friendship Never say die... Let the wine of friendship Never run dry! Here's to you And here's to me! Valjean is moving through the cafe when he hears Marius through a window. He moves to the window. Marius sits beneath it. MARIUS Do I care if I should die Now she goes across the sea? Life without Cosette Means nothing at all.. Please don't weep, Cosette, Should Marius fall. Will you weep, Cosette, For me? Valjean listens to Marius's song, and he's moved. 93 EXT. BARRICADE/ INT. CAFE MUSAIN - NIGHT 93 Look-outs keep watch at either end of the barricaded street. Many of the rest of the rebels are sleeping. Valjean paces, unable to sleep, inside the cafe. Dead bodies are lined up on the ground floor. He comes to a stop, and gazes on Marius as he sleeps through the window. VALJEAN God on high Hear my prayer (more) 103. VALJEAN (cont'd) In my need You have always been there. He is young He's afraid Let him rest Heaven blessed. Bring him home Bring him home Bring him home! He's like the son I might have known If God had granted me a son. The summers die One by one How soon they fly On and on And I am old And will be gone. Bring him peace Bring him joy He is young He is only a boy. You can take You can give Let him be Let him live, If I die, let me die Let him live Bring him home Bring him home Bring him home! Valjean is now kneeling next to the sleeping Marius. CRANE UP AND UP - Seeing the little world of the barricaded street now surrounded by waiting soldiers - and the streets round them packed with soldiers in their thousands, so many that we know the little band can never win. CRANE UP AND UP until the barricade and the army that entraps it has become a small pool of darkness in the centre of the bright lights of Paris.94 EXT. PARIS - DAWN 94 The sun still below the rooftops. Every house is tightly shuttered.95 INT. CAFE MUSAIN - DAWN 95 Grantaire is fast asleep in the upstairs room, dead drunk. 104.96 EXT. BARRICADE - DAWN 96 Enjolras re-enters the barricade through the secret gate. He has been on a reconnaissance. He looks at the street. No one is stirring, but for a single shutter which opens a crack - a face peeps - and it closes again. Below him the students are up and getting ready. ENJOLRAS The people have not stirred. COURFEYRAC Yet we will not abandon those Who still live in fear. ENJOLRAS The people have not heard, Yet we will not abandon those who cannot hear. Let us not waste lives! Let all who wish to Go from here! There is silence. Uncertainty. Yet no one moves to go. GAVROCHE (from top of barricade) Do you hear the people sing GAVROCHE/COURFEYRAC Singing the song of angry men STUDENTS/CITIZENS (joining) It is the music of the people Who will not be slaves again When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes! Under this: FEUILLY Enjolras! Ammunition's short. MARIUS I will go into the streets. There are bodies all around. Ammunition to be had. Lots of bullets to be found. ENJOLRAS I can't let you go. 105. VALJEAN Let me go! He's no more than a boy. I am old. I have nothing to fear.Gavroche is already climbing the barricade under cover ofthe smoke. GAVROCHE I volunteer! COURFEYRAC Come back, Gavroche! Don't you dare! JOLY Someone pull him down right now! GAVROCHE Look at me, I'm almost there! GAVROCHE Little people know When little people fight We may look easy pickings But we've got some bite! So never kick a dog When he's just a pup - We'll fight like twenty armies And we won't give up!The rays of the rising sun break through, lighting upGavroche. GAVROCHE So you'd better run for cover When the pup grows -Crack! A musket shot. Gavroche falls face down onto thebarricade. COURFEYRAC No-o!He runs up the barricade, seizes Gavroche's body in hisarms, convulsed with grief, and brings it back through thegate in the barricade.At the other end of the street Javert has appeared. He seesthis gate. And talks to the Army Officer.As the smoke from the muskets clears horses are revealeddrawing field artillery into position. The Army Officer islining up the big guns carefully. 106. ARMY OFFICER You at the barricades listen to this! The people of Paris sleep in their beds! You have no chance, No chance at all! Why throw your lives away?Enjolras gazes on his pitifully small group. ENJOLRAS Let us die facing our foes! Make them bleed while we can! COMBEFERRE Make'em pay through the nose! COURFEYRAC Make'em pay for every man! ENJOLRAS Let others rise to take our place Until the earth is free!The sun now appears above the rooftops of the city.And the big guns fire - BOOM! BOOM! BOOM!The bombardment hits the barricade, rocking it. In its wake a massive barrage of musket fire.The big gun has been lined up with the gate and has burstright through in the first hit.Bullets fly, and every few moments another cannon ballsmashes into the piled debris. Javert is glimpsed among theattackers.Enjolras and the students throw themselves onto thebarricades, firing at the attackers, handing their riflesdown to others to be re-loaded, firing again.Valjean moves among them, tending to the wounded, liftingdown the dead, regardless of his own safety.Marius takes a bullet, and crumples and falls. Valjean runstowards him -CRASH! The latest cannonade bursts a hole in the barricadeand now the soldiers are storming through. The hard core ofstudent fighters retreat, firing as they go, into the CafÈMusain. 107.97 INT. CAF… MUSAIN - DAY 97 Students and soldiers fight in the cafÈ, on the stairs, up the stairs to the upper room. Students driving back the pursuing soldiers hack away at the staircase, smashing it to fragments - the soldiers below fire up at them - students fall, their bodies caught on the jagged remnants of the stairs. Grantaire is still unconscious from drink.98 EXT. BARRICADE - DAY 98 Valjean has Marius in his arms and is hiding him from the onrush of the soldiers -99 INT. CAF… MUSAIN - DAY 99 The students' ammunition has run out, they're hurling sticks and bottles - but the soldiers have found a way to clamber up, shooting as they come, and one by one the students are falling.100 EXT. STREET OUTSIDE CAF… MUSAIN - DAY 100 Valjean carries Marius away from the carnage. A soldier challenges him. One violent blow from Valjean sends the soldier flying -101 INT. CAF… MUSAIN - DAY 101 The soldiers break through at last to the upper room, to find there's only Enjolras still alive. He stands by the window, knowing he will die now, proud and unafraid. Seeing him the soldiers hesitate. The sudden silence wakes Grantaire from his drunken slumber. GRANTAIRE Long live the republic! He sees Enjolras with the muskets raised against him. Grantaire goes and joins him. Enjolras smiles, and raises his now-ragged red flag. The rifles blaze. Grantaire drops back to the ground. Enjolras falls back -102 EXT. BARRICADE - DAY 102 Enjolras falling backwards out of the window, until he hangs upside down, the red flag still in his hands, streaming like blood down the wall. 108. PULL BACK to see the street littered with corpses, and the remains of the barricade, and soldiers scouring the rubble for any last pockets of resistance. BACK AND BACK to come to a stop looking at the wide scene. INTO FRAME walks Javert, grimly surveying the victory of law over rebellion.103 EXT. BACK ALLEY - DAY 103 Valjean carries Marius down a long narrow alley that runs between the backs of tall houses. The alley turns a corner - and there ahead is a dead end. Behind him, the stamp of soldiers' boots. Ahead, no way out. Then his searching gaze falls on an iron grating in the ground. A storm drain. ON THE SOLDIERS - As they come round the corner into the end of the alley. They look round. It's empty. SOLDIER Nothing here! The soldiers depart. A moment of silence. Then into the alley's end steps Javert. Not so easily fooled. He walks all the way to the end, and looks round. He sees the drain at his feet. He sees the signs that the grating has been lifted. He stoops, and tries to lift it. It's far too heavy for him. He straightens up and looks round, calculating. Where does the drain lead?104 INT. PARIS SEWERS - DAY 104 Valjean is pulling Marius after him down a tight sloping pipe, where dark water races. Suddenly they start to slide, then drop through a vent into a wide sewage tunnel. Faint light reflecting off the slime of curving tunnel walls. The skitter of rats. Sodden forms floating by: dead bodies. Valjean carries Marius down the tunnel, moving as fast as he can, losing strength all the time. He reaches an intersection where four sewers meet. Light falls through distant gratings. One of the four sewers is dry. Here he lets his burden down, and himself sinks to the slimy ground to rest. He lets his eyes close. A voice echoes in the shadows. 109. THENARDIER Here's a hint of gold Stuck into a tooth - Pardon me, m'sieur, You won't be needing it no more. Shouldn't be too hard to sell.A figure coming closer. A sewer thief, robbing corpses. Nosign of life in either Valjean or Marius. THENARDIER Well, someone's got to clean'em up, my friends, Before the little harvest Disappears into the mud. Someone's got to collect their odds and ends When the gutters run with blood.Now we see the thief is Thenardier. He finds a ring onMarius's finger and pulls it off. THENARDIER Here's a tasty ring Pretty little thing Heart's no longer going And he's lived his little time, But his watch is ticking yet. It's a world where the dog eats the dog. Where they kill for the bones in the street. And God in his heaven, He don't interfere Cos he's dead as the stiff at my feet! I raise my eyes to see the heavens And only the moon looks down. The harvest moon shines down!Valjean wakes, rears up, seizes Thenardier by the arm,slams him against the sewer wall. VALJEAN How do I get out of here? THENARDIER There! That way!Valjean drops him, picks Marius up once more, and sets off.Thenardier stares after them, grinning. He's sent then thewrong way.LATER - Valjean in the sewers, Marius on his back, andthey're sinking ever deeper into the slimy water. 110. As he feels himself sink, Valjean holds Marius up in his arms and forges on, chest deep, lifting the younger man above his head. Still he sinks, until his face is half- submerged and he's gagging in the filth. He stumbles, and suddenly he's sunk beneath the surface, and Marius is dropping - Then up he bursts again, face black with slime, eyes burning with his refusal to be beaten. LATER - Valjean staggers down the endless sewers, Marius on his back. But all the time he can hear, closer now, the rushing sound of the river. Round a bend and at last - moonlight ahead. He drags himself on through the shallow running water towards the moonlight. He reaches the exit at last. Before him the river.105 EXT. RIVER EMBANKMENT, PARIS - NIGHT 105 Valjean, crusted with slime, heaves Marius out of the sewer onto the embankment that runs beside the river. He looks up. There, staring at him, is Javert. Valjean rises slowly. Heaves Marius up onto his back once more. The strain of the night is showing. He's a man near the end of his strength. VALJEAN It's you, Javert! I knew you wouldn't wait too long. The faithful servant at his post once more. This man's done no wrong. And he needs his family's care. JAVERT I warned you I would not give in! I won't be swayed! VALJEAN Another hour yet And then I'm yours And all our debts are paid. JAVERT The man of mercy comes again And talks of justice! 111. VALJEAN Come, time is running short - Look down, Javert! He's standing in his grave!He starts to move past Javert.Javert draws his pistol and holds it to Valjean's head. JAVERT One more step and you die.Valjean meets his eyes. That old battle of will againstwill. VALJEAN Then I die.He starts walking past Javert. Javert's hand trembles as itholds the pistol.Valjean keeps walking. Javert wills himself to shoot, buthe just can't do it. Frustrated, enraged with himself, helowers the gun. JAVERT Take him, Valjean, Before I change my mind! I will be waiting... 24601!He turns away, trembling now all up and down his body. Hestares into the river. Valjean is gone now. He's alone. JAVERT Who is this man? What sort of devil is he? To have caught me in a trap And choose to let me go free? It was his hour at last To put a seal on my fate Wipe out the past And wash me clean off the slate! All it would take Was a flick of his knife Vengeance was his And he gave me back my life!He begins to move away along the embankment, up steps,towards a bridge. He's unaware of everything except theturmoil in his brain. JAVERT Damned if I live in the debt of a thief! Damned if I yield at the end of the chase! (more) 112. JAVERT (cont'd) I am the law and the law is not mocked! I'll spit his pity right back in his face! There is nothing on earth that we share! It is either Valjean or Javert! How can I allow this man To hold dominion over me? This desperate man that I have hunted... He gave me my life! He gave me freedom! I should have perished by his hand It was his right... It was my right to die as well... Instead I live... But live in hell!He moves up from the embankment onto the bridge. Here hestands, looking down at the dark water of the night river.The Seine forms a whirlpool here, where violent currentsswirl round the piles of the bridge. JAVERT And my thoughts fly apart Can this man be believed? Shall his sins be forgiven? Shall his crimes be reprieved? And must I now begin to doubt Who never doubted all those years? My heart is stone and still it trembles... The world I have known is lost in shadow Is he from heaven or from hell? And does he know That granting me my life today This man has killed me even so?He climbs up onto the parapet, reaching his arms up to thenight sky. JAVERT I am reaching but I fall And the stars are black and cold As I stare into the void Of a world that cannot hold... I'll escape now from that world From the world of Jean Valjean This is nowhere I can turn... There is no way to go on... 113. He reaches higher, turning his body, twisting, as if he wants some angel from on high to save him - and so, turning, he falls into the river. The swirling eddies close over him. And he's lost.106 EXT. STREET OUTSIDE CAF… MUSAIN - DAY 106 Soldiers are dismantling the last of the barricade. Women move about the street, seeking their dead loved ones among the bodies that still litter the barricade. These are both the middle-class mothers of the students - Enjolras's mother, Grantaire's sister - and the working women of the slums for whom they died, united now in their grief. WOMAN 1 Did you see them Going off to fight? WOMAN 2 Children of the barricade Who didn't last the night. WOMAN 3 Did you see them Lying where they died? Someone used to cradle them And kiss them when they cried. WOMAN 4 Did you see them lying side by side? WOMAN 5 Who will wake them? WOMAN 6 No one ever will. WOMAN 2 No one ever told them that A summer day can kill. WOMAN 7 They were schoolboys Never held a gun Fighting for a new world that Would rise up like the sun. WOMAN 3 Where's that new world Now the fighting's done? The women move off to go about their day's business. 114.107 INT. MARIUS'S FAMILY HOUSE, PARIS - DAY 107 CLOSE ON MARIUS - He's waking from the nightmare, finding himself in a fine bed, with clean linen. He looks round: a handsome room. GILLENORMAND Marius! You've come back to us! Marius recognises the old man anxiously watching him: his grandfather, Monsieur GILLENORMAND. MARIUS Grandfather... He struggles to rise, but he lacks the strength. His grandfather's face shows only love and concern. GILLENORMAND Rest, Marius. No more harsh words between us. I just thank God you're alive. Timidly the old man comes closer to the bed. Tears form in Marius's eyes. Encouraged, the old man takes Marius's hand in his. GILLENORMAND You've come home. To all of us. The distant voices of the mourning women - WOMEN (O.S.) Round and round And back where you began...108 INT. CAF… MUSAIN - DAY 108 Marius makes his way slowly up the stairs to the upper room. He's still weak from his wounds. He enters the room where his friends died, and looks round. He sinks into a chair. MARIUS There's a grief that can't be spoken There's a pain goes on and on Empty chairs at empty tables Now my friends are dead and gone. He sees the bloodstain on the wall beneath the window sill. The blood of Enjolras. MARIUS Here they talked of revolution Here it was they lit the flame Here they sang about tomorrow (more) 115. MARIUS (cont'd) And tomorrow never came... From the table in the corner They could see a world reborn And they rose with voices ringing And I can hear them now! The very words that they had sung Became their last communion On the lonely barricade at dawn. He looks out of the window at what's left of the barricade. He seems to see again the brave doomed defence, the smoke and the gunfire, the young men falling. MARIUS Oh my friends, my friends, forgive me That I live and you are gone There's a grief that can't be spoken There's a pain goes on and on... Phantom faces at the window Phantom shadows on the floor Empty chairs at empty tables Where my friends will meet no more. Oh my friends, my friends, don't ask me What your sacrifice was for Empty chairs at empty tables Where my friends will sing no more. Slowly he rises from the chair and turns to the doorway. There stands Cosette, waiting for him.109 INT. MARIUS'S FAMILY HOUSE, PARIS - DAY 109 Cosette holds Marius, supporting him, as he enters the house. COSETTE Every day You walk with stronger step, You walk with longer step. The worst is over. MARIUS Every day I wonder every day Who it was brought me here From the barricade. Cosette leads him into the room where Valjean and Gillenormand wait. 116. COSETTE Don't think about it, Marius! With all the years ahead of us! I will never go away And we will be together Every day. Every day We'll remember that night And the vow that we made. As Valjean and Gillenormand look on, Marius and Cosette sing their love to each other. COSETTE A heart full of love A night full of you The words are old But always true. VALJEAN She was never mine to keep She is youthful, she is free... MARIUS Cosette, Cosette! COSETTE I saw you waiting and I knew - GILLENORMAND Thank God, thank God you are here! Thank God, thank God you are home! MARIUS Waiting for you! At your feet! COSETTE At your call! VALJEAN/GILLENORMAND Love is the garden of the young Let it be Let it be! A heart full of love This I give you this day. MARIUS/COSETTE And it wasn't a dream Not a dream after all.110 INT. PARLOUR, MARIUS'S FAMILY HOUSE - DAY 110 Marius stands before Valjean, alone in this more private room. 117. MARIUS M'sieur, this is a day I never can forget. Is gratitude enough For giving me Cosette? Your home shall be with us And not a day shall pass But we will prove our love To you, whom we shall call A father to us both, A father to us all. VALJEAN Not another word, my son. There's something now that must be done...He's prepared himself to make this confession, but it'sstill hard. VALJEAN There lived a man whose name was Jean Valjean. He stole some bread to save his sister's son For nineteen winters served his time In sweat he washed away his crime.Marius hears this with shock. VALJEAN Years ago, He broke parole and lived a life apart... How could he tell Cosette and break her heart? It's for Cosette this must be faced: If he is caught, she is disgraced... The time has come to journey on, And from this day he must be gone! Who am I? Who am I? MARIUS You're Jean Valjean!Marius can't conceal that he's disturbed by thisrevelation. 118. MARIUS Monsieur, you cannot leave! Whatever I tell my beloved Cosette She will never believe me. VALJEAN Make her believe I have gone on a journey A long way away. Tell her my heart was too full for farewells - It is better this way. Promise me, Monsieur, Cosette will never know... MARIUS I give my word. VALJEAN ...What I have spoken, why I must go. MARIUS For the sake of Cosette, it must be so.111 EXT. MARIUS'S FAMILY HOUSE, PARIS - DAY 111 A waiting cab. Valjean comes out of the modest lodging house and gets in. The cab rattles away down the street. IN THE CAB - Valjean sits gazing far away at nothing. Then his weary eyes close.112 INT. MARIUS'S FAMILY HOUSE, PARIS - DAY 112 Cosette gazes at Marius, bewildered by what she has just learned. COSETTE Where's he gone without a word That wouldn't be his way to go MARIUS All he asked for me to say He's on a journey, far away. Dear Cosette, he loves you so Perhaps he will return some day. Cosette comes into Marius's arms, tears in her eyes. COSETTE He can't leave us now What's our wedding day Without him giving me away? "LES MISERABLES" BLUE REVISIONS 20.5.2012 119.112A EXT. MARIUS'S FAMILY HOUSE, PARIS - DAY 112A Marius and Cosette, newly married, are walking towards Marius' house through an aisle created by wedding guests. Carriages line the street. WEDDING GUESTS Ring out the bells Upon this day of days! May all the angels Of the Lord above In jubilation Sing their songs of praise! And crown this blessed time With peace and love!113 SCENE OMITTED 113114 INT. MARIUS'S FAMILY HOUSE, PARIS - DAY 114 Waltz music plays as Marius and Cosette lead the dancing at the wedding reception. As the dance proceeds, two extraordinary figures enter, and start helping themselves to the drink and the food. They are Thenardier and his wife, dressed up for high society. MAJORDOMO The Baron and Baroness du Thenard They look round as the dance continues, highly satisfied with themselves and see Marius. Thenardier makes a mock-formal bow. THENARDIER I forget where we met... Was it not at the Chateau Lafarge Where the Duke did that Puke Down the Duchess's decolletage? MARIUS No, `Baron du Thenard', The circles I move in are humbler by far... Go away, Thenardier! Do you think I don't know who you are? MADAME THENARDIER He's not fooled! Told you so! Show M'Sieur what you've come here to show. Tell the boy what you know! "LES MISERABLES" BLUE REVISIONS 20.5.2012 119A. THENARDIER Pity to disturb you at a feast like this But 500 francs surely wouldn't come amiss. MARIUS In God's name say what you have to say. MADAME THENARDIER (to Thenardier) He speaks. (to Marius) You pay! THENARDIER What I saw, clear as light, Jean Valjean in the sewers that night, Had this corpse on his back Some boy he'd killed in a viscious attack. I was there, never fear! Even found me this fine souvenir! He shows off his ring. Marius stares in astonishment. MARIUS I know this! This was mine! This is surely some heavenly sign! Thenardier steals the ring back. THENARDIER And there's more! Mark this well - It was the night that the barricades fell. MARIUS Then it's true! Then I'm right! Jean Valjean was my saviour that night! Thenardier looks past Marius to where Cosette stands among their friends. He lowers his voice. THENARDIER Jean Valjean - the old con. You pay up and I'll say where he's gone. He takes out money and reluctantly presses it into Thenardier's hands. Madame Thenardier takes the money before Thenardier has safely pocketed it. "LES MISERABLES" BLUE REVISIONS 20.5.2012 120. MARIUS Not so loud! Here's for you. God forgive us the things that we do. MADAME THENARDIER How's about some extra On a day so glad Our little orphan girl She hasn't done so bad. Raised in a convent Cash to spare - We want our share. Marius hands over yet more money to Madame Thenardier. THENARDIER Quite the little nun, ain't she! CRACK! Thenardier sinks to the ground, felled by a powerful blow from an angered Marius. The band stops playing. MARIUS Where is he? THENARDIER (cowardly voice) The convent. Marius rushes to Cosette and we see him telling her where Valjean is. They hurry away. Thenardier clambers to his feet, helped by his wife. He gestures to the band to continue. They stand by the tiered wedding cake. As Thenardier recovers his composure, Madame Thenardier steals one then two pillars from the cake so it collapses on the floor. She then pushes it under the table with her foot. "LES MISERABLES" BLUE REVISIONS 20.5.2012 121. THENARDIER Ain't it a laugh? Ain't it a treat? Hob-nobbin' here Among the elite? Here comes a prince There goes a Jew This one's a queer But what can you do? (pulling Madame Thenardier onto the dance floor) Paris at my feet! Paris in the dust! And here's me breaking bread With the upper crust - As he pivots Madame Thenardier, stolen silver drops out from Madame Thenardier's dress. The music stops dead in the clatter. The Thenardiers look up, as if implying that the silver dropped from the ceiling. The dance continues. Monsieur Gillenormand motions to the Majordomo to remove these unwanted guests. THENARDIER Beggar at the feast! Master of the dance! Life is easy pickings If you grab your chance! MADAME THENARDIER Everywhere you go Law-abiding folk Doing what is decent THENARDIER But they're mostly broke! MADAME THENARDIER Singing to the Lord on Sundays THENARDIER Praying for the gifts he'll send - THENARDIER/MADAME THENARDIER But we're the ones who take it - We're the ones who make it in the end! The Thenardiers are carried off, singing as they go. THENARDIER Watch the buggers dance MADAME THENARDIER Watch'em till they drop!"LES MISERABLES" BLUE REVISIONS 20.5.2012 121A. THENARDIER/MADAME THENARDIER Keep your wits about you And you stand on top! THENARDIER Masters of the land MADAME THENARDIER Always get our share THENARDIER/MADAME THENARDIER Clear away the barricades And we're still there! We know where the wind is blowing Money is the stuff we smell - And when we're rich as Croesus, Jesus! Won't we see you all in hell! As they are thrown out, the Thenardiers steal a tiara and a candlestick. "LES MISERABLES" BLUE REVISIONS 20.5.2012 122. 115 EXT. CONVENT, PARIS - NIGHT 115 IN ON A WINDOW - Where two candle burn.116 INT. CONVENT CHAPEL, PARIS - NIGHT 116 Valjean prays in the chapel, on his knees. He's very weak. Next to the crucifix on the altar are Valjean's two silver candlesticks, in which two candles burn. VALJEAN Alone I wait in the shadows I count the hours till I can sleep. I dreamed a dream Cosette stood by It made her weep To know I die... Alone at the end of the day Upon this wedding night I pray Take these children, my Lord, to thy embrace And show them grace... God on high Hear my prayer Take me now To thy care Where you are Let me be Take me now Take me there Bring me home Bring me home! VALJEAN is joined by the ghost of Fantine. She takes his hand as he prays. FANTINE M'sieur I bless your name... VALJEAN I am ready, Fantine... FANTINE M'sieur lay down your burden... 123. VALJEAN At the end of my days... FANTINE You raised my child in love, VALJEAN She's the best of my life... FANTINE And you will be with God. 116A EXT. CONVENT CLOISTERS - NIGHT 116A Cosette and Marius rush round the cloisters and enter the chapel in the middle of the cloisters.116B INT. CONVENT CHAPEL - NIGHT 116B The sound of the door opening. Valjean looks round. It's Cosette entering, followed by Marius. VALJEAN Cosette? Tears form in his eyes. Cosette goes to him, kneels before him, takes him in her arms. COSETTE Papa, papa, I do not understand - Are you all right? Why did you go away? VALJEAN Cosette, my child! Am I forgiven now? Thank God, thank God, I've lived to see this day! Marius comes to him. MARIUS It's you who must forgive a thoughtless fool! It's you who must forgive a thankless man! It's thanks to you that I am living, And again I lay down my life at your feet. Cosette, your father is a saint! When they wounded me He took me from the barricade, Carried like a babe, And brought me home to you! 124. VALJEAN Now you are here Again beside me Now I can die in peace For now my life is blessed... COSETTE You will live, papa You're going to live It's too soon Too soon to say goodbye. VALJEAN Yes, Cosette, forbid me now to die! I'll obey I will try...He holds out a letter for her. VALJEAN On this page I write my last confession. Read it well When I at last am sleeping. It's the story Of one who turned from hating A man who only learned to love When you were in his keeping.Cosette takes the letter and kisses it. COSETTE I know it, papa.Valjean turns back, face shining, towards the table wherethe candles burn in the silver candlesticks. There he seesthree ghosts waiting for him. The ghost of the Bishop. Theghost of Fantine. And beyond her, watching Marius withlove, the ghost of Eponine.Fantine comes towards him, reaching out her hands. VALJEAN I'm ready now, Fantine. FANTINE Come with me Where chains will never bind you All your grief At last, at last behind you Lord in heaven Look down on him in mercy - VALJEAN Forgive me all my trespasses And take me to your glory! 125. Cosette embraces Valjean, weeping. Valjean reaches up his hands, and lets the ghost of Fantine take them. FANTINE/EPONINE Take my hand I'll lead you to salvation Take my love For love is everlasting... VALJEAN/FANTINE/EPONINE/BISHOP And remember The truth that once was spoken: To love another person Is to see the face of God... Led by Fantine, Valjean walks out of the Chapel towards the cloister. What remains is Cosette, her head cradled in the lap of the man who has just died. The walls of the cloisters are covered in votive candles. The Bishop of Digne waits in front of the candles. Now Valjean's strong and young again. Before they reach the wall of candles, all three are gone. As they disappear we CRANE UP, high over the cloister, high over the walls of the Convent and we see the Paris streets outside. Fires are burning and debris is scattered in the streets. Dawn is breaking. From far away, the sound of an approaching crowd -117 EXT. PLACE DE LA BASTILLE - DAY 117 THE CAMERA MOVES over the cobbles as the light of the rising sun reveals the devastation left by a bitter street battle. Past the remains of a barricade. The distant sound of an approaching march. SUPERIMPOSE CAPTION: Sixteen years later Paris, 1848. From far off, the swelling sounds of the approaching march become the words of a song. MARCHERS Do you hear the people sing Lost in the valley of the night? It is the music of a people Who are climbing to the light For the wretched of the earth (more) 126. MARCHERS (cont'd) There is a flame that never dies Even the darkest night will end And the sun will rise.As THE CAMERA RISES we see we're in the Place de laBastille. The triumphal column has long been completed, butthe great elephant is sadly dilapidated and has becomeincorporated into an immense barricade - three storieshigh, seven hundred feet long. Down all the streets thatconverge on the square we now see the multiple victorymarches approaching. They cheer and beat drums as theyclimb up to the top of the barricade.SUPERIMPOSE CAPTIONS: The people of Paris have risen in their tens of thousands. The King has fled. A new Republic is born.There in the forefront of one column march Marius andCosette. MARCHERS They will live again in freedom In the garden of the Lord They will walk behind the plough- share They will put away the sword The chain will be broken And all men will have their reward!As the marchers come nearer we begin to realise how manythere are: thousand upon thousand. And there marching amongthem we see ghosts from the past - Enjolras and thestudents who died - and Fantine - and Eponine -And out of the crumbling elephant peers another ghost: thegrinning face of Gavroche. He climbs out to dance on theelephant, as the crowd fill the square. MARCHERS Will you join in our crusade? Who will be strong and stand with me? Somewhere beyond the barricade Is there a world you long to see?As the marchers converge, there watching them areThenardier and his wife. Thenardier gives the marchers awave of greeting. Survivors to the last. MARCHERS Do you hear the people sing? Say, do you hear the distant drums? (more) 127. MARCHERS (cont'd) It is the future that they bring When tomorrow comes!Now among the marchers we see the ghost of Valjean, singingwith the rest atop the barricade, amongst the waving redflags. MARCHERS Will you join in our crusade? Who will be strong and stand with me? Somewhere beyond the barricade Is there a world you long to see? Do you hear the people sing? Say, do you hear the distant drums? It is the future that they bring When tomorrow comes... Tomorrow comes!END CREDITS \ No newline at end of file diff --git a/unformated_scripts/Script_Leviathan.txt b/unformated_scripts/Script_Leviathan.txt new file mode 100644 index 0000000000000000000000000000000000000000..d61f360d3150685839314ef2ba8b82f8231b92e4 --- /dev/null +++ b/unformated_scripts/Script_Leviathan.txt @@ -0,0 +1 @@ +LEVIATHAN Screenplay by David Webb Peoples and Jeb Stuart Revised Draft September 8, 1987 FACE IN ON THE SURFACE OF THE OCEAN sunny and placid then slowly WE BEGIN DESCENDING UNDERWATER Moving down from the bright surface waters, through layers of fish and marine life... A school of vibrantly colored fish move with the current, their numbers are enormous, their movements in unison. Suddenly out of the darkness a barracuda cuts through the school, taking out four or five before disappearing into the shadows. The school moves on as if nothing happened, quickly closing ranks where the missing ones swam only seconds before. WE MOVE DEEPER AND DEEPER Fish disappear, darkness envelopes us. Cold and lifeless where light has never penetrated...Five thousand feet, ten thousand. Deeper, where only strange, self-illuminating echoniderms move eerily through the currents. Then suddenly WE HEAR STATIC from RADIO TRANSMISSION. THEN VOICES... JONES Burritos...Enchiladas... DEJESUS (hispanic voice) Oh, gag, man, how can you eat that stuff?... BOWMAN (female) I can't wait for fresh vegetables... Several voices suddenly break into argument..."vegetables?" "shit," "burgers"...Suddenly another voice rises above the others. BECK'S VOICE/ RADIO Okay, cut the chatter. You're not out of here, yet. Who's the hook? Seven?...You got a hook on container 22? A pause, then more voices. SIXPACK'S VOICE/ RADIO (redneck drawl) The man's asking if you're hooked on 22, you dumb shit. JONES' VOICE/ RADIO Watch your mouth, Sixpack. Hello, Shack, Seven, here. I ain't the hook, over. A light flares out of the darkness, suddenly illuminating an IMMENSE SHAPE--fifteen hundred pounds of hardened metal nearly seven feet tall. It is a motorized diving suit and we see the stenciled name, WILLIE across the front breastplate. As it pivots we see the stationary worklights around the base of a large underwater mining operation, THE SHACK. Then a woman's voice. WILLIE'S VOICE (woman's voice) Six to Shack. I'm the hook. INSIDE THE SHACK/ CONTROL ROOM littered with papers, half-full coffee cups, and a confusion of wires and very low-tech, high-tech equipment BECK sits at the monitor controls. He is younger than we expected, twenties, clean cut good looks. He'll be a hell of a good- looking man at thirty-five, he just needs to be hardened. From the looks of the coffee cups around him he's on his way. BECK'S VOICE/ RADIO Okay, Six, let's wrap this container and call it a day. Above him a bank of monitor screens. Each one labeled with a crew member's name and providing a video picture from a camera mounted on their helmet. Beck reaches above him and throws a console switch which activates another monitor labeled ROV. With a joystick he manipulates an outside camera(the ROV), its picture we see on the monitor. It is moving. UNDERWATER WILLIE'S POV The inside of her helmet is a grid of LED gauges monitoring air reserve, body temperature, atmospheres, heart rate, blood pressure. She stops next to a pair of railroad-like tracks and removes the tool attached to the end of her arm. The move is practiced and professional, like a cook changing the tool on a set of egg beaters. First, she inserts the existing tool into a lock on her opposite arm which holds it while she disengages the tool. Next, she selects the next tool from the storage compartment at her waist and punches it into position. Sixpack's voice comes over the radio. SIXPACK'S VOICE Hey, Willie, you trip on a tit or something? We're all waiting on you, honey. WILLIE (under control) Keep your pants on Sixpack. I promise you'll be inside before "Mr. Rogers' Neighborhood" comes on. OVER THE RADIO WE HEAR other men's voices laughing. They like Willie and cheer her on. "Tell him, Willie," "Atta girl," etc... Willie CLICKS in her last tool and turns. Expertly she hooks a large dumpster-like container, the container to what looks like an underwater parachute--A CONTAINER TRANSPORTER--which when filled with oxygen it lifts the massive container onto the tracks where it can be hauled-in by a winch. WILLIE'S VOICE Six to Shack...Hook's on. Ready to winch. UNDERWATER MACHINERY Halogen lights illuminate bits and pieces of dredges and dumpsters squatting in the gloom. A winch begins grinding and the big, newly hooked container lurches down the tracks. It comes to the end where a winch fits it into place with several others to complete a set. We hear BECK'S VOICE. BECK/ RADIO Ok, that's it. Come on in. More motor suited DIVERS appear, their helmet lights glaring. Their breastplate names catch in the dim lights: COBS, BOWMAN, WILLIE. As they approach the UNDERWATER LOCK, where an elevator will transport them up into the Shack, we see signs of human life: a basketball goal attached to the side of the building; stickers and signs: "No Bozos," etc. A formal sign towers over the entrance. It says: TRANSOCEAN CORP. SHACK 6. ON ONE OF THE CREW He moves behind the others. Suddenly he freezes in his tracks and slowly rotates his helmet--on his shoulder in the glare of his helmet beam WE SEE the a hideous looking SEA SPIDER. It's thick legs moving eerily down his arm. Carefully, so as not to disturb the creature, a mechanical motor hand moves into position below it, and in one quick movement, snares it. CLOSE ON METAL WAIST POCKET. The latch opens and the writhing sea spider is shoved inside. From the pocket WE MOVE UP the diver's suit until we see the name SIXPACK on the breastplate. He looks around to see if anyone has noticed then continues on toward the shack. ON TWO DIVERS(JONES AND DEJESUS) They walk together to the Shack. A Latino VOICE, DEJESUS, comes over the radio singing an old Miller Beer jingle in an exaggerated accent. DEJESUS When it's time to relax.... One thing stands clear... INSIDE ON BECK As he listens to the singing over the tinny speaker, we see he aches to be a part of their comaraderie, but is alienated by age and rank. He is the shack boss, management. He listens as a BOOMING BLACK VOICE joins in off-key. JONES' VOICE(O.C.) Mil-ler's tastes too good to hurry through... As the singing continues, Beck looks over at an empty chair in front of a bank of equipment monitors. The vital signs of each miner and his equipment are registered on this console. The chair in front of them sits conspicuously empty. This doesn't please Beck, neither does a hand written sign under the console which states: THE DOCTOR IS OUT. DEJESUS' POV Inside his helmet we see the grid of LED gauges monitoring vital signs. DEJESUS ...beer after beer... Suddenly a red warning light begins blinking in the bottom corner inside DeJesus' helmet. The words to the song freeze in his mouth. His voice becomes edged with panic. DEJESUS(cont'd) Oh, shit... JONES/ RADIO (to DeJesus) Hey, Hazy, I'm not that bad, man. DEJESUS (rising terror) Jonesy! I'm losing compression... I'm going to blow my suit, man! Beck! Doc! Help me!... INSIDE Beck grabs his microphone. He tries to remain calm but there is a definite tremble in his voice. BECK Give me a readout, DeJesus. DEJESUS(ON RADIO) (gripped with panic) Ahhhh! OUTSIDE The other divers move quickly to DeJesus. BECK (ON RADIO) DeJesus! A readout! JONES He don't need a readout, man, he needs help! BECK(RADIO) (anything but calm) Stay calm! BOWMAN Calm!? Where's Doc? INSIDE Beck stands in front of the equipment monitors, lost. BECK (trying to keep control) The internal monitors read normal. ON THE MINERS, PANICKED COBB Where's Doc?! BECK(RADIO) He's not at his station. DEJESUS (panicked) Oh, mother of Jesus, forgive me of my-- BECK'S VOICE (making a decision) Get him into the Shack. DeJesus' gauges begins a countdown to implosion. "15, 14, 13..." DeJesus is grabbed by his co-workers and hurried the last few yards to the SHACK. INSIDE/SHACK - SAME ON BECK sweating bullets, turns a dial on the instruments and suddenly, DeJesus' gauges jump to life. We see the same countdown in progress on the Shack's gauges!..10, 9, 8... OUTSIDE ON DEJESUS He is forced into the LOCK, the underwater elevator room is eerily lit. His readout continues inside his helmet...5, 4, 3...DeJesus screams. ON BECK DeJesus' scream comes over his radio in the control room. Beck hits the elevator switch--nothing happens. He hits it again harder and suddenly DeJesus voice is drowned out by the SCREAMING VACUUM PUMPS of the elevator. It's moving! Beck looks up at the monitor of the interior Lift Lock. INSIDE/LIFT LOCK WE SEE DeJESUS'S SUIT dripping wet. It stands inside the Lift Lock, ankle deep in greasy bilge water. CLOSE ON HIS EYES, for a moment they remain closed, then suddenly they flutter. He's alive! THE MESS - LATER The blackboard prominently displayed on the wall of the Mess features neatly stenciled letters that say: "DAYS TILL PICKUP". The number scrawled on the chalk-smudged board obviously changes daily. Right now, it's a "3"... A CLUNK, CLUNK and a Coke can rolls out of a compact COKE MACHINE. A big, sandy-haired man, SIXPACK, takes the soft drink, pops the top and downs it in one long pull while he looks over an arguing group of deep sea miners: JONES, Black, athletic, 30's; COBB, 50's, a career miner with a mouthful of gum; BOWMAN, 35, attractive, hardened woman, she has seen more of the world than any of them; WILLIE, twenties, fresh good looks, master electrician, optimist. DEJESUS, Latino, wiry muscles, he keeps his head down, still shaken from his experience. The strain of a month of working two miles beneath the ocean's surface has drawn nerves tight. BOWMAN I'm telling you, it's the suits! JONES Fuck the suits, it's the people monitoring them. It Doc had been there like he's supposed to it never would've happened! SIXPACK And just what the fuck would he have done to stop it, huh? Sixpack looks over the group, then suddenly crushes the empty Coke can in his hand, punctuating the action with a huge belch. SIXPACK(cont'd) That would have been you, DeJesus... DeJesus keeps his head down. SIXPACK(cont'd) Yeah...I was standing next to a guy who blew a suit once in the Indian Ocean...little tiny hole in the fucking toe of his suit ...ocean came in and the pressure crammed his whole fucking body up into his helmet. They just buried his helmet. DEJESUS (coldly) I know all about implosion, man. SIXPACK Yeah, I bet you do. (laughs) I bet you were imploding in your pants. (laughs then imitates a hysterical DeJesus) Jonesy! Doc!...Help me! Help me! DeJesus springs for Sixpack's throat AS WE CUT TO BECK - SAME Beck's eyes are blazing with cold authority as he speaks. BECK Knock it off, Sixpack! I know it's been a long month for every- one, but we can't let something like this tear us apart... Beck glares, ready for an argument, but as WE PULL BACK we see he's talking to the mirror, in his tiny quarters. Apparently he fails to convince himself because his hard look fades and he mutters unhappily as he turns away. BECK Shit... He turns around to face a smiling picture of himself at college graduation with his Eastern establishment looking father. Leadership "how-to" books like The One Minute Manager, etc. line his bookshelf with technical manuals on underwater mining. He opens his door to leave when SUDDENLY A LOUD METALLIC GROANING NOISE stops him cold. The entire Shack seems shifting, like a giant waking from a nap. MESS The NOISE stops the fight between DeJesus and Sixpack cold. All eyes go to the ceiling and walls. JONES Fuck the suits man...this place is going to kill us first. Just as suddenly as it began the GROANING NOISE STOPS and in its place WE HEAR an intermittent RATTLE in the air system. Only Cobb seems undisturbed by this sound. DEJESUS (listening) There it is again... (sitting down again) Two more days. I tell myself 'you can make it two more days--' BOWMAN What's the weather like up top? WILLIE Clear for pickup. JONES Let's hope it holds. Cobb looks up disgustingly. COBB Then what? Huh? (to everyone) Then what? You folks think going up top's the answer to all your problems. Well, it ain't. BOWMAN Give us a break, Cobb... COBB A break? You folks don't need a break, you need psychiatrists. 'Know what you'd be doing if you were up there, right now? SIXPACK (a boorish leer) Eating pussy and drinking brew... COBB Eating pussy my ass. What about lines at the bank: What about getting stuck in traffic? SIXPACK (grinning) Wherever I can find it. Everyone laughs but Cobb, WE SEE he's serious. COBB Bullshit! I'll tell you what you'd be doing! You'd be watching news on TV that's so fucking bad it makes you nauseous. So you go out and get in your car to get some fresh air and after you've been driving for five minutes you realize the air's so damn dirty you don't dare breath it! That's what you've got to look forward to... LOWER RING CORRIDOR Beck approaches the Mess and as he nears it we hear Cobb ranting inside. COBB'S VOICE(O.S.) ...And if you're lucky enough to make it back home to your house that looks the fucking same as everyone else's, you'll find your wife's just as fat as she was when you left and the only reason your kids ain't strung out on the drugs they were using when you left is that they've found some new drugs which fuck 'em up even more!... You people just don't appreciate how good you've got down here... BECK hesitates at the door to the Mess, as though screwing up his courage, then takes a deep breath and enters as we CUT TO INSIDE THE MESS Everyone looks up as Beck enters and the room goes quiet. Beck notices Doc's empty chair. BECK Doc eat already? JONES The good doctor hasn't showed yet. Looks are exchanged. Sixpack smirks knowingly. BECK (to DeJesus) How do you feel, DeJesus? DEJESUS (obviously embarrassed to be singled out) Okay. BECK Better let the Doc take a look at you, after dinner. SIXPACK Yeah, since he was busy earlier when you needed him. He cracks up and Beck turns on him. BECK Cut it, Sixpack. Sixpack shuts up, but Beck notices the others feel the seriousness of Doc's absence during the emergency. BECK(cont'd) Leave the Doc to me. I'm going to talk to him. SIXPACK (sarcastically, under his breath to Bowman) 'Makes me feel better already... Beck gets his tray but it is clear he is thinking about something else. He clears his throat. BECK I've been looking at the duty roster...at the shack hours outstanding... JONES Uh, oh...I see where this is going... BECK (ignoring Jones) ...all of you owe time and I thought tonight would be a good time to--- COBB (erupting) No way, Mister Beck! No fucking way! We just did a full shift, you can't call Shack duty on top of a full shift. It's a contract violation! JONES Whooo! Right on, Cobb! Let's hear it for our shop Steward! SIXPACK Hear that Becky, er, Mr. Beck? Company got to abide by the rules. FIVE FACES STARE AT BECK. THEY'RE LOOKING FOR WEAKNESS. THIS IS A CHALLENGE TO HIS AUTHORITY. BECK I know all about the contract. The point is you can follow the goddamn contract to the letter and pull your shack duty tomorrow...or you can get it done tonight and call tomorrow a down day. It's up to you. This leaves the group momentarily speechless. Even DeJesus comes out of his stupor. DEJESUS You giving us a day off? Beck nods. Cobb eyes him suspiciously. COBB What about our quota? BECK You're only twenty-five tons off quota. Barring an unforeseen problem you should reach it easily on the last day. (he looks at the group) It's just a day off. You don't have to take it, I just thought it might help. The others look around for agreement but Jones doesn't need anyone else's approval, he's already made up his mind. JONES Count me in. Bowman nods her head also and the others unanimously agree. Buoyed, Beck moves ahead, businesslike... BECK Cobb, Jones, I want you to do something about that damn rattle in the air system... (to Bowman and Sixpack) Bowman and Sixpack...living quarters... SIXPACK (disgustedly) Shit... BECK Williams...get DeJesus' suit on the "sick rack" and do a diagnostics. (to group) Any other suit problems she should know about? Sixpack suddenly looks up as the group disperses. SIXPACK (to Willie) My pocket. Check my pocket, will ya, honey? WILLIE (annoyed) Your pocket? SIXPACK The latch is screwed up. Or the hinge. WILLIE (disgusted) Right. LOWER RING CORRIDOR - SAME ON BECK He starts out of the Mess and by chance finds himself walking with Willie. Beck is obviously uncomfortable with the crew, even after 28 days together. She smiles, friendly, at ease. WILLIE You did good... BECK (a little surprised) What? WILLIE Today...with DeJesus. That was smart thinking to get him inside... BECK There probably wasn't anything wrong with his suit... WILLIE Still...you did the right thing. She turns off toward the Swamp, leaving Beck with the tiny, but honest compliment. He savors it. THE SWAMP - LATER The "Swamp" (where DeJesus came up), is ankle deep in greasy bilgewater. The door slides open, Willie enters, and switches on a bank of fluorescent lights. The room is spooky even with the lights. The giant machine suits, we saw earlier outside, hang from racks like sleeping monsters. Willie straps on a utility belt and checks her tools--a motorized screwdriver, a power wrench, a long-necked, laser-tipped soldering iron(looks like a long-necked screwdriver)--then splashes through the bilge water to the control switch and hits the START button. NNNNNNNNNN. A motor moves one of the suits along the track toward Willie. As it turns the corner toward us we see it says: DEJESUS. DOC'S OFFICE - SAME Beck opens the door to Doc's quarters and we see Doc putting on a fresh shirt. A man in his 50's, he must have once been quite handsome and intelligent, but has now gone to seed. DOC I must have dozed off. Beck looks on the cabinet and sees a bottle of Old Granddad Whiskey. He picks it up. DOC(cont'd) Snakebite medicine...Never pack my bag without it. Beck doesn't smile. He puts the bottle back down and Doc watches him in the mirror. BECK Are you planning on working tomorrow? DOC Well, I'll be on the golf course in the morning. Then, if I don't have any babies to deliver-- BECK (cutting him off) We almost had an accident today. DeJesus' suit... The Doc stops buttoning his shirt and locks eyes with Beck. DOC You got something to say to me, son?... Beck definitely has something to say, but confronted, he falters. BECK I...I think it's important to have the second officer on deck. Doc smiles, and goes back to buttoning his shirt. DOC I'll keep it to nine holes in the morning. THE DORMITORY - SAME Small but functional. The bunks can be closed-off with a privacy door. Photographs and bumper stickers on the walls of the bunks provide the only personal touches in an otherwise sterile environment. Willie's bunk is wallpapered in detailed interplanetary maps; Sixpack's privacy door has a bumper sticker which proclaims: "I MAY BE FAT, BUT YOU'RE UGLY AND I CAN DIET." DeJesus' has posters of the Alps, and the Rockies; Bowman's has clipped pages from "Gourmet" of meals she dreams for; Cobb's has nothing, as if perfectly content to be where he is instead of somewhere else. Inside Jones' bunk is an indoor basketball goal. Bowman and Sixpack scrub down the walls of the dorm with a sponge and pail. Sixpack pauses and smirks, his eyes on Bowman's chest. SIXPACK Christ...what a pair... BOWMAN (sharply) What was that? What'd you say? SIXPACK I said, "What a pair" the boy wonder Shack Boss and his drunken doctor buddy make... (innocently) Why? What did ya think I said? CORRIDOR "A" - SAME Jones and Cobb are kneeling in a corridor, unfastening a big plate on the floor with a power wrench. Overhead a huge plexiglass conduit flows with water from the desalinization system. The interior wall of the corridor is meshed wire exposing the throbbing machine floor of the Shack. Cobb removes the last bolt and Jones lifts off the floorplate exposing the guts of the shack--the BILGE--dark and wet. Without the plate the RATTLE in the air system is much louder and sinister. JONES Listen to it for Christsake. COBB Ah, it's just old, like me. You don't see the Doc opening me up every time I get a new creak in my joints...I say, as long as it's recycling the air let the next shift deal with it. But, 'long as we're here... He pulls a retractable ladder from inside the hole and drops it down into the wet darkness, without hesitating he climbs down, stopping at the bottom to look up at Jones. Jones seems in no hurry to accompany him. COBB(cont'd) You gonna sit there on your butt or give me a hand? Jones reluctantly starts down after him. BECK'S QUARTERS - SAME Beck in his quarters. He seems to be talking to himself but as we move around him we see he is talking to a video monitor. On screen we see MARTIN, 30's, a slick bureaucratic executive with TransOcean Corp. whose face is all we see on the video monitor. BECK Two hundred and fifty-two tons of Magnesium and 15 tons of Sodium. MARTIN (taking notes) Sounds like a good week, Beck. In fact...I put your folder in front of the Vice President of District Operations last night... Beck stops. Martin notices his concern. MARTIN(cont'd) You're good executive timber, Beck. A lot of management trainees wash out when they have to go under for their first tour. But you've done well. BECK (smiles, relieved) Thank you, Martin. MARTIN Don't thank me, yet, but it is important to know where you're going and who your friends are... 'Know what I mean? He stares hard at Beck, but doesn't wait for an answer. MARTIN(cont'd) The one thing I've learned in this company is you can't have enough friends. It's the only way to survive. CLOSE ON A BOOM BOX/ LOWER RING CORRIDOR - SAME The boom box sitting on a wall pipe is blaring John Denver's Rocky Mountain High. DeJesus is singing along loudly in his thick accent as he works on the intercom system. He finishes, closing a metal box which says: ONBOARD COMMUNICATIONS. SWAMP - SAME ON WILLIE She has connected DeJesus' suit to the diagnostic computer and is going through the computerized checkpoints--an electronic list of literally hundreds of possible problems. WILLIE (to herself) Probably a short. Suddenly, the computer pauses on one: It says: Electrical Short. WILLIE(cont'd) Good guess, Williams. She types in a "help" command and the computer screen displays an electrical circuit pattern that would leave most Electrical Engineers baffled. Willie hardly bats an eye. WILLIE(cont'd) Piece of cake. She immediately opens the circuit panel on DeJesus' suit and pulls the laser soldering iron out of her tool belt. With two quick spot welds she repairs the short, then replaces the panel. Finished, Willie presses the control switch and the suits begin to move along the track. A new suit rounds the corner toward us. It says SIXPACK. THE BILGE - SAME The walls are dark and moist. Water drips from the pipes. The rattle in the air system continues loudly as Jones leans over and hands Cobb another tool. Crouched in the humming machinery, Cobb spits his wad of chewing gum into a greasy hand, kneads it a couple of times, then grins at Jones. COBB Okay, watch this.. THE SWAMP - SAME The monotonous clatter of the air system is the only sound in the gloomy SWAMP as the huge suit labeled SIXPACK stops directly in front of Willie. She reaches up to open the pocket latch when she stops...listening. THE NOISE IN THE AIR SYSTEM HAS STOPPED. THE BILGE - SAME Jones looks incredulously at Cobb. He can't believe that's all it took. Cobb starts gathering up the tools. JONES So that's all you do?... COBB Shhhh...don't tell no one. (winks) Job security. THE SWAMP - SAME In the gloomy silence, Willie reaches for the hinged pocket in the waist of Sixpack's suit. Some water drips out. She pushes the spring a second time. The pocket opens. Nothing. WILLIE (miffed) Nothing wrong with this... SUDDENLY THE HIDEOUS SEA SPIDER SPRINGS OUT onto the workbench where it wriggles grotesquely toward Willie. She backs away and it drops into the water at her feet. THE DORMITORY Bowman looks at DeJesus who comes to the door, then to Sixpack who convulses with laughter against the bulkhead. WILLIE'S VOICE(O.C.) (over intercom) Fuck you, Sixpack! You think you're funny? You're not funny! ON BECK He hesitates then presses the TALK button on the intercom. BECK This is Beck. Is there a problem, Williams? SWAMP Willie watches the Sea Spider move in the water toward her as Beck's words come over the P.A. Ignoring Beck she watches the spider right as it moves to her feet then brings the soldering iron down into the water with a LOUD HISS skewering it. She presses the intercom button and lifts the skewered sea spider out of the water. WILLIE (to Beck) A little problem, sir...but I've got a handle on it now. TIME CUT TO: THE MESS - LATER BOWMAN sits at a portable computer terminal and watches stock prices scroll across the screen. Every so often she freezes a stock and types the command: INFO. The screen immediately changes to a financial report of the company in question as if prepared by a broker. In a matter of seconds Bowman can learn all the major aspects of the company. Across the room from her, Willie exercises with dumbbells while she studies an astronaut training manual. She looks up at Bowman. WILLIE Made your million, yet? BOWMAN (studying the screen) Not yet. WILLIE How's TransOcean doing? This causes Bowman to turn and look at Willie. BOWMAN You got money in this tub? WILLIE I signed-up for the stock option. Bowman shakes her head and goes back to the computer and types in TransOcean Corp. DORMITORY ON COBB He lies on his bunk under a sunlamp, but wears a T-shirt and long pants. DeJesus does a jigsaw puzzle of a snow covered Swiss mountain scene. DEJESUS Hey, man, you know that in Switzerland--and this country's the size of East L.A., okay?--they speak 54 different dialects? Fifty-four! COBB Who cares? DEJESUS I do, man. That's a beautiful place. When I get out of here I'm going there. Find a nice little snow covered chalet, warm little woman, crackling fire-- He looks up and sees Cobb's sunbathing attire and laughs. DEJESUS Hey, Cobb...Man, why don't you take off your shirt and pants, man? You should do that wearing what you're going to wear at the beach. COBB (sharply) This is what I wear at the beach, goddamnit. MESS - SAME COMPUTER SCREEN The report appears on screen with a capsulized history of the TransOcean company, its philosophy and growth plans and most current financial report. A final column called "insider tips" says: BOWMAN (reading) "Major development in South Indian Ocean set for fall of 2010..." (to Willie) That sounds interesting, but they're too tied to their holdings. Remember a year ago when they lost that tanker?... The bottom fell out of their stock and I lost a bloody fortune. That's when I decided to diversify. Willie looks at Bowman a moment, then keeps exercising. WILLIE You take your money, too seriously, Bo. BOWMAN (sharply) You're damn right I do. Five years down here and I'll pull in more than 15 topside. I'm not down here for the fun, I'll tell you that. SIXPACK'S VOICE(O.S.) "Fun?" Somebody talking fun? They look up to see Sixpack at the door to the Mess wearing only a robe. With a leer he stares at Willie exercising. SIXPACK(cont'd) (saccharine sweet) Hey, Willie, honey...Sorry about that little incident tonight...Everyone's been so tight lately, I thought a little humor'd loosen us all up, you know? Willie doesn't bite, she looks hard at Sixpack. WILLIE Get out of here, Sixpack. Sixpack smirks. He waves a copy of Penthouse opened to the Pet of the Month and sings cheerfully. SIXPACK (leaving) I got a date with an angel... CLANK, BANK, CLUNK. A coke can tumbles noisily from the Coke machine. Jones retrieves two cans of Coke and comes out of the Galley with a snack. He stops in front of Bowman and the computer. JONES Hey, Bo...when're you going to be off that thing? I want to find out tonight's NBA scores and check the weather. BOWMAN (not taking her eyes off the screen, answers him) The weather's good, I already checked, but I'll be off in a minute. WILLIE (to Jones) Hey, Jonesy, who's the best power forward in the NBA...Jameson? JONES Jameson? Who're you trying to con? They grin at each other--a standing joke and Jones leaves. DORMITORY Jones enters the Dorm with his snack and tosses a can of Coke across the room to DeJesus. JONES Hey, Hazy! We got a day off tomorrow, Kemosabi! Let's get shit-faced! DEJESUS catches the can and pops the top sending a shower of carbonation all over Cobb under the sunlamp. JONES(cont'd) How about you, brother Cobb? Little Wild Turkey? Cobb wipes the Coke from his sunglasses and shakes his head. DEJESUS No, man, Cobb is a Chivas drinker, from way back. Ain't that right Cobbie? Jones and DeJesus laugh and take long pulls on their Cokes. Cobb turns and watches them. This is obviously a nightly ritual. COBB You guys are crazy. What the hell you play that stupid game for? DEJESUS (acting drunk) What game, Cobb?...I'm on my way to Nirvana... COBB You're on your way somewhere all right...the looney bin. DEJESUS (laughing) I'm on the way to the looney bin? Hey, man, I'm not the dude sun bathing in his clothes. INT. SIXPACK'S BUNK - SAME CLOSE ON The Pet of the Month as she smirks coyly from the centerfold, her body twisted into an awkward position representing mad desire. Sixpack closes his privacy door then smirks back at the photo. SIXPACK Oh, Darlin'...come sit on my face... He stirs in the bed and adjusts his pillow and SCREAMS! The SEA SPIDER is suddenly right there on his shoulder, dead. Sixpack sits bolt upright in his bunk and slams his head against the roof of the bunk, then stumbles out screaming. He hits the floor and rams his foot into a table and screams in more pain. The whole dorm looks up amazed, Cobb takes off his sunglasses, even Jones and DeJesus temporarily "sober up" to stare. SIXPACK That bitch! MESS Sixpack storms into the Mess with the dead Sea Spider. He points angrily at his bleeding foot. Jones and DeJesus move up to watch. SIXPACK (moving into room) Bitch! Look what you did! WILLIE (imitating Sixpack) Sorry, darling...Just thought a little humor would loosen us all up...you know?... Everyone laughs, but Sixpack. He has revenge in his eyes. He holds out the ugly, limp creature and advances toward Willie. SIXPACK You think you're so funny? Wait till you taste this! As he pushes the dead creature into her face BECK'S VOICE behind him makes him freeze. BECK'S VOICE(O.S.) That's enough! Everybody turns to see Beck standing in the doorway. SIXPACK Look at my foot, sir! This bitch put a goddamn sea monster in my bunk! BECK (cold as ice) How do you know it was Williams? SIXPACK (trapped) Huh? I...uh...uh... BECK All right, Sixpack, you and Williams are gonna pull water duty tomorrow-- SIXPACK AND WILLIE (protesting) Bullshit! What?! She...He... BECK (cutting them off) At ease! You both have a half day...Anymore shit and its a full one. CLOSE ON BLACKBOARD/ MESS - MORNING SCREECH! Chalk on the blackboard as Bowman writes "2" in place of yesterday's "3" over the neatly lettered words "Days Till Pickup." Jones, sitting next to Cobb, looks up from his tray of cereal and holds his head in mock misery. JONES Oooooh. Damn! Not so loud. Turn down the music. COBB What music? There ain't no music. DeJesus enters holding his head and sits on the other side of Cobb. DEJESUS Oooooh. Cobb looks from one man to the other, realizing what they're doing. COBB You know it's really crazy to pretend to be drunk, but it's fucking insane to pretend to have a hangover. BOWMAN (to Jones and DeJesus) Your "hangovers" made you miss the Sixpack Good Morning Show. (imitating Sixpack) "No goddamn boy is going to make me go out on a down day." JONES (grinning) Yeah? How'd the kid hold up? COBB (pleased) Pretty good. He sent them out videotaping outcrop. UNDERWATER - SAME CLOSE ON A whirling cylinder tool we see is attached to the end of Willie's mechanical suit arm. Like a drill its diamond bits cut into the rock outcrop to take a core sample. It's a sinister hand-attachment, something Captain Hook would have loved. Above her the ROV maneuvers into position for a better view. INSIDE THE SHACK CONTROL - SAME Beck is in the control station, staring at the video monitors--the image from the ROV. Willie removes a slender instrument, like a bicycle pump and with a quick pump motion, CHUNK, CHUNK...activates an explosive charge. She puts it into the hole she made with the drill and backs off. BECK Charge set? WILLIE'S VOICE(RADIO) Charge set. Backing off. (to the ROV) C'mon Rover let's get out of here. Like a good dog, the ROV follows her to a safe position. ON MONITOR THE CAMERA HOLDS ON THE SPOT. SUDDENLY THE GROUND SHAKES VIOLENTLY ON THE MONITOR SCREEN--A MINI EARTHQUAKE CHARGE. WILLIE RETURNS TO THE SITE OF THE CHARGE AND REINSERTS HER DRILL, EASILY REMOVING A TEST SAMPLE. Willie holds out the sample to the ROV so Beck can see inside. INT. CONTROL ROOM/ CLOSE ON BECK'S ROV MONITOR He stares at the image on the screen. BECK I need more light on that, Four. OUTSIDE WILLIE (to Beck) Roger... (to Sixpack) More light, Sixpack... There is no answer. Willie turns around. Her helmet lamp eerily illuminating the darkness around her. Sixpack is nowhere to be seen. WILLIE(cont'd) Sixpack? She turns in the other direction and suddenly blinding lights are turned on. SIXPACK Boo! Sixpack laughs. His lights now on, he stands right behind her. WILLIE You shit.... BECK'S VOICE What's going on, Four? What's happening? WILLIE We're fine, Shack. His lights malfunctioned for a minute. How's this? She again holds out her hand to the ROV. INSIDE SHACK Beck looks at the monitor and presses a red button to start the tape, then after five seconds releases the button. BECK That's great. Now let's move 35 degrees southwest. WILLIE AND SIXPACK MOVING WILLIE (to Sixpack) You screw around like that again and-- SIXPACK What's wrong, did you miss me? WILLIE Hardly. SIXPACK Don't worry, darlin, I'm... Suddenly Sixpack's foot hits some loose rock and slides. Willie turns in his direction and sees his headlight turning, becoming smaller, then disappearing as his radio goes dead. INSIDE ON BECK BECK What's wrong?! What happened? UNDERWATER ON WILLIE She has stopped in her tracks. All around her is blackness. Her helmet light hardly penetrates the darkness. WILLIE Sixpack?! Sixpack... Then she looks down--a cliff right in front of her feet. The drop is thirty feet into a waving sea of tubers. BECK'S VOICE brings Willie back. BECK'S VOICE(RADIO) Willie? What's going on? WILLIE He's gone. I think he's fallen. I'm going down after him. MESS Jones is bench pressing 200 pounds on a fold-down compact gym, while DeJesus huffs and puffs on an exercise bike. DEJESUS That's it Jonesy...Sweat it out, man...Got to get the poison out of our blood. Jones grits his teeth and struggles against the weight, suddenly Bowman throws open the door and sticks her head in. BOWMAN Sixpack is lost. CORRIDOR - MOMENTS LATER Bowman, Jones and DeJesus are heading for the control room where they are joined by Cobb. COBB Weren't they tied? They're supposed to be tied. They all enter the CONTROL ROOM Beck is at the console with Doc in his chair. JONES How far away is she? DOC Two hundred meters. WILLIE'S VOICE silences them. WILLIE'S VOICE(RADIO) Four to Shack...nearing the bottom. Look at this... They all stare at the monitor. The screen is filled with huge waving tubers. DOC My God, look at the size of those tubers.... DEJESUS Nine, ten feet high... BOWMAN If he had his blinkers on-- JONES It wouldn't make any difference in there...He could be two feet away and on fire and she'd still not see him! UNDERWATER ON WILLIE She moves through the dense waving forest of giant tubers, parting them with her hands as she moves slowly. WILLIE Sixpack? CONTROL ROOM BECK Why can't we pick up his signal? DEJESUS (a joke) Maybe he got eaten? BOWMAN (dryly) What would be dumb enough to eat Sixpack? ON WILLIE She moves aside the last of the tubers and freezes at the sight in front of her. WILLIE'S VOICE(RADIO) Four to Shack...you picking this up? INSIDE All eyes suddenly go to the monitor. A huge dark maw fills the screen. BECK Affirmative...Widening picture. The image on the screen widens and we see the opening is a huge gash in the side of a sunken ship. BECK(cont'd) (to DOC) Tighten the picture on the upper righthand corner. CLOSE ON THE MONITOR: The picture zooms in on the corner and Willie's added light suddenly brings the letter "M" into focus. Beck presses the red record button and pans the ROV slowly across the bulkhead of the ship. The next letter is an "A". Then suddenly a Cyrillic letter appears, then others. COBB What the?... DOC Russian. WILLIE'S VOICE(RADIO) I'm going inside. BECK What's your air reading? WILLIE'S VOICE Twenty minutes... BECK Twenty minutes!...Who had tank duty? BOWMAN Who else...Sixpack. JONES The man is unbelievable... I say, leave him in there. BOWMAN (dryly) What about his suit? That's a million five the company's got to replace. They'll make somebody go get it. BECK (to Willie) Willie, we're giving you five minutes...after that we're coming in. WILLIE'S POV Her life-support gauges move eerily around the perimeter of her mask. She moves along steadily down darkened corridors. She opens a door and it drops from its corroded hinges--a cloud of sludge rises off the bottom. The room looks empty. WILLIE Sixpack?...Answer me. She throws open another door. It also looks empty, then WHAM! a grotesque ECHONODERM slams into her helmet. Willie bats it aside and as soon as she recovers shines her light into the room. WHAT SHE SEES: The ship's infirmary. Broken glass, stainless steel...the light does strange things, reflecting, sparkling... WILLIE(ON RADIO) The infirmary... BECK'S VOICE(RADIO) Three minutes... Her helmet-mounted camera pans the room one more time, then as she turns to leave it captures a strange gleam of white in the corner--A LARGE HUMAN-LIKE SKELETON. Willie doesn't see it. INT. THE CONTROL ROOM CLOSE ON DOC He stares at the monitor screen. Did he see something or were his eyes playing tricks? He looks across the console and sees the videotape is recording. UNDERWATER ON WILLIE She moves to the end of the hall. It ends with two doors. BECK'S VOICE(RADIO) One minute. Willie hesitates at the junction and PUSHES OPEN the door on her left, SOMETHING HUGE BEHIND IT MOVES--IT'S SIXPACK. His mechanical arms suddenly rise and in their grasp we see the ship's huge safe. SIXPACK (laughing) I'm rich, honey. Rich! THE SWAMP - LATER The door to the Russian ship's safe stands open. BANG! BANG! Jones and DeJesus hammer safety deposit boxes with a chisel. While the others watch, Sixpack pleads his case with Beck. SIXPACK It's all mine if I'm on report. Otherwise you gotta take me off report before you look at any more... Ain't that right, Cobbie? COBB You're on your own, Sixpack, you fucked up everybody's day off... DeJesus pries off the top from the first safety deposit box and dumps the contents on the workbench...several wallets, wristwatches, a pocket watch, a wedding ring...Bowman who stands with a clipboard begins taking inventory. BOWMAN Personal effects... WILLIE (considering a watch) Timex... She picks up something else, a pack of soggy chewing gum and tosses it to Cobb. WILLIE(cont'd) Here's something for you, Cobbie. JONES (checking a wallet) Russian money...Don't look like much. Jones opens the next box and dumps it out onto the table...Life Savers candy, a postcard of a fat Russian woman in a bathing suit. Bowman looks at it. BOWMAN (grinning to Sixpack) Yeah, I'd say you can retire with all this loot. SIXPACK Shut up. Everyone chuckles. More papers and a small, book-shaped object wrapped in plastic. Jones unwraps it. It's a video tape. He looks at the label. WILLIE What is it? JONES (reading) "Debbie Does Dallas"... (looks up and grins) Hell, it's in Russian. I can't read it... DOC May I see it? Jones hands it to Doc who looks at it. DOC (cont'd) It's a log of some sort. Jones pries the lid off another box and dumps it out--Papers, more cheap watches. ON SIXPACK He notices something silver, the size of a paperback book, under a stack of papers. Discreetly he covers the object with a piece of paper and slides it off the table out of sight. Jones opens the last box, and something rolls across the table toward the edge and starts to drop when it is caught by DeJesus. He holds it up and we see--a clear liquor bottle. WILLIE Vodka. COBB What assholes, they lock booze in the safe. DEJESUS Probably confiscated. No booze on board, same as us. Doc turns the bottle around in DeJesus' hand so he can read the label. DOC (eyeing the bottle) Stolichnaya. Everyone looks at Doc. COBB You read Russian? DOC Russian, French, Italian, Spanish, Greek, German, a little Hindu, some Serbo Croat and a smattering of Swahili...standard pre-med background... Cobb stares at him a second then: COBB Bullshit. DOC (grins) ...and a Russian grandmother... Beck ignores them and addresses Bowman. BECK I want all this stuff impounded in the supply safe. He lifts the bottle of Stolie out of DeJesus' hands. BECK(cont'd) ...except this...it goes in my safe. A disappointed crew watches Beck leave with the bottle. Doc stops him. DOC (to Beck, holding up the videotape) You mind if I take a look at this? BECK (leaving) Be my guest. RING CORRIDOR - LATER The gloomy corridor outside the Infirmary. It is empty, silent. Suddenly the door to the Infirmary opens slightly and Bowman peeks out. Seeing the corridor is empty she slips out with a a manila folder. DORMITORY - SAME Bowman hands the envelope to DeJesus, who's grinning delightedly. DEJESUS You got 'em! Sixpack and Jones are there too. Sixpack scowls. SIXPACK What good's the kid's med records anyway! DEJESUS Watch and learn, amigo... CONTROL ROOM - LATER CLOSE ON MONITOR SCREEN We see a thin, bearded man in his late fifties, a RUSSIAN SHIP'S CAPTAIN talking to the camera in Russian. The tape is of poor quality and water spotted. DOC'S VOICE(O.S.) (translating) Another party last night. More Vodka. The infirmary is filled as it is. I confiscate what I can, but I know the Government Observers have more... Suddenly, the captain hears a noise off-screen and goes to the camera and turns it off. The tape goes blank. ON DOC He stops the tape and presses another button on the console. WILLIE'S VIDEO of the huge hole in the hull of the ship appears on another screen. DOC(cont'd) See that gash? The way the edges protrude inward is like from a torpedo explosion. It couldn't have come from within. Like an accident. He looks back at Beck who we see is sitting behind him, and has also been watching the tape. Beck looks at Doc and shrugs. BECK What do you want me to say? That it all sounds mysterious? DOC These observers were doing something. A test...I think they sank that ship on purpose to cover up their mistakes. BECK What mistakes? (he shakes his head wearily) Look, I think it's no big deal but if you want to find out why this ship sank have Maritime run a check. He gets up and goes to the door. Doc watches him. DOC I did. They have no record of the wreck. (beat) The Marshal Goloviev is now on a tour in the Baltic Sea. Beck stops. This is a mystery. CLOSE ON COMBINATION LOCK/ BECK'S QUARTERS - SAME Fingers fiddle with the combination. He pulls on the handle. The safe doesn't budge. DEJESUS (whisper) It's not the phone number... We pull back to see that DeJesus is alone in Beck's darkened quarters, he talks to the P.A. Suddenly we hear BOWMAN'S VOICE over the intercom. BOWMAN'S VOICE (on intercom) Okay, try the social security number... DeJesus puts his fingers back, on the safe dial. DEJESUS Okay, give it to me... INTERCUT WITH BOWMAN IN DORM. BOWMAN (reading off of Beck's forms) Two...twelve...ninety-six. SIXPACK (scoffingly) You guys are so full of shit... Who's going to use their birthday... DEJESUS VOICE (over intercom) BINGO! SIXPACK (suddenly sitting up) Like I said, that bottle's mine! CONTROL ROOM - SAME ON Beck at the door and Doc. DOC I want your permission to check that vodka. Beck looks at him. It is obvious that he doesn't trust Doc, with the vodka, but he's diplomatic. BECK This is a mining shack, not a lab, Doc. If there's something strange with the vodka it's safe till we get back. UPPER RING CORRIDOR ON COBB Standing watch for DeJesus. Suddenly the door to the Control room opens and Beck walks out. Cobb grabs a walkie-talkie. COBB Beck's coming. BECK'S QUARTERS/ ON DEJESUS He hears Cobb and freezes. He looks around--the cramped quarters don't offer much in the way of hiding places. INTERCUT WITH BOWMAN AND OTHERS IN DORMATORY They react similarly to the sound of Cobb on the P.A. ON COBB AND BECK/ CORRIDOR Beck stops outside his door and sees Cobb. BECK Something wrong, Cobb? COBB (struggling) Uh..Excuse me sir, it's the air recirculating system, sir... BECK What's wrong with it? COBB (thinking fast) ...I'd really have to show it to you. BECK (beat) All right... Cobb smiles, he can't believe his luck, then Beck holds up the videotape. BECK(cont'd) ...Just let me put this in my safe... Before Cobb can react Beck opens the door to his quarters and steps inside. BECK'S QUARTERS WE SEE no sign of DeJesus. Cobb follows into the room, looking carefully around for sign of DeJesus. In the mirror to Beck's bathroom, Cobb spots DeJesus pressing against the wall. Cobb suddenly starts to sweat bullets. Beck quickly unlocks the safe, opens it, and puts the videotape right next to the bottle of Vodka. We see Cobb's reaction. Beck turns. BECK Something wrong? Cobb shakes his head weakly and starts to follow Beck out, he sneaks a look back at DeJesus in the shadows who gives him a thumbs up. MESS - LATER Five specimen cups filled with vodka. Bowman takes hers and looks at it questioningly. Cobb watches the door for signs of the officers. BOWMAN Cute, DeJesus...Specimen cups? JONES Aw, loosen up, Bowman... (he looks over and notices Willie) Hey, Willie, I got one served up for you. Willie shakes her head. WILLIE No, thanks. I've got my blood tests in three days. DEJESUS That's all you do is exercise. You got to learn to live a little. WILLIE After my astronaut training physical, then I'll tie one on. SIXPACK Forget space cadet, I'll drink hers. COBB Hey what happens it he goes back and finds the bottle missing? DEJESUS He won't... He holds up a plastic IV bag filled with clear liquid. DEJESUS(cont'd) I poured the vodka in here. Cobb, Jones, DeJesus, Bowman, and Sixpack grin and clink glasses, then knock back their vodka. Afterwards we get their reactions. JONES: Looks concerned. BOWMAN: Shakes her head, something's wrong. DEJESUS: Can't get the taste off his tongue. COBB: Seems totally satisfied. SIXPACK: who has held the liquid in his mouth savoring it, suddenly spits the vodka out. SIXPACK Shit! It's water! JONES Beck switched it! DEJESUS Can you beat that? The sonof- abitch doesn't trust us! Willie grins at her co-workers and Beck's move and jogs out into the corridor. Sixpack disgustedly tosses his shot glass away and leaves. SIXPACK That little turd. If I ever get the chance I'll fix his ass. The others put down their glasses disappointedly except Bowman. She watches Sixpack. DORMITORY SIXPACK'S BUNK He closes his privacy door and hesitates as if listening for the others, then he removes a silver flask with Cyrillic lettering--the silver object he palmed in the Swamp--and smiles as he takes a long pull. Suddenly WHAM! The Privacy door to Sixpack's bunk is slammed open. Startled he turns startled to see--BOWMAN. BOWMAN Didn't I ever tell you vodka was my favorite drink? She holds out her glass. Sixpack looks around the Dorm, it's empty, then grins sheepishly and pours her a shot. CORRIDOR "B" ON WILLIE She is jogging through the corridors. Suddenly there is a GREAT GROANING NOISE. Willie stops and looks through the steel mesh wall into the machine floor. The dark shapes of the machines move monstrously in the dim light. The GROANING ends and she jogs on to the Swamp. As she passes the door she notices the light and stops. Beck stands with a clipboard by an equipment cabinet filled with the parachute-like Container Transporters we saw outside. He sees her. BECK That was a loud one wasn't it? WILLIE After a month of it you'd think I'd be used to it. She moves into the Swamp and goes to the Lift Lock, stopping under one of the ladders she leaps up and grabs a metal rung above her and begins doing her chin-ups as Beck watches her lean body easily doing the exercises. BECK (watching her) How's astronaut training? WILLIE Why? You going to give me hard time like the others? BECK No. I'm just being friendly. WILLIE (beat) Good...It's going good. Beck tries to concentrate on his inventory, but continues to watch Willie's sexy, athletic body. BECK Whatever made you want to do a tour down here? WILLIE I need electrical field experience on my resume. Everything helps... (she watches him) Why are you here? BECK Everybody in corporate training serves a tour on the line. Sup- posed to hone leadership skills or something. WILLIE Has it helped? Beck shrugs. WILLIE I guess there's not a lot of adventure in the Control Room. Beck looks up and they lock eyes. BECK You think I should hang around more with the crew? WILLIE Well, I always heard you don't "learn" leadership, you earn it. (beat) How did you know they'd get into the vodka? Beck looks up from his clipboard and smiles. BECK I guess I figured if I was in their shoes that's what I would've done. WILLIE (smiles) Maybe you're more one of us than you think...sir. INT. MESS/ BLACKBOARD - MORNING SCREECH! The chalk shrieks across the blackboard, making a "1" over the words "Days Till Pickup." Jones looks up from his cereal at Bowman, the culprit with the chalk. JONES Puuleeeeze... INT. DORMITORY - SAME DeJesus puts on his wet suit which goes under his large mechanical suit and gets ready to join the others in the mess. He notices Sixpack's privacy door is still closed and bangs on it. DEJESUS Hey, Sixpack...Rise and shine amigo... There is no answer. Carefully he opens the door and is surprised to find it empty. INT. INFIRMARY - SAME CLOSE ON Sixpack's eye. We pull back to see it is being examined by Doc who frowns. DOC Let's see your tongue. Sixpack obliges as Beck enters. BECK What's wrong? DOC Pretty good imitation of a hangover and I ought to know. SIXPACK Well, it ain't! It feels a thousand times worse. DOC Where? SIXPACK I...I dunno. I just feel... wrong. DOC Take off your shirt. Sixpack pulls off his shirt. Doc frowns in surprise. WHAT HE SEES: SIXPACK'S TORSO There are strange black areas, each of them an inch in diameter. DOC (cont'd) (concerned) How long...how long have you had these? SIXPACK (surprised, scared) Shit, Doc...I didn't know I had them. Doc peers closely at the skin where it's discolored. It's a different texture. Beck watches as Doc touches a spot and Sixpack screams in agony. Doc and Beck lock eyes. BECK'S QUARTERS - SAME CLOSE ON MARTIN on Beck's video monitor. He is drinking a cup of coffee. MARTIN ...as long as you know it's not in your contract. BECK I know that. MARTIN Well, suit yourself, then...its your decision... (he chuckles) Ha ha...a little joke...suit yourself... Beck interrupts impatiently. BECK How's the weather for pickup tomorrow? MARTIN (looking at a report, then up at Beck) Beautiful. THE SWAMP - MORNING The crew members climb into their suits. COBB Bad as he is there's no way we can make our quota with- out his sad self out there. You just can't do it. DEJESUS (angrily) He's tanking on us... WILLIE No...he's really sick. I heard him last night. The company will take that into consideration... JONES Honey, the company don't give a flying fuck about "whys," they just look at the numbers and the contract says if we miss our quota they only got to pay us half-pay for the entire month. DEJESUS (convinced) 'Cocksucker's tanking on us... Suddenly all eyes go to the door, Beck enters. BECK (to DeJesus) No, he's really sick...He won't be going out today. The crew increases its bitching... COBB There goes our quota... BOWMAN Thirty days, right down the toilet... Beck ignores them and goes to the control rack which sends the suits around the room and pushes number 8--his suit. DeJesus and Jones share a look. Bowman and Willie watch him carefully. As Beck's suit stops in front of him the room is quiet, they can't believe their eyes. Awkwardly, Beck tries to get into his suit. Cobb breaks the silence. COBB Excuse me, sir... BECK Is this a contract violation, Mr. Cobb? COBB No sir...I just wanted to know if you needed a hand? Beck sees he's sincere, then looks at the others and Willie. She nods slightly. Beck turns back to Cobb. BECK (beat) Thanks... INT. THE INFIRMARY - SAME Doc and Sixpack. Doc takes a blood sample, seals it and opens a cabinet under the sink where a supply of blood is stored in a refrigerated unit. The plastic bags of blood are labeled with the various crew members' names. Sixpack watches him from the examination table. He is shivering violently and scared. SIXPACK (he's losing it) Please, Doc...I'm cold...I hurt... We see a change in Doc's demeanor. He is suddenly needed and it has touched something in him and we see him rising to the challenge. DOC I'm just going to take a tiny piece of skin to look at under the microscope...Afterwards I'll give you a sedative. Skillfully Doc takes a skin sample. Sixpack screams. VIEW THROUGH THE MICROSCOPE An enlarged view of the cells in alarmingly hyperactivity. We see it literally spreading before our eyes. ON DOC He leans back from the microscope. There is awe on his face for the first time since first year medical studies--and there is fear of the unknown. He looks over his shoulder at Sixpack, his shivering has stopped, he lies still on the table. UNDERWATER Lights move in the blackness, but there is an order to the actions and a crispness to the voices. People doing work that is moving sharply. Pride in what they're doing. DEJESUS Okay, number 23's full. BECK Let's get it out of here and bring in a new one. JONES Yes sir... BOWMAN Hook's on 24... BECK Let's have her... The Container transporters fill with compressed air and lift the container as the miners guide it to the track... INT. INFIRMARY/ SHACK - SAME Doc is at the console of his computer. As words appear on the screen, obviously in response to his query... "...would appear to indicate a virus of unknown origin..." Doc shakes his head disgustedly. DOC (to himself) No kidding? "A virus of unknown origin." Come on and tell me something I don't know... like what's going on... ON SCREEN More words come up. "...no idea..." DOC(cont'd) (typing, angrily) Then take a guess, goddamnit! He finishes typing and waits for an answer. The cursor flashes the word "PROCESSING". Then an answer comes up. "Genetic Alteration?" The words send a chill down Doc's spine. SWAMP ROOM - LATER The mood is happy. Like a high school football locker room after a winning game. DeJesus climbs out of his suit and slaps Beck on the shoulder. DEJESUS Good work out there, Mr. Becky. Beck, obviously pleased, looks at the others. Jones sums up the feelings of the entire group. JONES Thank you, sir. Beck's grin suddenly disappears at the sight of a flashing red light over the intercom. INFIRMARY - LATER Beck is standing in the doorway of the Infirmary, glaring at Doc, who sits with his bottle of Old Granddad. BECK Dead? This morning you said he had some skin disorder. DOC He did. BECK Well, how the hell does a skin rash kill you in eight hours?! Doc looks at Beck wearily and hands him a mask. DOC Here. Put this on. You examine him. BECK I'm not a doctor. DOC For this...you don't need to be. Beck hesitates, then puts on the mask. SICK ROOM As Beck enters, masked, Sixpack's back is to him under the sheets. Slowly he pulls back the sheet and recoils from the sight. The black splotches have nearly all grown together. His fingers have lengthened and become more webbed. Most dramatically the sores on the sides of his neck have become flared and elongated. Though not bleeding, the open veins are visible. INFIRMARY Doc pours some bourbon in a glass, and takes a sip. Beck enters dazed from the sick room and their eyes meet. BECK The mask is because you think it might be...catching? DOC I don't know. I've been back and forth with Narragansett Naval all day, consulting with the best people in maritime medicine, the best people in viruses... BECK (impatiently) And? DOC And they didn't believe the symptoms I described... BECK (beat) Why Sixpack? DOC It could be a million things, something in the air, food.... (he looks up and locks eyes with Beck) But he went on that ship and so did Williams... (beat) I want to examine the crew. BECK (still in shock) Yeah...right... He starts to the door and Doc watches him. DOC I've reported the death to the company. INT. THE MESS - SAME The mess is quiet. All eyes are down. Sixpack's absence is noticeable. JONES "Routine," my ass! Ain't nothin' "routine" about no physical check- up 10,000 feet down...especially when we're getting picked up the next day! COBB He didn't say it was a "routine check-up," he said it was a "routine precaution." WILLIE Must be bad. Even sick Sixpack never missed a meal. DEJESUS It's this fucking air system.... COBB Ain't the food or the air system, he's just sick... Everybody gets sick every now and then. It's all part of being human! Bowman suddenly becomes pale. BOWMAN Well, I must be human because I'm sure as hell sick. She gets up from the table and dashes for the toilet. INT. SHOWER ROOM - LATER EXAMINATION SEQUENCE CLOSE ON WHITE SKIN/(COBB) Pale skin, fishbelly white with white hairs, seen closely... COBB'S VOICE(O.S.) I guess I'm kinda...outta shape... (a pause, no answer) This skin condition...what is it? Like herpes, or measles, or what? DOC'S VOICE(O.S.) It's difficult to describe. Doc is scrutinizing Cobb's flabby body closely. They're alone in the shower room. Stainless steel, and mirrors. Doc stops and checks a place on Cobb more closely. COBB (watching, nervous) Christ, it'd be a hell of a thing if I went back to the roof with some kind of herpes thing. My wife wouldn't understand that at all... Doc peers closely, satisfies himself that it's nothing. DOC You seem all right. COBS (relieved) She wouldn't understand. She'd think I was down here fucking my head off. DARK SKIN/ PORES Black skin, seen very close, the pores appearing like craters. We're looking at Jones' naked body...rippling muscles. JONES (grumbling) This whole thing's unnecessary, Doc. Only "skin problem" I got is white people... (beat, suspiciously) How come you're wearing those gloves? INT. SHOWER ROOM/ SMOOTH SKIN - LATER Firm, lovely breasts, smooth skin... WILLIE'S VOICE(O.S.) This disease...do you know what causes it? Doc turns Willie around and examines her firm naked buttocks. DOC Not yet. You got any ideas? WILLIE (suddenly) You don't think it was from going on that ship do you? DOC That's a possibility. But if it was that simple why haven't the symptoms begun on you? Doc turns away to let her dress. WILLIE You mean I'm okay? DOC You're fine. SHOWER ROOM/ TAN SKIN DeJesus' body is being examined...tan skin, wiry muscles seen very close. As we move along the skin, it seems every moment as if the next instant will reveal a dread blemish... DEJESUS' VOICE(O.S.) What do you mean, "a skin problem"... your skin changes? DeJesus, naked, with his back to us. Doc examines him. DOC It blackens...becomes scaly. DEJESUS (joking) You mean like a fish? DeJesus chuckles, but something about the thought stops Doc. DOC (almost to himself) Yes...like a fish... DEJESUS (smiles) I was just joking, Doc. CONTROL ROOM - SAME Beck sits in his chair reading the TRANSOCEAN OFFICERS INSTRUCTIONAL MANUAL. INSERT: The chapter he's on says: BODY DISPOSAL AT SEA. The face of Martin stares back at us. MARTIN Well, according to Maritime law, you, as commander of the Shack have the authority to dispose of the body. However, the company doesn't want you to do that. BECK What you don't understand is that my crew is in jeopardy. MARTIN But you don't have any proof at this point to assume that this disease is contagious, do you? BECK I'm not anxious to find out, either. MARTIN Beck, trust me. If the company felt that you or your crew were in any danger we would authorize an immediate emergency pickup. We could be there in a few hours. BECK Do it. MARTIN (beat) Unfortunately. We can't. He picks up a sheet of computer paper. MARTIN(cont'd) There is a typhoon about 600 miles off the coast of Baja. It's not coming your way but the Company doesn't want to lose you folks or an emergency ship should it veer your way. BECK What're you saying? That we're not even going to be picked up tomorrow? MARTIN It shouldn't be a long delay. BECK But it's a delay! How long? A day? Two days?! MARTIN Twelve hours, no big deal. We should know something first thing in the morning. Don't worry. WASHROOM - SAME Willie enters the room with several sinks and a couple of toilet stalls. She approaches one of the sinks and pulls a toothbrush from the pocket of her robe. WILLIE Bo? Doc says you're next. Just then she hears a retching sound from one of the stalls. WILLIE(cont'd) Bo?...You okay? INFIRMARY - SAME Willie and Jones help Bowman into the Infirmary. She is weak from nausea. They help her onto the examination table and look around for Doc. Jones sees a light on in the Sick Room. SICK ROOK - SAME Sixpack's body lies under a sheet in the Sick room. The door opens and Jones looks in, sees Sixpack but in the dim light, doesn't realize the sheet covering him, covers the body totally. Jones smiles. JONES (whispers) Hey, Sixpack...Hey, my man... How you feeling? There is no answer and Jones slowly approaches the body. JONES Hey, man, we made quota to- day. No thanks to you, you dog, but we made it...Beck helped us...We just dropped Bowman off. I hope what you've got ain't catching... He is almost to the table and reaches out to touch Sixpack when suddenly the body stirs. Sixpack's foot moves slightly under the sheet as if shifting in his sleep. Jones stops. JONES(cont'd) Oh, man, sorry...you go back to sleep. INFIRMARY - SAME Jones returns to the examination room. Bowman is now undressed and under the blankets on the examination table. WILLIE Who were you talking to? JONES Sixpack... WILLIE How is he? JONES Sleeping. No sign of Doc, though. I'll check the control room. You look in the shower room... They leave Bowman GROANING on the examination table and head back to the main corridor. As they leave WE HOLD ON the door to the sick room behind Bowman. Bowman writhes on the examination table in pain. Carefully she climbs off the table and goes behind a partition to throw up. CLOSE ON BOWMAN At the sink in the infirmary. She rinses her face in the sink and pulls back her hair, suddenly she stops and brings her hands in front of her face. INSERT HER HANDS. Huge clumps of hair have come out in her hands. And then she sees her hands themselves. Scaly. BOWMAN Oh, God...what's going on? She turns and looks at the light on in the Sick Room. Slowly she goes to the door and enters. SICK ROOM Bowman approaches the body of Sixpack. BOWMAN (panicked) Sixpack...what's going on? No answer. She pulls back the sheet and gasps. CONTROL ROOM - SAME ON BECK AND DOC. DOC (panicky) You have to call them back. Explain that this is an emergency. Jones enters. JONES Excuse me, sir...Bowman's sick. She's downstairs in the infirmary. DOC (concerned) The infirmary?... JONES Yes sir, ain't that where we usually go when we're sick? DOC We're simply concerned about her...proximity to... BECK (to Jones) Sixpack's dead. Jones looks from one officer to the other then grins. JONES Bullshit...I was just talking to him. I saw him move. BECK What?... LOWER RING CORRIDOR - SAME Beck hits the floor off the ladder and rushes to the Infirmary with Jones. He opens the door and freezes. WHAT HE SEES: The examination table where Jones left her is empty. The room deserted. JONES (pointing to examination table) I left her here. DOC comes up behind them, then turns. He hears to a HISSING SOUND down the ring corridor. He turns from the others and moves slowly toward the noise. SHOWER ROOM Doc enters the shower room, full of steam and the SOUND OF WATER. DOC Bowman? There is no answer and he moves toward the shower. DOC Bowman. It's Doc. I'm here to help you. The water continues to run. No answer. Carefully, Doc opens the shower door. WHAT HE SEES: Bowman. Dead. Her wrists have been cut and blood swirls down the drain. Doc sadly squats down beside her. The death effects him greatly. He feels helpless, then suddenly his eyes widen and he carefully reaches out and takes Bowman's limp arm, turning it supine. There, running the length of the arm, WE SEE the black scales. INFIRMARY Jones and Beck lay Bowman's body carefully onto the examination table in the infirmary. Through the Sick Room door we see the sheet shrouded body of Sixpack. Doc covers Bowman with a sheet as WE CUT TO THE MESS - LATER The remaining crew, Doc, and Beck assembled in the Mess. Doc sits quietly, almost in a daze. BECK I can't tell you much about it, except that none of you show any symptoms. DEJESUS And it killed Bo? BECK No...she killed herself. ON WILLIE the news hits her hard. JONES We're getting out of here just in time. BECK There's now a problem with the weather for pickup. There's a typhoon in our sector... ...We're going to be delayed twelve hours... DEJESUS Typhoon?! JONES Twelve hours! COBB At least we get time and a half. That's in the contract. JONES Fuck double pay, man! I want out of here! Their argument is suddenly cut short by a NOISE from the corridor. A THUMP! The crew stops their grumbling and listens. A moment later we hear another THUMP! Beck looks at Jones. BECK (motions for Jones to come with him) Jones... (to the others) Stay here. RING CORRIDOR Beck leads the way slowly toward the Infirmary where the sound is coming from. Outside the door they hear it once more. THUMP! Carefully he enters the Infirmary and WE SEE the examination table is empty! Beck goes to the Sick room and stops in the doorway. Jones moves behind him and his eyes suddenly widen. WHAT THEY SEE: Both bodies now are in a motionless, hideous conglomeration on the the table. SLAM CUT TO CLOSE ON HEAVY ZIPPER ZZZZZZZZZZZZZZ. It is quickly pulled shut, running the length of a heavy plastic bag, closing both bodies inside. INT. CORRIDOR "B" - LATER Dressed in their rubber latex suits Cobb, Jones, DeJesus, Beck, and Willie carry the body of Sixpack and Bowman in the zippered bodybag. Now, well over three hundred pounds, the bodies strange shape and dead weight make it difficult to transport. DEJESUS C'mon, Cobb...you're slacking... COBB (angrily) I ain't, goddamnit...It's Jones!.. Before Jones can argue, Beck cuts them off. BECK Shut up, all of you. COBB Mr. Beck, the contract states that no body can be disposed of without authorization of--- JONES Fuck the contract, man! The group turns into the Swamp where Doc waits for them by the Lift Lock. Rounding the corner Cobb bangs into the side of a bulkhead and drops his corner of the "package." Like dominoes, Willie also looses her grip, then DeJesus. The bodybag splashes into the grimy bilge water making it even harder for everyone to get a handhold. BECK(cont'd) C'mon...Lift! The group struggles to raise the bodybag and just get it to their shoulder when suddenly we go tight on DeJesus's face. DEJESUS Hey!...I feel something. It's moving! He's alive! COBB I feel it, too...Someone's trying to get out. Cobb drops his end intentionally and he kneels looking for the zipper. JONES Cobb, what're you doing! COBS But he ain't dead! He ain't dead. BECK Cobb! Stop! But Cobb grabs the zipper and starts to unzip the heavy bag. Beck tries to stop him when suddenly, WHAM! a DARK APPENDAGE RIPS through the zipper and flails like a pressurized firehose. It beats wildly for several second, then lashes out at Cobb--ripping a gash on his forearm. While Cobb screams in pain, Beck yanks the appendage off Cobb's arm revealing a mouth full of needlesharp teeth and a sharp tongue-like proboscis which has stabbed Cobb like a dagger. COBB It bit me! It bit me! While Beck and Willie wrestle the strong flopping appendage, Doc rushes to the Lift Lock. DeJesus and Jones struggle to force the lurching bodybag into the Lift Lock. JONES Push Hazy! The bodybag shudders like a huge cocoon about to lose its occupant. Jones digs his shoulder down into the task just as the bag suddenly RIPS in several places. A tear RIPS OPEN next to Jones' head revealing the head of BOWMAN, her vacant eyes only inches from Jones' face. JONES Oh, Jesus Christ! I ain't never gonna sleep again! Suddenly a WHINING NOISE sounds behind them. Beck looks back to see Cobb approaching with a battery operated underwater chain saw. He's clearly intending to cut the Creature with the whirring blade. BECK No! COBB It bit me! DEJESUS It's Sixpack! COBB I'm going to kill it! DeJesus turns to block Cobb while the others continue to wrestle the bodybag into the Lift Lock. The bag suddenly splits and a scaly arm protrudes. It reaches out grabbing DeJesus. Beck pulls him free and yells. BECK Close the Lock! Now! Doc hits the lever. The elevator doesn't move! RRRRRRIIIIIPPP! A scaly leg rips out of the body bag! BECK(cont'd) Hit it again! Doc hits the elevator switch again, harder. NNNNNNN! The Lift Lock door whines closed and a horrifying SCREAM rises from the Lock. CLOSE ON THE LIFT LOCK The end of the appendage is severed in the closing door, disappearing unseen into the greasy bilge water. BECK(cont'd) Flush it! Doc flips a switch and the SCREAM OF THE VACUUM PUMPS drown out the SCREAM in the Lift Lock, the wails of Cobb, and the splashing sounds of the severed three-foot section of gory muscle which slip silently and undetected under the workbench. A second later the elevator returns empty, silent, bloodstained. Beck turns on the video monitor of the exterior Lock. The exterior worklights illuminate millions of bubbles from the flush and the struggling movements of the bodybag before it grows still once again and disappears beyond the range of the Shack lights...into the darkness. Beck turns and looks at his savaged crew. Willie, Jones, DeJesus, Doc look like wet-suited butchers. Splattered in blood, numbed by the experience, they are brought together by having simply survived. Jones holds up Willie. DeJesus leans against the bulkhead. In the far corner Cobb sobs quietly. SHOWERS - LATER Clouds of steam. Vaguely seen through the steam, Willie is scrubbing herself almost desperately, as though the spattered blood of the creature had penetrated into her skin. Finally she gives up almost in tears and rests her head against the wall of the shower stall. DORMITORY - SAME Beck and Jones open the privacy door to Sixpack's bunk. After some digging which produces five month's supply of pornography, the empty flask clatters to the floor. Beck picks it up. BECK I think we just found our problem. MESS - LATER Cobb pours himself a cup of coffee with a shaky hand. Jones, and DeJesus sit at a table and Willie laces up her shoes for a run. There is a feeling of anger among them. DEJESUS Serves his ass right to get it. Motherfucker brings that shit onboard. I hope his fucking ass rots in the sea and is shit upon by the fish. JONES 'Fucker could have gotten us all killed. COBB He knew better than that. Willie finishes tying up her shoes and looks at them all coldly. WILLIE You guys sure weren't so holy when you were shooting that vodka...It could have been you. She gets up and walks out into the Ring corridor. THE RUSSIAN SHIP WE ARE MOVING along the ship's corridor that Willie walked looking for Sixpack. WE PULL BACK TO REVEAL WE ARE WATCHING A VIDEO SCREEN IN THE CONTROL ROOM Doc and Beck replay the tape of Willie's search for Sixpack on the Russian ship. On the monitor screen we see Willie's POV of the infirmary. The light dances off the broken glass as she turns, then the flash of white we saw before as the light moves out into the corridor. DOC Hold it! Rewind it. Beck rewinds it. ON SCREEN we see the scene again. Light dancing off the cabinets. As the light starts to turn-- DOC Stop it. Beck pauses the tape. We see nothing. Doc is confused. DOC Back it up slowly. Beck does and we watch Doc's face as he stares intently at the screen. Suddenly he sees it. DOC There. ON SCREEN We see it. Caught in the turn of the camera, now frozen on the screen is the clear gleaming skeletal remains of a man. Only it is clear that this is no ordinary man. Fingers and appendages are lengthened and broader than normal. But it is the large head and long sharp teeth that especially catches our attention. MESS - SAME ON A BEAUTIFUL BAVARIAN SETTING as a hand suddenly moves into frame and we see the scene is actually one of DeJesus' jigsaw puzzles. He takes a piece of blue sky from the hundreds of pieces on the table and places it perfectly into position on the puzzle. Jones watches him amazed. DEJESUS You know that Innsbruck has 64 square miles of ski slopes, man? Think about that. Sixty-four square miles. He picks up another piece of blue sky and effortlessly fits it into place as Jones watches. It's blowing Jones' mind. JONES How'd you do that? DEJESUS What? That?...I've done this one before. You hungry? I'm hungry. He gets up to go into the mess and Jones looks at him in amazement. JONES Hungry? After what we just went through I may never eat again. ON WILLIE She jogs down the corridors toward the Swamp. The Shack CREAKS and Willie looks down through the grating passing below her feet. It is dark down there. Her feet pound off the metal grating. LOW ANGLE We watch Willie from below as she jogs past. THEN WE TILT DOWN to the dark, still water of the bilge. Suddenly something stirs in the water--a ripple like a trout in a stream. CONTROL ROOM - SAME Using a computer plotting program to measure the dimensions of the skull on the videotape, Doc enters these measurements as they are read off to him by Beck. As each of the measurements go into the computer an image of a skull begins to appear on the computer screen, followed by a name: DANAKIL MAN. BECK They found this? DOC No. I think they isolated him in genetic engineering. Homo aquaticus... BECK Was there such a thing? DOC Danakil man?...one of our ancestors. Named for the Danakil Alps in Ethiopia. BECK Not exactly a big ocean country. DOC It was when it counted a couple of million years ago when the seas came in and drove us into the water. Most homo sapiens didn't make it...Danakil man... adapted. ON WILLIE running. She jogs past the machine room. Looking in, the machines seem alive, pulsing, the beating heart of the Shack. There is something else though. We feel something in there watching her. CONTROL ROOM On Doc. DOC Some say that's why we're basically hairless, for less water resistance, faster swimming speeds... BECK But what about those scales... or that leech-like thing that bit Cobb? DOC Why stop with just one aspect of marine life? Why not incorporate the best genetic components the ocean has to offer?... BECK (pointing to screen) Well, if they were perfecting an aquaman, then why's there a dead one onboard that Russian ship? Why isn't he out swimming around? Doc looks up at the image on the screen. The huge skull stares back hauntingly. DOC (beat) He obviously lacked something in his environment. DORMITORY - SAME ON COBB He sits on his bunk and peers under his bandage. He turns on an overhead reading light and looks again. Suddenly a voice startles him. JONES' VOICE Turned black yet? At first startled, Cobb recovers and answers sharply. COBS That ain't funny. JONES Relax, Cobb. If it was going to turn, it would have done its trick by now. COBB That's easy for you to say. You ain't the one that got bit. Jones starts to leave when he suddenly notices something on Cobb's bunk. He picks it up and we see a photo of Cobb's family. JONES Don't tell me you're getting soft on us, Cobbie? You're the fellow who always said-- Cobb snatches the photo back from Jones and glares at him with the same old, hard "Cobb look." COBB Nothing's changed, goddamnit! Jones leaves, and Cobb waits till he is gone then looks back at his photo. His look changes, softening. Absently he scratches his bandage. SWAMP Willie enters and checks her running time on her watch. She bends over to catch her breath then straightens suddenly. OVERHEAD SHOT WE are watching her from above. For a moment she is quiet as if listening for a noise somewhere in the Swamp. She looks around slowly and her eyes come to rest on the Workbench. MESS - SAME DeJesus looking for food. In the gloom of fluorescent lighting he opens and closes various cabinets looking for a snack. He notices that the floor's wet near the sink. He frowns and hears a SMALL NOISE, like something shifting slightly. He moves to investigate, crouching low, peeking into the shadows under the sink, into a litter of cleanser bottles, pails, rags...All he can see are shadows. He looks more closely, actually sticking his head under the sink when SUDDENLY SOMETHING TOUCHES HIS SHOULDER FROM BEHIND! DEJESUS JUMPS, BUMPING HIS HEAD ON THE SINK AS HE WHIRLS TO SEE. JONES, looming over his shoulder, looking down at him. JONES Man, everybody is jumpy... What are you doing? Not fully recovered from the start, DeJesus rubs his bruised head. DEJESUS Getting some food. JONES Under there? DeJesus gets to his feet, points at the water under the sink. DEJESUS Look. Water. JONES Probably the plumbing. You gonna make me finish that puzzle by myself, or what? DeJesus continues to scrutinize the water then looks back at Jones. DEJESUS No, I'll be right there. He looks down at his sandwich as Jones starts out of the galley. Something is missing. DEJESUS (to himself) Mustard. Need mustard... He opens the refrigerator and finds the mustard jar empty. DEJESUS (muttering to himself) Sixpack... He throws the jar in the trash then opens the cabinet next to the refrigerator for a new jar, and reaches inside. SUDDENLY, LIKE A SNAKE, A TWO FOOT CHUNK OF MUSCLE ATTACHES TO DEJESUS'S WRIST! WITH HIS FREE HAND DEJESUS TRIES TO RIP THE TWISTING, WRITHING THING OFF. PULLING AT IT HE REVEALS PART OF SIXPACK'S FACE--ONE EYE AND PART OF HIS MOUTH--UNDERNEATH THE SURFACE. DeJesus falls against the side cabinets screaming and causing an avalanche of pots and pans. DEJESUS (in pain) Ahhh! INSIDE THE MESS Jones is now putting a piece of the puzzle into place when he hears THE CLATTER OF POTS AND PANS. JONES Hey, Hazy...what're you doing now...cooking? There is no answer and Jones looks up. JONES(cont'd) (concerned) Hazy?... He goes to the door and looks in. His eyes widen at the sight of DeJesus staggering toward him with the squeezing hunk of muscle. JONES(cont'd) Holy shit! DEJESUS Help me, Jonesy. Oh, God, help me! It's getting inside me, I can feel it! He keeps coming at Jones who backs away slowly from his friend. JONES Hazy, please...I'm going to get you some help, man...just don't touch me... Jones finds himself backing away until he is by the door to the Galley. He closes it, rushing through into the Mess to the Ring corridor where he runs into Cobb. COBB What's going on? JONES It's Hazy...It's got him! Stay here and don't let him out. I'm going to get the Doc. Jones runs out and leaves Cobb by the door. Cobb watches him go. As the noise in the Mess intensifies, we hear banging on the door, then DeJesus' anguished cries. DEJESUS Help me! Help me! Cobb backs slowly down the corridor toward the dorm. UPPER RING CORRIDOR - SAME Jones meets Beck and Doc leaving the control room. JONES It's got Hazy! BECK What has? JONES One of those chunks of Sixpack! Like a big leech, with those teeth!... DOC We've got to get him to the infirmary. JONES What are you going to do to him? DOC I'm going to try to remove it. JONES I've got Cobbie downstairs watching the door. INT. LOWER RING CORRIDOR - SAME Deserted. There is no sign of Cobb and the door to the mess stands open. The mess is empty. Beck is the first one down the ladder followed by Jones. JONES Cobb? Hazy? Oh, shit...He's gone... Cobb returns with a mining tool. JONES You let him get away! COBB I ain't doing nothing for that thing without something to defend myself. JONES That thing happens to be my friend. BECK Shut up, both of you! We've got to find it. Beck suddenly looks around noticing something. BECK(cont'd) Where's Willie? COBB Oh, God, she's out there... BECK Jones...come with me. Cobb, you and Doc check the rooms. INT. THE LOWER "B" CORRIDOR - SAME Jones and Beck move down the spooky corridor toward the Swamp. Overhead, water moves through the desalinization conduit. Jones eyes it warily. SWAMP They enter the quiet Swamp. The suits hang silently like sleeping monsters. Beck steps into the equipment room. Jones walks along the suits which hang in front of him. Their empty masks stare at him hauntingly. He reaches the end and stands in front of the ladder where we earlier saw Willie doing chin-ups. He looks down and sees her headband floating in the bilgewater. JONES Willie... Suddenly Willie lowers herself from the bar behind him. WILLIE Yeah? The sudden sight of her nearly gives Jones heart failure, he stumbles backwards into the ankle deep water and Willie drops from the bar laughing. WILLIE (grinning) What on earth's the matter with you? JONES I ought to smack your face! Willie picks up the strain in Jones' voice, her smile fades. WILLIE What's wrong? JONES DeJesus...It's got him. THE EQUIPMENT ROOM - SAME Jones, Willie and Beck move quickly. Beck pulls a portable laser drill which fits into the arm of the mechanical suits and attaches a portable power unit to the back. Turning it on it becomes a sinister close-range weapon. Willie opens an equipment cabinet and reveals deflated container transporters. Beck notices and then looks up at Jones who opens a locked cabinet and takes out the bicycle pump/earthquake device we saw Willie use earlier. BECK I thought they were your friends? JONES Were, Doss were. Beck reaches out and takes the powerful weapon away from him. BECK You fire that in here and you'll bring the whole place down. Jones thinks about it for a moment, then reaches for one of the Acetylene tanks. He lights the end of it and a long blue tongue of flame whips out the door into the Swamp. Jones grins. INFIRMARY - SAME Doc and Cobb move into the Infirmary. Doc goes into his office. He takes three scalpels out of an equipment drawer and then looks up, through the levolor blinds into the infirmary. What he sees upsets him. INT. SWAMP - SAME Jones working the intercom. JONES (to intercom) Jones to Doc. Doc?...Cobb? He looks back to Beck, concerned. JONES(cont'd) (to Beck) Think it got 'em? BECK No, it's not going through. The intercom's busted. I thought DeJesus fixed that? JONES (beat, realizing) He did. INFIRMARY - SAME Doc leaves his office and slowly goes into the Infirmary to the storage counter across the room--where the blood is stored. WE SEE what disturbed him...the door to the refrigeration unit is ajar. Doc opens the door to the cabinet. The plastic bags are now empty. Each one has been drained. LOWER RING CORRIDOR - SAME Cobb moves out of the Infirmary, carefully down the eerie corridor, his mining tool in front of him for security. There is a sinister feel to the place. Each step only reveals a little bit of space ahead of him. Suddenly he stops. In front of him across the hall a cabinet which says: ONBOARD COMMUNICATIONS, is torn open. It is where DeJesus fixed the intercom the day before. CLOSE ON THE CABINET The door is shattered. Carefully, Cobb opens the door and WE SEE the guts of the wiring have been torn out--the entire system has been disabled. Cobb carefully examines the damage WHEN SUDDENLY A SCALY HAND-LIKE APPENDAGE slams into the cabinet door trapping COBB and sending his weapon to the floor. Cobb turns directly into THE LEECH-LIKE MOUTH! It's sharp teeth shine in the light, poised to strike. Cobb's eyes closed, screams like a maniac, waiting for the tentacle to attack. Then suddenly an UNGODLY SCREAM echoes in the corridor. COBB opens his eyes to see the tentacle gone. Doc is holding the smoking mining drill, his eyes glazed, as if he has seen the devil itself. COBB What happened? DOC (absently) It...almost got you. COBB What was it? Doc shakes his head dumbly. He is in total shock. THE MESS The remaining group is assembled around the table. Jones watches the door with one of the homemade flamethrowers. He listens. COBS (excitedly) I saw it! It's big! BECK Big? JONES Bigger than DeJesus? How? DOC It's had a meal. He holds out the empty blood bags. A change has come over Doc since Bowman's death. The experience has slightly deadened him. WILLIE It needs blood? JONES Fucking great...You telling me we got a fucking dracula in here with us? DOC It would explain the suction- like appendages. JONES Like a leech. BECK That's why there's a dead one on the ship. It ran out of blood. JONES What dead one on the ship? He looks from Doc to Beck. JONES(cont'd) (sharply) Someone want to let the rank and file in on your little secret? Doc looks at Beck, then Jones. DOC The monster appears to be a genetic aberration... JONES No fuckin' lie... DOC ...It has many traits of deep sea marine life...regeneration, scales, gills, even a period of dormancy... (more to Beck) but the fact that it remembered where the plasma was stored, or where the communication wiring was, may imply that it has some other quality... COBB (panicky) What?...What? Beck locks eyes with Doc. BECK (to Doc) That it acquires intelligence from its victims? DOC Intelligence may not be the right word... JONES Fuck semantics, Doc! You saying its like part DeJesus, part Sixpack, part Bowman?! DOC (tiredly) I don't know. I'm guessing. COBB (losing it) I say we should go get in the escape bubbles and get the hell out of here! JONES And hit the surface in the middle of a typhoon?...No, thank you. I'll take my chance down here. Willie looks at Beck. WILLIE What can we do? BECK Our only chance is to lure it to the Swamp and flush it like we did the other. COBB And how're we going to do that? Beck checks his flamethrower and looks at Jones. TIME CUT TO THE MESS - LATER ON BECK He flexes his arm as a needle is taken from it. WE SEE a half-pint of blood in a bag, held by Doc. He secures it and hands it back to Beck. DOC Be careful with it. BECK Don't worry, I don't want to give up any more. He looks over at Jones who watches the door. Jones looks back and nods. The coast is clear. LOWER RING CORRIDOR - SAME The door to the Mess opens and Beck slips into the shadows of the hall. A second later Jones follows. In the dim light they begin moving toward the Lower "B" corridor to the Swamp. MESS - SAME Cobb, Doc and Willie alone in the Mess. Cobb scratches his bandage. Doc notices. DOC Still bothering you? COBB Itches like hell. DOC Take it off and let me have a look. Cobb pulls back the bandage and looks at the gash. INSERT COBB'S WOUND Pink and healing. DOC Looks good to me. I'll re-bandage it, though. He looks at Willie. DOC(cont'd) Willie, would you clean it for me. I'm going to the infirmary for supplies. He turns and Willie stops him with a firm grip. WILLIE You can't go out there alone. DOC I'm the Doctor. I have to do what's best for this crew. (he pulls away) I need my bag. THE LOWER RING CORRIDOR - SAME The door opens and carefully Doc steps out into the corridor. He looks toward the Infirmary then starts up the ladder to the Upper Level instead. CLOSE ON DROPS OF BLOOD INTO A SMALL POOL a grisly sight. WE PULL BACK TO REVEAL the drops coming from the plasma bag of Beck's blood. Beck stops the drip and moves on into the darkness of the corridor. CONTROL ROOM Doc moves behind the computer keyboard in the dim light of the Control room. His face lit by the computer monitor. He types furiously. COMPUTER SCREEN "Emergency Escape Bubbles...ready for activation..." DOC pauses looking at the message, then moves his hand to the SEND command and presses it. THE MESS - LATER Willie prepares a clean bandage as Doc examines the cut. He smiles at Cobb like a friendly country doctor. The tired look now gone from his eyes. He seems revitalized. DOC There, good as new. Just keep your paws off of it. (to Willie) Do you have the new bandage ready? She nods. Doc turns back to the sink and Cobb holds out his arm to let Willie put the new bandage on. As Cobb's arm comes up we suddenly notice a slight movement under his shirt. Willie stops just before applying the bandage. The movement intensifies--like snakes moving wildly beneath the cloth. Cobb whitens...breaks out in a sweat. Willie backs off. WILLIE Doc?...Doc! She steps back and Doc moves into her place as suddenly a leech-mouthed tentacle erupts from Cobb's waist. It's razor sharp proboscis punctures Doc's chest right at the heart and the leach mouth with it's hundreds of teeth attaches with vacuum-like suction. DOC No! But it is too late. Willie falls back screaming as Cobb's gash RRRRRRRIPS OPEN! THE FLESH OPENING GROTESQUELY FROM THE INSIDE AND INVERTS SCALY--SPREADING OVER COBB'S BODY LIKE A BUSHFIRE! CORRIDOR "B" CLOSE ON THE POOL OF BLOOD A huge shadow falls over the pool left by Beck. A scaly tentacle suddenly whips across the floor. The DEJESUS CREATURE! WE SEE THE FLASH OF ITS APPENDAGES. IT'S HEAD. AN EYE OPENS AND LOOKS UP. WHAT IT SEES The outline of Beck lying "hurt" fifty feet away. It starts down the corridor toward it's prey--Beck. ON BECK A little behind him with the homemade flamethrower, Jones waits in the shadows. Suddenly Beck hears something. BECK (whispers) I hear something. Don't fire until we're both in the Swamp. Jones moves a little farther back. BECK(cont'd) Don't let him see you. JONES Don't worry... As the Creature approaches WE SEE Beck stand up like a wounded animal. He begins dragging his "injured" leg behind him as he retreats toward the Swamp. THE FOOTSTEPS MOVE FASTER. IT'S CLOSING! INT. RING CORRIDOR - SAME ON WILLIE She bursts out the door to the MESS and heads toward Corridor "B." DOOR TO THE SWAMP Beck moves through the door to the Swamp and positions himself by the door. He looks back and WE SEE Jones for the first time, flamethrower poised, ready to fire. JONES C'mon baby c'mon... ON THE SHADOW OF THE CREATURE It moves steadily toward the door, moving right to the doorway. Carefully it moves a dark, horrible hand-like appendage inside the doorframe. ON BECK AND JONES poised to kill when suddenly both men hear the same thing. WILLIE'S VOICE(O.S.) Beck? Jones!? ON WILLIE She turns the corner and freezes. There, less than ten feet away is the Creature. A tentacle whips excitedly like a tail! WILLIE Oh God... AS THE CREATURE starts to turn for Willie, Beck suddenly closes the vault-like door to the swamp on Creature's hand, trapping it vise-like in the door. BECK Run Willie! Run! The Creature throws back its head and SCREAMS in pain as the heavy door severs its appendage. ON BECK AND JONES As the writhing hand-like appendage squirms in front of them Jones blasts it with his flamethrower until the hand curls like a piece of bacon and it ceases to move. JONES Well done. Just like momma makes 'em. Beck opens the door--the corridor is empty. Willie and the creature are gone. ON WILLIE RUNNING She heads back toward the Ring corridor around the inner path toward Corridor "A". In a full run now, every panel and instrument looks even more sinister--where is Cobb/Doc CREATURE?--- ON THE DEJESUS CREATURE'S SEVERED APPENDAGE As the Creature moves after Willie we see its bloody stump suddenly sprout a new appendage! Like a starfish it grows another leech like tentacle to replace the one it lost. ON WILLIE She turns down Corridor "A". A NOISE overhead in the water conduit causes her to look up WHEN SUDDENLY A BLACK ARM REACHES OUT FROM THE SHADOWS, AND PULLS HER INTO THE DARK DOORWAY TO THE MACHINE FLOOR----IT IS JONES! He pulls her between him and Beck in the shadows. BECK (whispered) Where's Cobb and Doc? WILLIE (recovering) Cobb's cut...It was in him! It got Doc... JONES Oh man, that's just great... BECK C'mon. CONTROL ROOM Beck is followed inside by Jones and Willie. It is empty. BECK Lock the door. Jones rolls the large vault-like door closed and locks them. Beck goes to the console and checks the instruments. Suddenly he sees something that causes him to freeze in his tracks. A red light blinks ominously on the console. BECK Shit! He sent them all. WILLIE The escape bubbles? She and Jones stop in front of Doc's console. JONES (gravely) Look at this. Beck looks at Doc's computer screen. ON SCREEN WE SEE DOC'S MESSAGE: "...hope that our sacrifice will mean that the human race will never know this awful mutation..." WILLIE What is it? JONES The good doctor signed our death warrant. SUDDENLY THERE IS A TREMENDOUS BANGING ON THE DOOR! LIKE A HUNDRED SLEDGEHAMMERS POUNDING THE HEAVY STEEL DOOR TRYING TO BREAK IT DOWN. Jones readies his weapon but just as suddenly, the BANGING STOPS. Beck, Willie and Jones all nervously exchange looks. WILLIE Well, at least we're safe inside here. JONES For how long? Beck slides behind the Console and quickly types in a message. WE SEE IT ON THE SCREEN. "SHACK SIX REPORTING. PLEASE DISREGARD PREVIOUS MESSAGE---" SUDDENLY MARTIN'S FACE APPEARS ON THE VIDEO SCREEN. MARTIN Thank goodness, you're still alive! JONES (yells nervously at the screen) Hey, man, you better get your ass out here right now and get us. You hear me, motherfucker? Right now! Martin smiles calmly back at the three of them. MARTIN Please relax, Mr. Jones. Every- thing is under control. Naturally, when we received Dr. Warren's message we were concerned but would never have deserted you. Jones lets out a breath. Willie stares straight at the screen. WILLIE When are you coming for us? MARTIN (smiles nervously) Well, that's the bad news. The typhoon did turn your way. (he looks at weather printout) Right now it is on a course-- JONES Just answer the question, man! When are you coming?! MARTIN (beat) Hopefully in the next 48 hours. BECK Forty-eight hours! MARTIN I realize you must have gone through hell-- JONES Gone? Man, we're still here! MARTIN (firmly) I can't change the weather. Try to get some rest. I'll keep you posted. He turns off his screen and the picture in front of Beck, Jones and Willie goes blank. BECK He's right. Why don't you get some rest. I'll stand the first watch. TIME CUT TO CONTROL ROOM - LATER Jones sits near the vent sound asleep, his weapon across his stomach. Near him Willie lies still, eyes open. She watches Beck across the room, standing at the window. He stares outside into the darkness for a moment, then as if a thought suddenly occurs to him he looks at the blank computer screen. CLOSE ON COMPUTER SCREEN "Request weather summaries January 14-21." The cursor blinks back ominously then races across the screen. "FILE CLOSED." BECK (to himself) Martin, you asshole... Suddenly he hears a voice behind him. WILLIE They know, don't they? BECK (quietly) Yeah...I think they're just deciding what to do with us. WILLIE Maybe they already have. She moves into Doc's seat in front of the console and calls up the stock market program that Bowman was monitoring earlier. ON SCREEN WE SEE: Stock prices. Willie types in a series of commands. BECK What are you doing? WILLIE Seeing how my stock's doing... ON SCREEN: The words TransOcean Corp. The capsulized report comes up on screen: "TransOcean Corp. took a bath on world markets today when news of a tragic mining accident was revealed to investors. The Board of Directors...." WILLIE (impatiently) Where?.... She scrolls forward in the report and suddenly freezes the words. THE SCREEN: "...accident took place in Shack Six, Southeast Sector of Pacific Zone 10...Seven dead. All bodies missing." Their names follow. ON WILLIE as her name comes up she shivers. BECK I can't believe they'd just leave us. A voice behind them causes them to turn. JONES Welcome to the union, boss. We're all expendable. He is now awake. He sits up against the air vent. Suddenly, Beck listens, the room is deathly silent. He looks over to the air vent. Jones is listening also. WILLIE What is it? JONES The air's stopped. WHOOP! WHOOP! Suddenly a KLAXON HORN sounds hysterically. A blue light on the console blinks on and off. It says "AIR." Beck turns to the instruments. BECK We're on backup air. WILLIE How much time does that give us? BECK Less than an hour. It's ruptured an air duct. WILLIE Can't we fix it? JONES There're twenty miles of pipe in the bilge, they could have tapped-in anywhere. SUDDENLY WE HEAR A SOUND WE HAVEN'T HEARD IN A LONG TIME. The RATTLE THAT JONES AND COBB FIXED. Jones and Beck home in on the tell-tale noise. JONES (almost to himself) Cobb...Job security... He locks eyes with Beck. BECK They're drawing us out. He leaves his seat and Jones checks his weapon as Willie watches. WILLIE You can't go out there, that's what they want. Beck checks his make-shift flamethrower. BECK We don't have much choice... without air, the internal pressure will fall and-- JONES Crunch...Implosion. Willie watches them a moment then picks up one of the mining tools, the laser-drill, she powers-it up to check it. Her action stops both men and she catches their looks. WILLIE You don't think I'm sitting in here, do you? INT. CORRIDOR "A" - SAME Carefully the three move into the Lower Ring Corridor. As they move we suddenly hear a new sound, DEEP, LIKE DISTANT THUNDER. The sides of the shack tremble slightly. WILLIE (low) The shack... JONES She's wondering what's happening. We're losing air faster than I thought. BECK (to Jones) Which way? Jones moves to the lead and turns down Corridor "A." INT. CORRIDOR "A" The SOUND of the power-wrench removing the bolts from the flooring. The cover is removed and Beck and Jones peer down into the darkness. Willie stands guard with the flame- thrower. ON JONES He peers into the darkness below. He wasn't a big fan of the bilge even before the Creature, now he's scared shitless. BECK I'll go first. Before Jones can protest Beck drops the ladder and climbs down into the dark bilge. Jones waits till he's at the bottom, then starts down behind him. Willie looks back. WILLIE Don't spend all day down there. JONES Don't fuckin' worry, I ain't. BILGE From somewhere in the darkness we hear the HISSING SOUND OF ESCAPING OXYGEN and the FAMILIAR RATTLE OF THE AIR SYSTEM. As soon as Jones reaches the bottom rung Beck shines a light into the eerie underground area. Pipes run overhead and on the walls. A broken electrical conduit sparks over their heads. The floor is ankle deep in greasy water. They start toward the noise. ON WILLIE Her back is to the solid wall(outside wall). Her eyes move from one end of the corridor to the other, not lingering long enough to distract her. Sweat runs down her face and we hear another tremor in the Shack. WILLIE (to herself, calming herself) Okay, Williams...let's hear a tune. (beat, quietly at first) "Off we go...into the wild blue yonder..." ANOTHER RUMBLE FROM THE SHACK causes her to pause. She catches her breath and starts again. WILLIE(cont'd) "...flying high into the sky..." She suddenly looks into the Main machine area (behind the wire mesh of the other wall). Was it something moving? BILGE ON BECK He moves around a corner we recognize from before with Jones' and Cobb's repair. Beck floods the area with light and the break in the line is visible. The pipe has been torn from the wall, it is totally unreparable. What's worse, electrical wires hang down, showering sparks into the water. JONES Jesus Christ... BECK Can you fix it? JONES No way... BECK Think! Can we stop it?! Block it up?! Shut down the line somewhere?! Think! JONES I am thinking, man! You think I want to die! I am thinking! I-- Suddenly his eyes widen. Beck sees this and turns. In his light WE SEE THE GLINT OF LONG TEETH AND THE HUGE BLACK FRAME OF THE COBB/DOC CREATURE! It's leech-like appendage whipping in front of it like an excited cat's tail. Before it can strike, Jones pushes Beck out of the way and fires a blast of flame from his flamethrower. The CREATURE SCREAMS and disappears. As Beck falls his light lands in the bilge water and goes out sending the bilge into greater darkness. JONES I hit it. But I can't see it! Can you see it?! BECK (standing) No. Jones looks back at the ruptured pipe and suddenly has a thought. JONES The Swamp. There's an over- ride switch in the Swamp. They start for the ladder when WWWWHHHHHHHHIP! out of the darkness the appendage wraps like a bullwhip around Jones' arm. The deadly proboscis, which stabbed Cobb, is poised like a dagger about to be plunged into the black man's thigh. JONES (screams) Ahhh! Instinctively Beck whips out the mining saw and severs the tentacle. The unseen Creature's SCREAM echoes through the Bilge. Beck grabs Jones by the arm and pulls him toward the ladder. BECK Hurry...Get out! Quickly they slosh toward the ladder and hole in the floor fifteen feet away, moving closer...ten...eight....then suddenly ANOTHER APPENDAGE thrusts between the rungs of the ladder at them. Beck ducks and leaps to the side. He is less than six feet from the Creature. In the dim light WE SEE it wickedly bare its teeth. Beck's eyes go to the walls from one side to the other and spot the exposed power cable. The Creature steps forward directly under the hole in the floor. It is about to lunge when a voice from above distracts it. WILLIE'S VOICE(O.C.) Hey, you? The Creature looks up and sees: ON WILLIE STANDING OVER THE OPENING, HER FLAMETHROWER POINTED STRAIGHT DOWN. SHE FIRES, SENDING A SEARING BLUE FLAME INTO THE BILGE. BECK watches the flame roar down on the monster and it gives him the moment of distraction he needs. He leaps out of the bilge water and onto a pipe on the wall then rips the broken power cable from the wall. BECK Jones! Get your feet out of the water! Jones jumps up and grabs a pipe running overhead as Beck thrusts the sparking cable into the water at the Creature's feet. IN A BLINDING FLASH OF ELECTRICITY The current surges through the Cobb/Doc Creature sending it instantly rigid. A second later it crashes forward into the water. Moving hand over hand toward the ladder Jones quickly climbs out, followed by Beck. THE SHACK CONTINUES TO SHAKE, EACH JOLT STRONGER THAN THE LAST. As they emerge Willie helps them. BECK C'mon, the Swamp! They start for the Swamp down Corridor "A" when an enormous shudder goes through the Shack, causing the lights to blink and the floor to open beneath Beck. The jolt knocks him back into the bilge. Only grabbing onto the pipes just above the water stops him from falling back in. JONES stops and looks back over the missing grating. JONES Beck! Jones moves instinctively back for him, but another jolt only widens the gap. Beck yells to be heard over the din of the collapsing Shack. BECK Go on! JONES No! BECK That's an order! JONES Fuck your orders! He leaps across the gap onto a remaining grating and thrusts his hand down into the darkness. Beck lets go of one hand, then the other, to grab Jones' extended arm. In one Herculean effort Jones pulls him out of the bilge. Together they leap across the chasm as the Desalinization Conduit collapses over their heads and water floods into Corridor "A" behind them. They have to go around the other way! AS THEY RUN KLAXON HORNS SOUND and a RECORDED FEMALE VOICE warns: "Five minutes until implosion..." FLASH CUTS OF: THE LIGHTS FLICKER AND FAIL, CAUSING THE EMERGENCY LIGHTING TO GO ON, AND CASTING AN EERIE STROBE EFFECT ON THE ESCAPING THREE CREW MEMBERS FALLING CEILING BEAMS CRASH DOWN IN FRONT AND BEHIND... SEAMS BEND UNDER THE STRAIN, RIVETS POP... STRAINING MACHINES SEND SCALDING GEYSERS OF STEAM INTO THE CORRIDORS...AND SUDDENLY THE FLOOR GIVES WAY BENEATH WILLIE! She leaps up and grabs an overhanging pipe and swings to the firm ground. JONES LEADS THE WAY TOWARD THE SWAMP, WITH WILLIE BEHIND HIM, AND BECK COVERING THE REAR. THEY reach the end of the corridor and Willie and Jones turn into the Swamp Annex. Willie hits the door opener. RRRRRR IT DOESN'T BUDGE. The pressure has bent the door frame. BECK ARRIVES WILLIE It's jammed! Immediately Beck backtracks to the corridor and pulls a hand held spreader--like a "Jaws of Life"--from the wall. He turns back to the Swamp when a BLACK SCALY ARM SUDDENLY BURSTS THROUGH THE WIRE MESH OF THE MACHINE FLOOR AND PULLS BECK AGAINST THE WIRE! IT IS THE DEJESUS CREATURE. His head held in place by the powerful arm, Beck looks almost directly into the dark eyes of the Creature. Its gill-like slits flare. Its mouth opens and we see a flash of its razor sharp teeth. Before Beck can move the leech-like appendage ruptures the steel mesh and its razor-sharp proboscis plunges like a knife for Beck's face. At the last instant Beck move his head and the proboscis slams into the steel mesh. The mesh loosens the creature's grip and Beck manages to reach a mining drill from the tools on the wall. As the appendage starts to strike again Beck buries the whining tool into the Creature's tentacle and breaks free. Scooping up the spreader Beck rushes to the Swamp door where Jones and Willie are trying vainly to hand crank the door open. JONES Where the hell've you been? BECK I got hung up! Try this! Willie stands back and Beck thrusts the Spreader into the tiny crack in the door the hand crank had made. With Jones' help the two men force open the door and all three rush inside the SWAMP. Beck closes the door behind them. THE RECORDED FEMALE VOICE INTONES: "Five minutes to implosion." And we feel it happening: THE BILGE WATER ON THE FLOOR OF THE SWAMP RIPPLES WITH THE VIBRATIONS THE WALLS SHAKE THE HUGE METAL SUITS ROCK LIKE CLOTHES ON A CLOTHES LINE. ONE FALLS AND CRASHES INTO THE WATER JONES throws open the control panel and grabs the red handled emergency air switch, but he can only move it half way! It is jammed by the pressure. JONES It won't go! Willie grabs it with him, but even together it is not enough. THE HANDLE BREAKS OFF IN THEIR HANDS! STEAM JETS WHIP DOWN ON THEM FROM ABOVE! THE WATER AT THEIR FEET NOW BOILS FROM VIBRATION! THE FEMALE VOICE INTONES: "Four minutes..." BECK TURNS AND SEES THE SUITS IN THE LOCK He grabs Willie and pushes her toward the Lock where her suit hangs. BECK The suits! Get in them! Willie moves quickly but Jones doesn't. JONES The suits! Are you crazy! How're we going to get to the surface? Beck yanks open the equipment locker revealing TANKS OF COMPRESSED AIR AND DEFLATED CONTAINER TRANSPORTERS. BECK Like this. He looks up at Jones who grins with renewed hope and they begin pulling the equipment out. BECK(cont'd) Get them in the Lock! Jones and Beck drag the tanks and the parachute-like Container transporters to the lock. ON WILLIE She climbs into her suit and activates her generator. Instantly her Vital Signs spring to life around the perimeter of her helmet. THE FEMALE VOICE TREMBLES FROM THE VIBRATIONS..."Three minutes...to...implosion..." Beck and Jones throw the last of the supplies onto the elevator and Beck holds out the SEISMIC TOOL Jones tried to arm himself with earlier. He takes the tool from Beck and sticks it in the vest of his wet suit. Then suddenly he sees that there are only two suits in the Lock. Beck will have to wait on his to move along the track to the Lock. JONES Your suit, Becky! BECK Just get in yours! Jones climbs onto the Lock platform and slides into his suit. Beck hits the Suit track button and his suit begins moving along the track toward the Lock. A suit turns the corner from the storage room followed by one labeled BECK. Beck looks at the walls, they're shaking harder. He moves along the suit rack when suddenly THE CREATURE BURSTS FROM BEHIND THE SUITS SHATTERING THEM LIKE AN EXPLOSION! A HUGE TENTACLE HURLS TOWARD BECK LIKE A SPEAR. BECK ducks just in time, grabbing a fire ax and chopping off the appendage. Another tentacle jabs for Beck. WILLIE (screams) Look out! But it is too late. It knocks the ax from Beck's hand and sends him to the floor. Beck looks up at the Lock in time to see Jones seal himself into his suit. JONES/RADIO I'm in. BECK (to the others) Go! WILLIE/RADIO No! THE CREATURE APPROACHES BECK Beck looks at the others one last time. BECK Go, now! That's an order! Jones hits the elevator button and the Lock closes as the elevator sends them down without Beck. BECK stands and arms himself with a mining drill, which he swings at the Creature driving it back. As Beck gets the upper hand, the Creature turns its hideous face and Beck freezes. There attached to the back of the Creature's head is the grotesque face of DeJesus! DeJesus' eyes suddenly blink. He's still alive! His lips tremble in agony. DEJESUS Kill me...Kill me! Beck, momentarily stopped by the face, lunges forward with the drill and embeds it in the side of the Creature. As the Creature falls back hurt, Beck looks up at the lock elevator as it returns--IT IS EMPTY--The others have made it out! His suit continues down the track and stops in the Lock. He still has to make it, if he can just get there! THE RECORDED FEMALE VOICE SOUNDS: "One minute to implosion..." Beck races to the Lock and starts to climb into the suit. His arms slide into place, his legs drop into the heavy metal shell and as he seals up the back he activates the generator. BECK'S POV. His vital signs light up around the perimeter of his helmet, but he sees something else--the Creature charges toward the Lock--its arm reaches out to yank Beck out of the elevator! Instinctively, Beck swings his motorized leg into the Creature's snarling mouth, knocking it backwards and stunning it long enough for Beck to hit the elevator button. BUT IT DOESN'T WORK! BECK No! He hits again, still nothing! THE RECORDED FEMALE VOICE..."Nineteen, eighteen..." Her voice begins to quiver. BECK POUNDS ON THE BUTTON AND LOOKS UP JUST AS THE CREATURE DIVES FOR HIM, ITS HUGE SCALY HAND GRABBING HIM AROUND BECK'S LEG! CLOSE ON THE ELVATOR BUTTON Beck pounds it one last time and NNNNNNNNNNNN! THE LOCK CLOSES, CRUSHING THE CREATURE AS IT FLUSHES BECK OUTSIDE SECONDS BEFORE THE ENTIRE STRUCTURE COLLAPSES WITH IMPLOSION AND SUDDENLY EXPLODES IN A HUGE SHUDDER OF ENERGY! UNDERWATER - LATER WHOOSH! A parachute-like Container Transporter zoom toward the surface. A heavy-suited crew member flashes past us. Its helmet light pierces the darkness, then disappears. A moment later another Transporter follows, racing out of the darkness after the first. BECK'S POV We see the vital signs lit in a ring around his helmet. The depth gauge races past with blinding speed as he moves closer to the surface. WILLIE'S POV She tilts her head upwards. She snaps off her light and sees instead of black, a lighter gray, then suddenly faint traces of light in the water above her. At first it seems like her eyes are playing tricks on her, then we see it again--a glimmer of light. WILLIE(RADIO) Light. Beck, I see light! ON BECK He follows her look. Light is coming fast, brightening as they rise. The LED numbers inside their helmets click off..."125, 100, 75..." BECK(RADIO) Wait till you reach thirty- five before you blow your suit... WILLIE'S VOICE(RADIO) Roger. WILLIE'S POV Her numbers count down "....70, 60, 50, 40..." WILLIE(RADIO) Ejecting. She yanks at the handle on the chest plate and WHOOSH! The plate bursts open and reveals a second interior handle. Her hand gropes for it. SUNLIGHT IS STREAMING DOWN THROUGH THE WATER AS SHE RUSHES UPWARD. WHOOSH! The helmet and torso of the suit are blown open as she pulls the second lever detaching her from the balloons. No longer oxygen supported or being pulled upward, Willie frees herself from the heavy suit and swims to the surface. SUDDENLY SHE BREAKS THE SURFACE AND CATCHES A GLIMPSE OF THE SUN, DAZZLING THROUGH A MILLION DROPLETS OF WATER AS A HUGE SWELL CARRIES HER UP EVEN HIGHER. Then she's underwater again, struggling desperately to pull the tab on the life jacket around her neck. Suddenly a MALE HAND GRABS THE TAB FOR HER AND PULLS. She looks up at Beck. WILLIE We made it! BECK Where's Jones? Holding onto each other Willie and Beck ride a swell. At the crest WE SEE JONES in the trough below, face down. Beck breaks away from Willie and swims through the waves to reach Jones. Reaching him Beck pulls his face out of the water and inflates his life jacket. WILLIE Is he okay? Beck lays Jones head back against the life jacket. For a moment. Jones seems lifeless, then his eyes blink and squint against the sunlight. Beck turns back to Willie and as he and Jones ride the next crest he gives her the "thumbs-up." WILLIE(cont'd) (jubilant) The sun! The sun! Jones looks at Beck and grins. JONES What happened to that typhoon? CALM SEA - LATER BECK, WILLIE AND JONES cling to each other as they search the horizon. WILLIE Are you sure you saw something? JONES How many times I got to tell you. I saw a ship. WILLIE Well, why haven't they answered our flares? BECK We'll fire one more, that leaves us one last one. BECK pulls the flare off his latex wet suit and fires it into the sky casting a comforting yellow glow over the dark water. The light fades, Willie looks at Jones. WILLIE Are you okay, Jonesy? JONES (weakly) Tip top, Willie...tip top. WILLIE (testing him) Who's the best power forward in the NBA...Jameson? JONES (tired, but with fight) Jameson? Who are you trying to con...? They both manage a weak laugh, then Beck sees something. BECK I'll be damned. Look!...A flare! As a small swell lifts them up we can see a tiny flare just fading against the sky. WILLIE It saw us! JONES Answer them and quit kicking me! WILLIE I'm not touching you! WHOOOOOOOOSH! Beck fires another flare into the sky. As the flare arcs downward, Willie feels another bump and for the first time sees the SHARKS CIRCLING THEM. WILLIE No...no, no, no. The SHARKS tighten the circle as the flare fades. EXT. U.S. COASTGUARD SHIP'S BRIDGE - SAME A CAPTAIN watches the flare fade through his binoculars and speaks to someone O.S. CAPTAIN I thought you said you'd combed this area? He lowers his binoculars AS WE WIDEN TO REVEAL MARTIN standing on the bridge. He also lowers his binoculars and smiles coolly as he lies. MARTIN We did....Many times. CAPTAIN (looks at Martin then to a Lieutenant) Initiate rescue. We hold on Martin's face as from THE FORE DECK OF THE SHIP A rescue chopper with pontoons lifts off the deck and banks off toward the fading flare. OCEAN - SAME Jones, Willie and Beck stay bunched close together. Suddenly Willie feels another bump. WILLIE (panicky) It hit me! Where are they?! BECK I can't see them! Suddenly he is bumped by a shark. Willie sees one only two feet away. They are surrounded. Suddenly Jones stare to taunt the sharks aggressively. JONES All right! I've had enough of this shit! You want meat, motherfucker? Come on, eat me, sucker, try some dark meat! He pushes away from the group despite Beck's attempt to stop him. JONES(cont'd) (taunting sharks) What's wrong you snout-nosed bastards? My meat too tough for you?! Amazingly the sharks begin to disappear. Willie and Beck watch stunned. Even Jones is surprised. JONES(cont'd) (to Willie and Beck) Whoa! Did you see those fools run? They know whose boss. He jabs his arm upward in triumph and for the first time WE SEE a gash across his forearm. UNDERWATER POV As Jones crows triumphantly, WE SUDDENLY SEE HIS WET SUIT RIPPING ALONG HIS THIGHS! SURFACE/OCEAN Jones is chortling, suddenly his smile vanishes, something is happening... WE hear the DRONE OF THE APPROACHING HELICOPTER...THUMP, THUMP, THUMP...The blades of the helicopter sound out over the waves. It's lights are visible. Willie and Beck wave frantically as Jones drifts closer to them! UNDERWATER JONES' LEGS His wet suit is now completely split open and WE SEE THE BLACK SCALES SPREADING! THE HELICOPTER hovers over the group below and lands on the water. Its blades beat the surface into waves. The WINCH OPERATOR hurls out a rescue harness and Beck helps Willie into the ring. He CLICKS the fastener and suddenly they both lock eyes. Before Willie can say anything Beck falls back and signals the Winch operator who begins hauling her to safety. Immediately Beck locks back at Jones and extends his arm. BECK Jonesy...Give me your hand! WILLIE reaches the helicopter and quickly climbs out of the harness. The Winch operator throws it back across the water where BECK grabs the harness. BECK C'mon, Jones! Jones reaches out his hand. He is almost there WHEN SUDDENLY RISING OUT OF THE WATER BEHIND THEM IS THE SIXPACK/BOWMAN CREATURE IN ALL ITS HIDEOUS GLORY! HUGE AND GRUESOME, ITS LONG TEETH GLIMMER IN THE LIGHT. IT GOES FOR BECK BUT JONES MOVES BETWEEN THEM. BECK Jonesy, No! JONES Get out of here, Becky! The Creature grabs Jones and pulls him violently under. Beck watches horrified as his friend disappears. Numbed he clips the rescue harness around him when suddenly, WE SEE a boiling of water where Jones disappeared...bubbles rising...and then Jones' bloody and tattered life vest bobs to the surface several feet away from Beck. Beck reaches out for it just as the Creature appears again! It turns and focuses on Beck. Beck keeps going for the life vest as the Creature starts for him. ON HELICOPTER The Winch operator and Willie watch in horror as the Creature bears down on Beck. WINCH OPERATOR Is he in the harness! CLOSE ON JONES' TATTERED VEST Beck reaches it. His fingers wrap around the bicycle pump-like, seismic tool in Jones' vest pocket. The Creature is right on top of him! CHUNK, CHUNK, Beck cocks it like a pump shotgun as tentacles rise wickedly out of the water and wrap around Beck's body in a death grip. It's horrible mouth starts to open. BECK C'mon, motherfucker open up! The Creature's mouth widens and as it starts to strike Beck thrusts the seismic tool into its gaping maw and is suddenly pulled from behind--out of the creature's grasp! The rescue cable is taut! The helicopter is taking off! BECK'S POV/ RISING SHOT. Beck rises suddenly out of the water, the Creature growing instantly smaller below him until BOOM! the Seismic device explodes in the Sixpack/Bowman Creature, blowing it to bits across the ocean surface! The shock wave sends the helicopter banking off toward the ship with Beck safely attached by cable below it. The winch operator pulls him in. EXT. COAST GUARD SHIP - LATER Beck, dressed now in crisp white clothes, stands on deck of the ship. He glances occasionally at a door nearby marked INFIRMARY, then looks up as the Captain approaches and shakes his hand. CAPTAIN Mr. Beck, I understand you passed your physical with flying colors. And Ms. Williams? BECK (worried) I don't know yet, she's still in there. CAPTAIN Well, you'll be glad to know you have a friend onboard. Beck looks up surprised as suddenly Martin joins them. MARTIN (excitedly) Beck! I told them you'd make it. No one back at TransOcean believed me, but I never gave up on you once. (smiling) So, how are you feeling? Beck looks at Martin for an instant then hauls off and in one incredibly smooth punch knocks Martin on his can across the deck. BECK Better...A lot better. Just then the door to the infirmary opens and Willie appears with a new outfit on. Smiles at Beck. WILLIE I'm fine! Beck lets out a slight sigh of relief as a STEWARD approaches with a tray of WHOLE COOKED FISH, HIDEOUS LOOKING THINGS LIKE ANGLERS, LOBSTERS, CRABS...MINIATURE LEVIATHAN. The sight is almost too intense for Beck and Willie. The Captain notices. CAPTAIN I thought we might have some wonderful seafood. But, if there's something else you'd rather have... Willie stares at the tray of seafood uneasily then looks at the Captain and smiles. WILLIE How about a burger and fries? She and Beck laugh as they sit at a finely set table on the deck with the Captain. AS WE PULL BACK the ship becomes smaller and smaller in the distance and WE ARE AT THE SURFACE OF THE OCEAN riding the swells, rising and falling before slipping beneath the waves and descending again into the cold depths. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Liar Liar.txt b/unformated_scripts/Script_Liar Liar.txt new file mode 100644 index 0000000000000000000000000000000000000000..d2b348bfe9d157403a77d34aeaa48c7ae47a4bbc --- /dev/null +++ b/unformated_scripts/Script_Liar Liar.txt @@ -0,0 +1 @@ + LIAR LIAR Written by Tom Shadyac & Mike Binder Rough draft, April 1996 INT. FULGHAM KINDERGARTEN -- WEDNESDAY MORNING Two dozen KINDGERGARTNERS listen to their teacher, MS. BERRY. The word "Work" is on the blackboard. MS. BERRY "Work." Today we're going to share what our parents do for work. QUICK CUTS of a series of five-year olds standing beside their desks, addressing the class: JEFF My dad is a truck driver. MELINDA My mommy is a doctor. CAROLYN My dad is a librarian and my mom is a vegetarian. THEODORE (with difficulty) My father is a struck-sher-al- engine-ear. CRAIG - My mother is an actress. She works at Denny's. KELLY My daddy works at a place where they make stuff, and my mommy is a mommy. ELLIOT (looking a little CRAZED) My father is a postal worker. The QUICK CUTS end with MAX: MAX My mom's a teacher. As Max starts to sit: MS. BERRY And your dad? MAX (HESITANT) My dad? He's . . . a liar. MS. BERRY (taken aback) A liar? I don't think you mean "a liar." MAX Well... he wears a suit and goes to court and talks to the judge and-- MS. BERRY (RELIEVED) Oh! I see-- you mean he's a lawyer. Max shrugs. INT. COURTROOM .-- DAY FLETCHER REID, early 30's, stands before the JUDGE. His manner is utterly genuine and convincing. FLETCHER A dark street. . . a stormy night... two desperate men struggle... one man is taken to the hospital, the other to ja il. The prosecutor wants you to believe this is an open-and-shut case of a poor man, brutally victimized. He nods at the victim - - a fragile OLD MAN in his 70's. FLETCHER (CONT'D) Well, for once I agree with t he prosecutor. This is an open-and shut case -- but the true victim is my client. Fletcher's CLIENT is a 250 pound brute in a suit. FLETCHER (CONT'D) Put yourself in his shoes for a moment--walking home from church, alone, in a frightening part of the suburbs. As he describes his client's movements, Fletcher ACTS THEM OUT: FLETCHER (CONT'D) You're nervous, timid, looking over your shoulder -- when suddenly, you encounter him-- (pointing at the old man) pouncing from the shadows. You quiver in fear. The streetlight flashes on something shiny in his hand-- a knife? Suddenly Fletcher becomes the attacker, brandishing a weapon. The jurors RECOIL. FLETCHER (CONT'D) And in that terrifying instant you do what any respectable citizen would -- you defend y ou rse lf. Only after you shatter his arm and collarbone do you realize it's all a mistake... the man was merely walking away from an ATM machine, the apparent flash of metal caused by his bank card. He reveals the weapon in his hand is only a credit card. FLETCHER (CONT'D) (CONCERNED) As you stand over his crumpled, though potentially still-dangerous form, your he art goes out to him. You want to help. First, you gather up the many bills he dropped, to stop them from bl owi ng away. Second, in an effort to get the name and number of someone to notify, you take his wallet. Finally, you leap into the man's Lexus to head for assistance, when suddenly a police car speeds up. You breathe a sigh of relief: "Someone to look -after the injured man! Oh joy!" But do the police applaud your initiative? Do they hail your heroism? No-- they arrest you and throw you in the slammer! He walks along the jury box: FLETCHER (CONT'D) ∑ And why? Why does the State turn its massive power against this individual? (takes an IMPRESSIVE moment, then answers his own QUESTION:) Discrimination, (to a black JUROR) But this time it's not based on race. (to a female JUROR) Not based on gender. (to a man wearing a crucifix) Not based on religion, (to a heavy set JUROR) No--this time it's discrimination based on size! . I know what the prosecution wants you to think - - i t ' s always the big guy's fault. Is that what we've come to as a society -- persecuting people because they're large? Fletcher points accusingly at the opposition. FLETCHER (CONT'D) Shame on you, Mister Prosecutor! Shame on you! (turning back to JURY) The state is trying to barbeque my client on the spit of Justice. Only you can douse the flames. The decision is your s. And please...don't let your emotions run away with y ou . The fact that my client is a family man, raising his sons alone after the tragic death of their mother, has absolutely no bearing on this case. In the front row we see two sad-faced YOUNG CHILDREN. FLETCHER (CONT'D) Instead, let cold reason be your guide as you decide the fate of this church-going, orphan-rasing widower! Fletcher returns to his seat. Jurors, dab their eyes. EXT. COURTHOUSE -- AFTERNOON Fletcher bounds down the stairs, passing a fellow LAWYER, LAWYER How's it going, Fletcher? FLETCHER (he' s won) Another gratifying day serving Justice. Fletcher's huge client catches up to him. CLIENT Hey great job, Mr. Reid. I wish there was some way I could show my appreciation. FLETCHER Stay out of my neighborhood after dark. A PUBLICIST carrying, a clipboard approaches Fletcher. PUBLICIST Mr. Reid, do you have a ∑ moment-? FLETCHER No, I'm late picking up my son. PUBLICIST -Because a couple of reporters want to interview you about your big win today. Fletcher instantly shifts directions. FLETCHER .. How's my hair? And he's off to woo a GANG OF REPORTERS. EXT. SUBURBAN PORCH - AFTERNOON A sad Max and his mother, AUDREY, wait silently on the steps. MAX What time is it? AUDREY (checks her WATCH) I ' m sure he just got tied up in court again. Finally, Fletcher's BMW pulls up. Max races to him, delighted. MAX Dad! FLETCHER Maximillian! (calls out a COMMAND) TRANSFORMERS!! . Fletcher instantly becomes a human version of the TRANSFORMER TOY making ROBOTIC MOVEMENTS and SOUNDS. Max knows the routine well, moves in perfect sine with dad. . ... Until -- . FLETCHER Malfunction in vector 3 ! ! Malfunction in vector 3!! (pretends to lose control of a 'robotic' arm) Look out! It's on tickle mode!! Fletcher's "mechanical arm" becomes CLAW-LIKE, TICKLING MAX like crazy! Max loves it. Audrey watches these two kids, smiles. FLETCHER (re: Audrey) And who is this lovely lady? Max, could you introduce me? MAX That's no lady, that's mom! AUDREY. ∑ Thanks, Max. ∑ FLETCHER Mom? ! (under his BREATH) Himnm. . . I don't remember her looking that good, (becomes the robot again) Malfunction in Vector 4! Malfunction in Vector 4! Fletcher's other robotic arm becomes a "pincher", comes after Audrey. AUDREY (PLAYFULLY) Keep Vector 4 away from me. Unless you want Vector 4 chopped off. FLETCHER You know, you were much easier when we were married... (re: her luggage) So where are you off too? AUDREY Stanford. I'm delivering a paper. FLETCHER O h really? Where I live, we use a boy on a bike. MAX Hey mom, dad's taking me to see wrestling! AUD REY (MILDLY PROTESTING) Oh, Fletcher! FLETCHER (PLAYFULLY mimicking her) Oh, Audrey! AUDREY Do you have to take him to tho se things? They're so violent. Fleccher IMITATES the familiar wise, old INDIAN CHIEF DAN GEORGE. FLETCHER/DAN GEORGE The boy must learn the way of the war rior . An d wh o be tter to teach him than Rowdy Rod- . Piper and Big John Stud? Audrey can't help but LAUGH. FLETCHER/DAN GEORGE He must be schooled in the way of the face-claw, the sleeper- hold, and the purple nuxple. For only then-- AUDREY (PLAYFULLY) Shut up!! FLETCHER/DAN GEORGE (to Max) The squaw will never understand us. A HORN HONKS. It's the good-natured, affable JERRY. Max runs up to him. JERRY Max, my man! Jerry gives Max "five", then kisses Audrey on the lips. JERRY Fletcher, good to see you? FLETCHER What? No kiss for me? JERRY (re: luggage) What do you say, Max? Give me a hand? Fletcher grits his teeth as Jerry gives Max a piggyback ride to get the luggage. FLETCHER (to Audrey) I didn't know the boyfriend was going. AUDREY Jerry. His name is Jerry and yes, he's going. Audrey heads inside. INT. HOUSE - DAY ∑. Audrey enters, shuts the blinds. FLETCHER T o Stanford? Overnight? Does this mean you two are... (cringes, can't say the words) AUDREY I've been seeing him seven months, what do you think? FLETGHER I was hoping that after being married to me, you'd have no more strength left. AUDREY . Well you have to remember when we were married, I wasn't having sex nearly as often as you were. FLETCHER MEDIC!! I've been hit. /- EXT. HOUSE - DAY ' ∑ ' Audrey locks up. FLETCHER Well, great... I'm so happy for you two. I am just Mister H appy man. Happy, happy, happy. AUDREY Relax, Fletcher. It looks like Jerry's taking that job offer in Boston. Fletcher turns sincere. FLETCHER Aud, I am so sorry... Behind her back, he FLAILS in celebration. She glances back... He stops, whistles innocently. JERRY (calling to AUDREY) Ready? Audrey and Jerry say goodbye to Max. They get in his Explorer. FLETCHER (to Audrey) Yo u gonna be okay? Because if not, we could leave Max with your sister and I could go out with you two, does that appeal to you at all? They drive off. FLETCHER Wave to the soon-to-be ex- boyfriend, Max. (flipping Max the KEYS) You drive. INT. BMW - AFTERNOON'- MOVING Fletcher is driving, Max beside him. MAX Dad, are we really going to go to wrestling? FLETCHER Absolutely, Maxattacker. We just have to stop by the office for one minute. Max SIGHS. He's heard this before. EXT. SKYSCRAPER - AFTERNOON Establishing the headquarters of ALLAN, STEWART & KONIGSBERG. As they head inside, Fletcher and Max pass a BEGGAR. BEGGAR 'Scuse me, sir. Do you have any change? FLETCHER (patting his POCKETS) 'Fraid not. Sorry. INT. SKYSCRAPER LOBBY - AFTERNOON Fletcher grabs The Daily Journal, paying for it with a HANDFUL OF CHANGE. His son takes this in. On their way to the elevators Fletcher and Max pass PHILIP, a dweebish bore. PHILIP Fletcher! FLETCHER Philip! PHILIP And this must be Max! FLETCHER (trying to brush him off) . Yes. Yes it is. Well, it was good seeing you-- Fletcher starts off with Max, when Philip calls after him. PHILIP You know, Ethel and I had a blast at our last little get- together. FLETCHER Oh, me too. I can never get enough of charades. We'll have to do it again sometime. Fletcher heads into an open elevator... only to find the door's closing impededby Philip's foot. PHILIP When? FLETCHER Soon. The door again begins to close... when Philip stops it. PHILIP How 'bout tonight? FLETCHER Not that soon. I'm taking Max to see wrestling-- PHILIP We love wrestling. We could-- FLETCHER I don't think so. See, Max is really shy around strangers. Max looks up at Fletcher. He isn't. FLETCHER (CONT'D) Tell you what -- give me your card as a reminder. I'll call y o u . Soon. Promise. PHILIP Great! Philip hands him his card just as the door closes. INT. ELEVATOR - AFTERNOON Max watches as his father TEARS PHILIP'S CARD IN TWO. INT. RECEPTION AREA OF LAW OFFICES - AFTERNOON The receptionist, JANE, greets them. Jane has an ODD, UNATTRACTIVE HAIRDO. A large GIFT BASKET is on her desk. JANE Hi, Mr. Reid. (indicates, her HAIR) What do you think? FLETCHER Fabulous! I love it. (indicates the ∑ BASKET) What's this? JANE I don't know who sent it. But it's for Mr. Allan. It's his anniversary. FLETCHER Ah... The Partnership Committee meeting still scheduled for Friday? JANE (as she goes) Yep... Fletcher quickly removes a gift card from his pocket, scribbles on it, puts it in place of the one already there MAX What are you doing? FLETCHER Oh, I'm... fixing the card, (shows him the old card) Look, they spelled Mr. Allan's name wrong. Have an apple. INT. MIRANDA'S OFFICE - AFTERNOON ...Where a troubled FRED RAND is talking to MIRANDA, a beautiful, steely partner. FRED I can't do it. M IRANDA Fred, it's your duty to present the strongest case possible. FRED The strongest case possible, consistent with the truth. MIRANDA Let the Judge decide what's true. That's what he gets paid for. You get paid to win. FRED If you insist on my taking it to trial, I'll represent Mrs. Cole aggressively and ethically. But, Miranda -- I won't lie. Miranda looks out her window, calculating. MIRANDA Then we'll just have to find someone who'will. INT. HALLWAY OF LAW OFFICES -- AFTERNOON Fletcher strides through the hallway with Max, calling out GREETINGS to his colleagues. FLETCHER Hey, Pete! Great tie! ∑. Max looks at PETE, -whose fashion-disaster tie startles him. FLETCHER Thomas--looks like you're losin' weight. THOMAS glances up from a file. Max notes that he's corpulent. THOMAS Gained three pounds. FLETCHER (wedging past HIM) On you, it works. ∑ Fletcher arrives at his office. WE MEET his secretary, the fiftyish, .worldly-wise and world-weary GRETA. GRETA ' M ax ! What's new? .MAX Well. . . it's my birthday tomo rrow. We're having a party and everything. Flet cher's EYES WIDEN. He has clearly forgotten. GRE TA I'm sure your dad'11 give you something wonderful. Fletcher tries to wave her off, awkwardly stopping when Max turns to him. . MAX Yeah? FLETCHER Oh, yeah. You're going to love it. Uh, why don't you play in my office for a minute? Fax something, sue someone, have a good time. We'll be leaving in a second. Max heads into the office. Fletcher closes the door behind him turning it into a silly, two-handed wave. FLETCHER (CONT'D) Damn! I completely forgot. GRETA Oh, there's a surprise. Greta produces a wrapped GIFT. FLETCHER You're a saint. I should get you something. GRETA You did. She holds up another, smaller package. FLETCHER Ah. Well, I always do the classy thing. Any calls? ∑ She hands him a stack of mail. GRETA . Let's see.. . ∑ (CHECKING MESSAGES) Judge Patterson's clerk. He needs your filing. FLETCHER Tell him it's in the mail. GRETA (jotting down a NOTE) Right. You'll do it next week. Mr. McKinley phoned, questioning that fourteen hours you billed on Christinas Eve. FLETCHER Write him a long, explanatory letter. Then bill him for the letter. GRETA (jotting down a . note). .. Done. Your mother called. FLETCHER I ' m on vacation. GRETA This is your fifth week. . ∑ . FLETCHER It's a long vacation. GRETA (jotting down a NOTE) "Break mother's heart." Done. And that's it, except Miranda's looking for you. FLETCHER (checking watch) As if I don't have anything better to do than bow and scrape at her royal perfumed p artner feet. Tell her I'm in court. GRETA Court's closed. FLETCHER Tell her I broke my leg and had to be shot. GRETA (WHISPERS) Why don't you tell her yourself? As Miranda approaches, Fletcher switches gears in an INSTANT: FLETCHER --And then send out a notice of judgement on my win today! GRETA (DRY) I'll get right on it. Fletcher turns -- and pretends to be surprised. FLETCHER Miranda! I didn't see you. Hey, you look lovely, today. Here, I bought you a gift. He grabs Greta's gift and hands it to Miranda. MIRANDA Thanks. I heard about your victory today. You're making quite an impression on the partnership committee. FLETCHER (FEIGNING PUZZLEMENT; THEN) Oh, that's right. You folks are meeting again soon. "Allan, Stewart, Konigsberg, and Ried." There's something about the rhythm of fours. It's like a full measure. Well, anyway, I've got a client waiting in my office-- MIRANDA . Actually, something important h as come up. You're not busy tonight, are you? Before Fletcher answers, we: CUT TO: INT. FLETCHER'S OFFICE - EVENING A sad Max sits on Fletcher's big sofa. His heart sinks further when Fletcher enters. . . carrying two boxes of documents. MAX We're not going, are we? FLETCHER Of course we are. A promise i s a promise. We are gonna see wrestling or my name isn't Fletcher T. Reid. FLETCHER (to wrestler) Could you hand me that? (the wrestler DOES) Thank you. (without looking UP) We are having some fun, eh Maxer? PUSH IN on Max; he isn't. ∑INT. HOTEL ROOM - NIGHT Jerry paces. Audrey is on the phone, waiting. She notices Jerry pacing. AUDREY Are you alright? JERRY Uh, yeah, just, uh... how long are you gonna be on the phone? AUDREY I just wanted to say good- night to Max, but he must still be out with Fletcher, (hangs up) JERRY (SUDDENLY) Will you marry me? She's SHOCKED. I AUDREY Uh...would I . . . ? What did you say? JERRY (NERVOUS) I proposed, I . . . Look, I know this Boston thing is a great opportunity, good job, mo ney .. . everything. But I started to think about being three thousand miles away from you and Max. And I didn't like it. I-- Look, I know it's a lot to ask, to move and everything, but I . . . . I love you. I love your son. Will you marry me? She stares at him, excited, but nervous. EXT. HIGH RISE APARTMENT BUILDING - MORNING Early morning outside Fletcher's building. INT. FLETCHER'S STUDY - MORNING Fletcher types on his computer. He's been up all night. He leans back, rubs his eyes. When he opens them he sees Max standing there in pajamas. Fletcher SMILES. FLETCHER Max Factor... Happy birthday. How old are you today? T h ir t y ? Forty? MAX Five. FLETCHER Well, you've held up well. I only wish there was some way to commemorate such an occasion, some small symbol to mark this day, like.... Fletcher produces -- FLETCHER . . . A present! . Max eyes it with wonder. MAX What is it? FLETCHER (no idea) It's... it's. (it hits him) a surprise. Max knows his father doesn't have a clue but he rips the box open, revealing, a BASEBALL, GLOVE, DODGER'S CAP, and FULL MAJOR LEAGUE STYLE UNIFORM. MAX Baseball stuff! _J FLETCHER Baseball stuff. MAX (hugging his dad) Will you play catch with me? FLETCHER '∑ : Absorootentootenlutely. Max beams. FLETCHER Tonight. After your party, you have my word on it. Max nods sadly as Fletcher turns back to his work. EXT. JERRY'S CAR - MORNING Jerry and Audrey are driving. Audrey's holding a couple of airline tickets. AUDR EY (re: tickets) Jerry, these are for tomorrow. JERRY The company wants me to get started right away. AUDREY I can't just pick up and move to Boston with two days notice. JERRY Ju st come check it out. You a nd Max, see the town. Let's . pick out a place together. Then, if you want to turn me down and scar me for life, fine. AUDREY It's just not that simple... What about my job? I've been at UCLA three years. JERRY It's New England. They're lousy with colleges. You can't swing a bat back there without hitting a college. You'd get a job there in a second. AUDREY There are other factors involved. (POINTS) T here they are now. ∑. They pull up in front of Fletcher's building where Fletcher and Max are waiting. Fletcher's still reviewing a file. As Audrey gets out of Jerry's car, Max runs over. AUDREY Did you have fun? How were the wrestling matches? FLETCHER Big fun. Manly fun. Am I right, Maxie? MAX (HALF-HEARTEDLY) It was fun.. ∑ FLETCHER (re: Audrey) So how were the wrestling matches ? Did you have fun? JERRY Max , my man! My happy birthday man! Max and Jerry exchange "fives" and'a hug. Jerry gives Max a light punch on the arm. JERRY One-two-three-four-five... and one for good luck. FLETCHER Did you see that? He struck the child! MAX Look what dad got me! (shows the glove) JERRY Whoa! Great! I have my glove in the car. We'll stop in the park on the way home and play c atch. Then tonight we'll oil it, wrap a rubber band around it. . . It'll be great. (to Fletcher) Great birthday present, dad! Fletcher hates him. Jerry and Max go to Jerry's car. FLETCHER ∑. (makes a fist) When is it his birthday? AUDREY Some thing's come up. We need to talk. MAX Mom, let's go. I want to play. AUDREY (to Fletcher) We'll talk tonight. ∑ FLETCHER Tonight? AUDREY Max's birthday? FLETCHER' Oh , yeah, right. Seven. I knew that. I did. I blocked it out weeks ago. The se ven tee nt h of May. Max's birthday. AUDREY It's the eighteenth. FLETCHER The seventeenth of May is the day I .remind myself that the eighteenth is Max's birthday. See you tonight. They drive away. INT. MIRANDA'S OFFICE - NIGHT Miranda, and Fletcher's new client, VIRGINIA COLE, an alluring woman in her early thirties/ review the document he spent the previous∑night putting together. VIRGINIA This is good. This is really smart. FLETCHER Thank you. VIRGINIA Only i t ' s . . . Like not true. Every word of it is a lie. Fletcher and Miranda exchange glances. VIRGINIA (CONT'D) I mean... isn't that a problem? FLETCHER Mrs. Cole, the only problem here is that after you've provided years of faithful service and loving support, of raising his children -- They are his? VIRGINIA H m ? Oh yeah. One for sure. FLETCHER After all that, your husband wants to deny you a fair share of the marital assets based on one single act of ] INDISCRETION-- VIRGINIA Seven. FLETCHER Hm? VIRGINIA Seven single acts of indiscretion. FLETCHER --Seven acts of indiscretion, only one of which he has any evidence of, and all of which he himself is responsible, for. VIRGINIA He is? FLETCHER Mrs. Cole, I stayed up all night last night studying your c ase. Not just your case... b ut you. And, by now, I feel I know you. You are the victim here. The wife of a cold, distant businessman. Starved for affection, driven into the arms of another man-- VIRGINIA Seven. FLETCHER (not missing a BEAT) --Seven .other men. You're not trying to deny him what is r ig htf ull y his. All you're insisting on is what is r ig htf ull y yours. And maybe an idgy-smidgy bit more. I think you're bending over backwards. VIRGINIA Well, I did agree to give him j oint custody of the kids... (to Miranda) He's always been a good father. FLETCHER And you've always been a good wife. VIRGINIA (getting worked UP) Yeah. . . FLETCHER There's such a thing as being t oo nice. That's why you need aggr essive representation. To show the court that there is more than one side to this st ory. All I'm asking is the opportunity to see that justice is done on your behalf. (takes her hand) Will you give me that opportunity? He stares into her eyes. A moment, then... VIRGINIA Yes! I ' m tired of getting kicked around. FLETCHER Good for you! VIRGINIA Thank you, Mr. Reid. I ' m so grateful I have an attorney I can trust. S he gives him a HUG and momentarily grabs his ass. With a farewell nod to Miranda, she leaves. Miranda turns, smiles at Fletcher, then shuts the door. She moves in on him. MIRANDA You're good. You're really good. FLETCHER Oh, pshaw. (pronounces it with the "p") She picks a piece of lint off.his jacket. MIRANDA N o, I mean it. The Cole case is worth a truckload of money to this firm, not to mention the press it's going to g en er at e . You win this case and I guarantee you'll make partner. (STRAIGHTENING his tie) Actually, how would you like to make a partner right now? FLETCHER Excuse me? She grabs his lapels and pulls him in for a deep KISS. INT, AUDREY AND MAX'S LIVING ROOM - NIGHT A PARTY in progress, KINDERGARTNERS being entertained by a MAN in a clown suit and clown make-up. CLOWN (SINGING) Captain Fuzzy is my name, Making children happy is my game, With a shake and a juggle, And a big belt buckle, You'll all be glad I came. ' He flops down on his back causing something in his pants to HONK. Audrey and Jerry watch. AUDREY (indicating the CLOWN) What do you think? JERRY Well, if you don't hire your brother, who will? . She heads into... INT. KITCHEN - CONTINUOUS ∑ JERRY They called me again from B oston. They really want me there tomorrow. AUDREY . . . I can't go to Boston. JERRY How come? AUDREY Max. JERRY He'll love it there. AUDREY It's Fletcher. JERRY Fletcher? AUDREY I can't move Max three thousand miles away from his father. JERRY Audrey, I have never said a bad word about your ex -- AUDREY I know. JERRY But how much responsibility does Fletcher take for Max, now? He'd never come over if you didn't remind him. AUDREY I know. But if they're three thousand miles apart they'll never see each other. Fletcher will never come to Boston and how can I send Max cross-country to him? .JERRY So because your ex-husband is unreliable, we can't-'- AUDREY I know, it's not logical, it's emotional. I'm sorry. Pause. JERRY I still want to marry you. AUDREY Are you sure? Jerry picks up the PHONE, pulls out a piece of paper, dials. JERRY (into phone) Mr. Crisitelli, Jerry She!ton... I hope I'm not calling too late... Mr. Crisitelli, I'm afraid I have to turn down your offer..'. So am I . . . Well, I've fallen in love with this beautiful woman in L.A. and she doesn't want to leave and I won't leave without her... Well, thank you very much... Yes, good-bye. (hangs up) He wasn't there, but that's 1 the speech I would've made. She smiles and KISSES him. The PHONE RINGS. Audrey answers. AUDREY Hello... INTERCUT WITH: INT. MIRANDA'S OFFICE - NIGHT A UDREY Fletcher, where are you? We're getting ready to cut the cake. FLETCHER Urn, actually, something has come up. A problem on a new caaa-- . Miranda bites one of Fletcher's nipples. F LET CHE R A-h-h-h-! AUDREY What happened? FLETCHER Nothing. I just nailed my ∑knee into the desk... Listen, I'm really sorry I can't 'make it. AUDREY Max is going to be so disappointed. FLETCHER I'll make it up to him, I promise. I'll pick him up from school tomorrow, okay? AUDREY Do you want me to put him on the phone? Miranda starts "reeling in" the phone cord. FLETCHER Ah, no. I have to go. AUDREY Right. ANGRILY, she hangs up. Fletcher stares UNHAPPILY at the phone, before Miranda THROWS HIM BACK ONTO THE COUCH. INT. AUDREY AND MAX'S DINING ROOM - NIGHT WE PAN DOWN from banners reading HAPPY BIRTHDAY, MAX!. . . to a room full of guests... to a desultory five-year-old. Audrey finishes lighting the candles on the homemade cake. AUDREY All right, birthday boy, make a wish. Max doesn't respond. AUDREY (CONT'D) C'mon, honey. It can be anything-- whatever you want most in the world. When he .doesn't respond, she leans down to him.. AUDREY (CONT'D) Max, your dad is sorry. He had to work. MAX He said he was coming. He promised. AUDREY Yes, well, he... promises he'll see you tomorrow. Max doesn't believe it. < He turns his full attention to the candles on the cake. In VOICE OVER we hear what she does not. MAX (V.O.) I wish, for just one day, Dad couldn't tell a lie. He takes a breath --and blows out all the candles. A strange WIND blows the drapes and the wisp of smoke up, up, up... to the clock on the wall. It's 9:15. CUT TO: A clock on a wall. It's 9:15'. We are-- INT. MIRANDA'S OFFICE - NIGHT PAN around Miranda's office, where the displaced sofa is adorned with Fletcher's shoes... To the credenza, where Fletcher's pants hang... To the lamp, where Fletcher's shorts swing... To the desk, where a ravished Miranda lies next to Fletcher. Superbly confident of the answer, she asks-- MIRANDA S o . . . was it good for you? Without thinking, Fletcher responds in the most astonishing way possible-- he TELLS THE TRUTH. FLETCHER I've had better. Miranda turns to him in disbelief -- but it's nothing compared to the LOOK OF SHOCK on Fletcher's face. INT. HALLWAY OUTSIDE MIRANDA'S OFFICE - NIGHT The door opens -- and the naked Fletcher is forcefully kicked out. He goes TUMBLING over a desk as a RAIN OF CLOTHES follow. The door SLAMS SHUT again, leaving him without his pants. A CLEANING LADY stares at him in shock, then takes her broom, aims for his crotch, SWINGS.and. . . INT. BEDROOM - FRIDAY MORNING An alarm CLOCK RINGS. Fletcher BOLTS UP in bed. With regret and wonder he remembers: FLETCHER "I've had better?" INT. FLETCHER'S BATHROOM - MORNING Fletcher brushes his teeth, looks up at his reflection in the mirror, mouth foaming. FLETCHER "I've had better?!" INT. HALLWAY OF FLETCHER'S APARTMENT BUILDING - MORNING Dressed for work, Fletcher waits for the elevator. FLETCHER (laughing it off) "I've had better?" I t arrives. He steps in. INT. APARTMENT ELEVATOR - MORNING The elevator is empty, except for Fletcher... and a beautiful young WOMAN. FLETCHER New in the building? MODEL I just moved in Monday. FLETCHER Ah. Well, you must allow me to give you the grand tour. MODEL (SHE'S INTERESTED) O h? Do you do that for all the new tenants? FLETCHER No. Just the ones I want to bang like a drum. Fletcher's face REGISTERS extreme SHOCK and... INT. LOBBY OF APARTMENT BUILDING - MORNING We HEAR a SMACK off camera and a PING as the elevator door opens. The model storms off and A STUNNED Fletcher steps out, rubbing his freshly slapped face. EXT. COURTROOM -, MORNING A SHAKY Fletcher strides toward the courthouse... when he is accosted by a BEGGAR. BEGGAR Any change, Mister? .FLETCHER Absolutely. But he continues walking. BEGGAR Could you spare some? FLETCHER Unquestionably. Fletcher walks faster, PUZZLED that he has answered truthfully. The beggar is even more puzzled. BEGGAR Will you? FLETCHER No. BEGGAR How come? FLETCHER Because I resent your p re sen ce. You fill me with an unpleasant mixture of disgust and guilt. Further, I don't believe you'll use the money for food, but I believe you'll use it for, at worst, drugs, or, at best, whiskey, or . cigarettes. Also, I'm cheap. As Fletcher heads up the stairs... BEGGAR Jerkoff. INT. COURTROOM - MORNING A winded Fletcher joins Virginia at the respondent's table, VIRGINIA You look like you're having a rough morning. FLETCHER I've had better. He WINCES as he recognizes the words. Then, an extremely wealthy, respectable industrialist, RICHARD COLE enters with his attorney, DANA APPLETON, young, brisk, confident. DANA Good morning, Fletcher. FLETCHER Dana. " RICHARD All right, Virginia, how much will it take to put an end to this? FLETCHER Fifty per cent of your estate. Richard is SHOCKED. DANA Fifty per cent? With a pre- nup and proof of adultery? What's your case? FLETCHER Our case is simply this. . . Fletcher opens his mouth to enlighten her -- but he CAN'T GET THE WORDS OUT. He tries to FORCE OUT SOUNDS, but succeeds only in looking like a fish gasping on dry land. DANA . Interesting, though based on your track record, I expected a little more. Nearing panic, Fletcher whirls to his BRIEFCASE and grabs the brief. FLETCHER .. Wa it! Wait! I've got it in writing! But when Dana tries to take the document, the astonished Fletcher finds himself PHYSICALLY UNABLE TO RELEASE IT. DANA Let go! FLETCHER I'm trying! He INVOLUNTARILY snatches the document away and IT PULLS HIM to a nearby TRASH CAN where he throws it out. At this moment the BAILIFF calls. BAILIFF All rise for the Honorable Judge William Stevens. DANA Very funny, Fletcher. You want to play hardball, I'm game. JUDGE STEVENS takes the bench. JUDGE STEVENS Calling case BA 09395, Richard Cole versus Virginia Cole. How're we doing this morning, counsel? DANA Fine, thank you. JUDGE STEVENS And you, Mr. Reid? FLETCHER Well, I'm a little upset about a bad sexual episode I had last night-- Fletcher screeches to a standstill, suddenly aware of what he just said. After an awkward silence-- JUDGE STEVENS (DRYLY) Well, you're still young. It'll happen more and more. In the meantime, what do you say we get. down to business? First, Mr. Reid, I see that your client was previously represented by Mr. Rand of your office. FLETCHER Yes, Your Honor. JUDGE STEVENS I take it you're seeking to substitute in as counsel? FLETCHER Yes, Your Honor. JUDGE STEVENS Fine , fine. And for the record, the reason is? FLETCHER Mr. Rand had severe ethical objections to my client's case. Fletcher is incredulous. Somehow his greatest asset in the world, his mouth, has become his worst enemy. JUDGE STEVENS I take it you don't share the same ethical objections, Mr. Reid? FLETCHER I have lower standards, Your Honor. JUDGE STEVENS I see. Well, if Mrs. Cole wants the substitution of counsel, I'll allow it. Is that what you want, Mrs. Cole? Virginia looks to the judge, then to Fletcher, whose unorthodox syle seemed so brilliant earlier. VIRGINIA (UNSURE) Yes? JUDGE STEVENS Fine. VIRGINIA (aside, to FLETCHER) What are you doing? FLETCHER (WORRIED) . I don't know. (to judge, with SOME DESPERATION) Your Honor, I ' d like a continuance! JUDGE STEVENS " This case has already been delayed several times, Mr. Reid. FLETCHER I realize that, Your Honor, but I ' d really, really, really like a continuance. JUDGE STEVENS I'll have to hear good cause, counselor. What's the problem? FLETCHER'S P.O.V. The ROOM begins to SPIN slowly -- then faster -- then faster -- until we wind up squarely on -- FLETCHER'S FACE FLETCHER I can't lie! JUDGE STEVENS (IMPATIENT) Commendable, Mr. Reid, but I'm still waiting for the good caus e. Now, do you have it or . not? ' FLETCHER (TRUTHFUL) Not. JUDGE STEVENS Motion for a continuance denied. Is there any chance of a settlement in this case? DANA I don't think so, Your Honor. Mr. Reid made it abundantly clear that the last thing in the world he wanted was to -- FLETCHER (DESPERATE) SETTLE! SETTLE! SETTLE! Dana and Mr. Cole look at Fletcher with surprise. JUDGE STEVENS There appears to have been a change in strategy. Let's go to my chambers and negotiate. He BANGS the gavel. INT. JUDGE STEVENS'S CHAMBERS - MORNING Dana and an apprehensive Fletcher sit before the judge DANA Your Honor, under the terms of the prenuptual agreement, if Mrs. Cole commits adultery, she is entitled to nothing. We have in our possession an audiotape made by a licensed private investigator of an explicit act of sexual congress with a man who is not her husband. JUDGE STEVENS Sounds pretty damning, Mr. Reid. FLETCHER It certainly does. DANA However, my client has no desire to see his ex-wife destitute. Against my advice, he's willing to offer her a cash settlement of.two point four million dollars. JUDGE STEVENS Two four seems like a pretty fair offer, Mr. Reid. FLETCHER Fantastically fair. Phenominally fair. In fact, I'd say beyond fair, bordering on stupid. Dana fumes. The judge finds Fletcher's boldness refreshing. JUDGE STEVENS What are you suggesting, Mr. Rei d? That Ms. Appleton's willingness to proffer such an offer betrays a lack of faith in her position? FLETCHER (utterly sincere) No, not at all. She's got my client dead to rights. When attorneys go to sleep at night, they dream of having a case as strong as hers. DANA Can the sarcasm, Reid. All right, I admit it -- I've seen you make even the lamest case fly. But this time I have you. Even Clarence Darrow couldn't explain this away. She brandishes the audiotape. JUDGE SAMIOAN Wel l, Mr. Reid? without a dynamite explanation, I'd say you're dead in the water. How's you client's story? FLETCHER The best that money can buy, Y o u r Honor. ∑ JUDGE STEVENS Strong corroborating evidence? FLETCHER We have evidence that you are not going to-believe. Despite herself, Dana is beginning to look worried. JUDGE STEVENS You're pretty confident how this trial is going to come out, eh, Mr. Reid? FLETCHER (hopeless) . "Confident" is too weak a word, Your Honor. I am certain what will happen if I take this puppy to trial. The verdict will be a stunning, humiliating defeat that will cut a spectacularly promising legal career off at the knees. Fletcher is referring to himself, of course, but Dana thinks he's speaking about her. She buckles. DANA All right! Double the offer! Four point eight! And not a penny more. (venomous, to FLETCHER) Bastard! She storms out, leaving an astounded Fletcher behind. JUDGE STEVENS You are some negotiator, Mr. Reid. If your client has half a brain, she'll jump at the offer. CUT TO: VIRGINIA No! We are -- INT. COURTROOM - MORNING Fletcher has joined Virginia at the respondent's table FLETCHER No? ! Mrs. Cole, this offer was a miracle. I'm talking about a walking-on-water, Lazarus-rising-from-the-dead, FIND-NO-LINE-AT-THE-FRIGGIN'- DMV miracle! You've gone from two point four to four point eight million in... (checks his WATCH) four minutes. Think of it this way -- now you're getting paid seven hundred thou per schtupp! ∑ ∑ ∑ VIRGINIA Mr. Reid, you convinced me yesterday -- I'm the victim here, starved for affection, driven into the arms of another man-- FLETCHER Seven! ∑ VIRGINIA -- Seven other men. With the story you came up with, I don't think I can lose. I want to proceed. FLETCHER Mrs. Cole, you don't ∑. understand, I-- But before Fletcher can finish, the judge enters. JUDGE STEVENS Well , Mr. Reid. Do we have a settlement? Fletcher looks pleadingly at his client, but she is firm. He shakes his head unhappily. The judge is irritated. JUDGE STEVENS (CONT'D) Th ere' s no settlement. Trial to start at one-thirty sharp. He BANGS the gavel. Fletcher emits an involuntary whimper. INT. HALLWWAY OF LAW OFFICES - MORNING DA ZED, Fletcher makes his way down the hall. Jane comes toward him wearing a hairstyle that resembles a nest. He tries to avoid her, but... JANE What do you think? FLETCHER . I think you need help. HORRIFI ED, Fletcher hurries on. The heavyset Thomas ambulates in his way. ∑ - ∑ THOMAS What's shakin', Fletcher? FLETCHER Your cellulite, Tubster. The now panicked Fletcher breaks into a run, passing Fred. FRED Hiy a, Fletcher. How's the Cole case going? FLETCHER (not stopping) 'Straight into the crapper, you wuss, with my career right behind it. P Fletcher is RUNNING NOW, COVERING HIS EARS and SINGING LOUDLY so as not to hear OTHER EMPLOYEE 'GREETINGS... FLETC HER LA-LA-LA-LA-LA-LA!! Fletcher speeds past-- ∑ GRETA Hi, boss. What's happening WITH-- FLETCHER DON'T ASK! FOR GOD'S SAKE, PLEASE DON'T ASK! -- And races into his office. I NT . FLETCHER'S OFFICE - MORNING He leans against the door, trying to catch his breath. ∑ FLETCHER, (PACING) Do n't panic. You can beat this -- it's all a matter of willpower. He dives for his desk and rifles through it. FL ET CH ER A test. . . Something small... Aha! He holds up a BLUE PEN. FLETCHER (CONT'D) Red. Red. All right. Focus, (with great DELIBERATION) The color of this pen is ∑ r--. R--. R--! The color of this pen is--blue! AAAAHH! (burying his HEAD) Ahhhh! One' tiny lie and I can't say it!! (suddenly sitting UP) ' I'll write.it! He takes a sheet of PAPER, his pen and writes "This pen i s . . . " He tries to write an "R" but can't. He STRAINS. S TR AIN S HARDER. He's out of his chair, on the desk. His feet KICK OVER OBJECTS on the shelves'behind him. He finally forces pen to paper. He looks down where he wrote INADVERTENTLY: "This pen is blue." F LE TC HE R NO, NO, NO, NO, NO! ! ! ! Greta enters to find-- FLETCHER running around the office, shaking the blue pen in the air. GRETA Boss, what's wrong? FLETCHER . The pen is blue!! The pen is . b l u e ! ! The GODDAMN PEN IS BLUE !!! Almost weeping, he collapses into a chair. A moment -- then Greta tentatively offers him a red pen. GRETA Red? FLETCHER (BITTER) Oh, that's easy for you to say?! GRETA Are you all right? FLETCHER (getting up) I have to go home. GRETA Home? Was the case settled? FLETCHER No. I have to be in court at one-thirty. GRETA Well, then how can you.go home? FLETCHER I don't know, I don't know!!! GRETA Okay. (walking on EGGSHELLS) Before I forget -- Rubin and Dun n called. They want to know where the Darvis settlement offer stands. FLETCHER I only proposed a settlement t o dick with them. I never had any intention of going th ro ug h with it. . Not certain why her boss would .shoot himself in the foot, Greta nonetheless jots down his remarks. GRETA '∑...dick with them." Okay. Your accountant, Philip, called to remind you about getting together. . FLETCHER I'd rather shave my ass and sit in vinegar.. GRETA (jotting down a NOTE) Got it. And your mother called again. Are you still on vacation? FLETCHER (EMPHATICALLY nodding "yes") No. GRETA So then you're here? FLETCHER (EMPHATICALLY shaking his head "NO") Yes. GRETA I ' m having a little trouble following you. what do I say to your mom? FLETCHER (RESIGNED) Tell her I'm a thoughtless son who'd rather spend ten hours clogging the wheels of justice than five minutes talking to her-- but only if she asks. You.might also add that she deserves better, though I hope to God you don't. GRETA Thanks for clearing that up. And that's it, except your ex called and asked when you were cowing over to see your son. FLETCHER (REMEMBERS) OHH! I'M SUCH A SHIT!! He reacts, particularly stunned by this truth. INT. VOLVO - MOVING / FLETCHER'S OFFICE - MORNING Audrey is driving Max, who wears his new baseball uniform when her cellular PHONE RINGS. She picks it up. We INTERCUT between car and office. FLETCHER AUDREY-- AUDREY' Hey, Fletcher. T was wondering if you were going to still pick up Max after school today. FLETCHER I don't think I can. I had a case I was certain would settle and it didn't. I have to go to trial this afternoon, God help me. AUDREY (not believing HIM) Right. FLETCHER It's true... I really do want to see Max, today. Fletcher considers what he just said, realizes it is true. FLETCHER (CONT'D) How about that. I really do. AUDREY (CYNICALLY) But things keep coming up at the last minute. FLETCHER Yes, but-this time it's different. AUDREY I see. And how is that? . ∑ FLETCHER ( he walked into IT) This time I'm telling the truth. AUDREY But last night you weren't? FLETCHER No. AUDREY What were you doing? FLETCHER Having sex. AUDREY (barely holding her temper), It must have been with someone very "special." FLETCHER No. It was with someone I don't even like. But I thought it would help my career and at the moment that seemed more important than attending my son's birthday! A U D R EY M y God!! She SLAMS DOWN the phone. INT. FLETCHER'S OFFICE Fletcher BANGS THE PHONE against his head in frustration! '. FLETCHER A H H H H H H ! ! I WHAT IS WRONG WITH ME I ! I E X T . FULGHAM KINDERGARTEN - MORNING The Volvo parks. Audrey gets out. She leans over to say good-bye to her son. , . MAX Is dad picking me up? AUDREY No, I'm sorry, Max. He can't make it. I will. I'll work it out. Max is disappointed. MAX I guess my wish didn't come ∑ true. AUDREY What wish? MAX I wished that, for just one day, Dad couldn't tell a lie. Max heads toward his teacher. Audrey is deeply moved. INT. FLETCHER'S OFFICE He's dialing the phone. FLETCHER Answer, answer, answer... INTERCUT WITH AUDREY'S CAR AUDREY Hello. FLETCHER Audrey, let me explain. Something has happened to me-- AUDREY Fletcher, something else is about to happen to you. FLETCHER. What do you mean? AUDREY Max and I are moving to Boston. FLETCHER What?! AUDREY Jerry asked me to marry him. He wants Max and I to fly with him this weekend to pick out a house. And I'm going to go. God knows I don't have any reason to stay here. FLETCHER (panicking) . Wait, you can't move! If you take Max away... I'll practically never see him. AUDREY Well then you'll have pretty much the same relationship you have with him now. FLETCHER Audrey, please.... Is this because of what I just said on the phone? AUDREY That was the straw and this is the camel's back saying goodbye. FLETCHER Where are you? AUDREY Heading home. FLETCHER When you gee there, stay there. I'll be right over. We have to talk. AUDREY FLETCHER-- FLETCHER I'll be right- there! He hangs up and heads for the door. It opens and Miranda enters. FLETCHER (CONT'D) Aaaah! MIRANDA Flet cher. Fletcher, Fletcher, Fletcher. I must confess-- after last night's incident, I was. . . hurt. So hurt. I was tempted to do whatever little things lie in my power to scuttle your chances of making partner. Fletcher is FRIGHTENED. MIRANDA (CONT'D) But then I thought, "No, that 's not fair. Fletcher didn't mean to insult me." (STRAIGHTENING his tie) "It was just some massive, boneheaded misunderstanding, and Fletcher is very, very sorry." Fletcher smiles. It looks like he's off the hook, until-- MIRANDA (CONT'D) Isn't that right, Fletcher? FLETCHER (in agony) Uh -- not really, no. MIRANDA (stunned, angry) N o ? No?! What are you sayi ng? Have you no respect for me?! FLETCHER None, whatsoever. I mean, I ' d like to respect you, and if it weren't for your mistreatment of the associates, your rudeness to the staff, and the fact that your work sucks, I would. M IRANDA But -- what about last night? FLETCHER I was afraid you wouldn't support my partnership if I turned you down. Plus, I have an immature need for sexual conquests. INT. HALLWAY OF LAW OFFICES - MORNING W e HEAR A SMACK! The door flies opens -- and a furious Miranda stalks off. ∑ INT. FLETCHER'S OFFICE - MORNING Fletcher rubs his freshly SLAPPED FACi.. INT. BMW - MOVING / EXT, STREET - MORNING Fletcher speeds away. He pulls the blue pen from his pocket. FLETCHER Gotta focus. . . gotta focus. He's so preoccupied that he speeds through a crosswalk and almost hits an OLD MAN. FLETCHER The color of the pen is -- re d ! . But he hasn't regained the ability to lie -- he's referring to the RED LIGHT he just ran, nearly colliding with a truck. The DRIVER screams: DRIVER What's your problem, schmuck?! FLETCHER (the truth) I ' m an inconsiderate prick! Fletcher once again focuses on the blue pen. FLETCHER (CON "ID) C'mon, you can do this! The color of the pen is -- RED! This time he's referring to the flashing red light of a POLICE CAR in his rearview mirror. FLETC HER S hi t !! Fletcher pulls over. A POLICE OFFICER strolls up. POLICE OFFICER Do you know why I stopped you? FLETCHER Depends on how long you were following me. POLICE OFFICER Why don't we take it from the top. FLETCHER ∑ (in agony) Here goes -- I didn't fasten my seatbelt, I didn't glance in my rearview mirror, I didn't signal when I pulled away from the curb, I sped, I followed too closely, I ran a stop sign, I almost hit :a Chevy Camaro, I almost hit a ge ezer, I sped some more, I failed to yield at a crosswalk, I changed lanes in the intersection, I changed lanes without signalling, and I changed lanes in the INTERSECTION-WITHOUT signalling while running a red light and speeding. A long moment. POLICE OFFICER May I see your driver's license? FLETCHER No. POLICE OFFICER And why is that? FLETCHER It's in my other pants. POLICE OFFICER I see. And where are your ∑ other pants? FLETCHER Hanging from my boss's credenza. POLICE OFFICER Do you expect me to believe that? FLETCHER No. POLICE OFFICER Do you think I'm an idiot? FLETCHER Yes -- but that's beside the point! My license actually is in my other pants, and they actually were hanging from a credenzaJ I wouldn't lie to you! I mean, I would if I could, but I can't! POLICE OFFICER I see. So you ..have no reason to try and hide your license from me? FLETCHER I didn't say that. I have other reasons. Seventeen reasons, to be precise. (begrudgingly, off the officer's look) Unpaid parking tickets. (BESEECHINGLY) Be gentle. EXT. AUDREY'S HOUSE - MORNING A cab speeds up to the house. Fletcher runs out. Audrey is headed to her car. FLETCHER Audrey, wait! AUDREY Wait? You know, I just had an insight into myself. I ' m crazy. You call me up and . tell me to wait here because you'll be right over and -- here's the crazy part -- I actually wait. FLETCHER I can explain-- AUDREY I missed a department meeting. I. . . Did you come in a cab? FLETCHER Yes. AUDREY Where's your car? EXT, POLICE IMPOUND YARD - MORNING Audrey finishes paying the impound-yard CASHIER and joins Fletcher, who is waiting alongside hundreds of towed cars. FLETCHER Thank you. . I can't tell you how much this means to me. AUDREY I can. One thousand, six hundred, and fifty-four dollars and eleven cents. FLETCHER Ow. At this moment WE HEAR a hideous scraping noise -- and a TOW-YARD EMPLOYEE whips Fletcher's BMW into view and. parks... revealing a prominent new scrape on the door. FLETCHER (CONT'D) You scratched my car! TOW-YARD EMPLOYEE Where? . FLETCHER Right there! TOW-YARD EMPLOYEE Oh that? That was already there. FLETCHER (OUTRAGED) Why, you -- you liar! Do you know what I ' m going to do about this? TOW-YARD EMPLOYEE What? FLETCHER (angrier and ANGRIER) ...Nothing! Because if I take you to small-claims court, it will just drain eight hours out of my life, and you probably won't show up, and if I finally got the judgment you'd just stiff me anyway, so what I'm gonna do is piss and moan like an impotent jerk and . then bend over and take it up the tail pipe! TOW-YARD EMPLOYEE You've been here before, haven't you? He flips Fletcher the keys and goes. AUDREY Well I can't remember when I've had more fun, now if you'll excuse me, I have a class. She starts out. FLETCHER Audrey, wait. I want to talk to you about this Boston situation. . AUDREY What do you want to say? FLETCHER You can't go. It's not fair. Taking Max three thousand miles away is not fair. AUDREY Let' s define "fair." Last ∑ night a five-year old boy was crushed because his father lied to him about coming to his birthday party. Fair? FLETCHER Last night-- AUDREY -- Was none of my business. When it happened two years ago it was my business, but now I don't have to care anymore. See, that's the magic of div orce . But it does matter to Max. Everything you do matters to him... and everything you don't do. FLETCHER All right-- now let me tell you something...you're absolutely right. I'm guilty of all charges. I'm throwing myself on the mercy of your -court. Audrey doesn't know what to say. Fletcher seems very sincere, but she can't trust him. FLETCHER {CONT'D) I have an idea. I'll come over tonight, right after court lets out and play with M ax. Have him invite some fri ends over. We'll have a game and everything. Then, you and I can sit down and talk. AUDREY We're suppose to be on a plane TONIGHT-- FLETCHER No, Audrey. Just talk to me abou t this first. Please. Au drey, I've lost you. Don't make me lose Max, too. AUDREY You're really coming? FLETCHER This is iron-clad. This is the mother of all promises. What time? AUDREY ...Six? FLETCHER Ten-to-six. AU DR EY (UNSURE) All right... only if I tell Max you're coming and you don't show up and I have to see that look on Max's face -- that heartbreaking look-- it's Boston, Fletcher. FLETCHER. I will be there. As Audrey gets in her car -- . AUDREY I hope so. Do you know what your son was doing at nine- fif teen las t ni ght? He was making a wish on his birthday c ake. He was wishing that, for just one day, his dad couldn't tell a lie. She drives away. Fletcher starts for his car, pensive, when a new thought strikes him. FLETCHER Oh my God! That-'s it! An innocent kid - - a heartfelt plea-- a birthday wish! Sure, it' s impossible --but it 'makes sense!..! If he can wish it, he can unwish it! INT. ELEMENTARY SCHOOL HALLWAY Fletcher marches quickly down the hall, cake box under his arm. INT. MAX'S KINDERGARTEN CLASS Ms. Berry's reading a story when Fletcher enters. Max brightens. MAX Dad! MS . BERRY Are you Max's dad? I ' m Ms. Berry, Max's teacher! FLETCHER Hi. Listen, I need to talk to MAX-- MS. BERRY Mr. Reid, we were just talking ab ou t careers. You're a lawyer, aren't you? FLETCHER (WARY) Yes. MAX Mr. Reid it'would be wonderful for the children to hear something positive about lawyers! FLETCHER Well, actually-- ∑ MS. BERRY Children! .Mr. Reid is going to tell us what it's like to be a lawyer. She leads the kids in APPLAUSE. Fletcher takes center s tage. The children stare, rapt with attenion. FLETCHER Uh, hi. Uh, I'm a lawyer and I work at a big law firm with a lot of other lawyers and I do stuff in a law court. Thank you. He starts out. MS. BERRY One moment, Mr. Reid. Maybe some of the children have QUESTIONS (hands shoot up) Jeffrey? JEFF What kind of lawyer are you? FLETCHER Mostly, I ' m a divorce lawyer. BILLY What's that? FLETCHER It means if you're daddy left your mommy, he'd call me. CRAIG So what do you do? FLETCHER (growing more and more impatient) I help people fight over their money and their children. THEODORE Can't they fight without you? FLETCHER ' " They could but then J wouldn't make a living. JILL Why would my daddy leave my mommy? FLETCHER To marry a younger woman. To escape a loveless marriage and have cheap meaningless sex. To cling to an illusion of youth as his body gives way to sore backs, flat feet, spare tires, gum disease, hair loss, liver spots, kidney stones, clogged arteries, diabetes, goiter and eventual death. The kids EYES GO WIDE. A moment, then: MS. BERRY (BRIGHTLY) Well, I think it's time for fingerpainting. EXT. PLAYGROUND - DAY They're in the playground just outside the classroom. FLETCHER Monster-Max. MAX Dadzilla. You came to play catch? FLETCHER No. I ' d like to, but I can't right now. Max is disappointed again. FLETCHER (CONT'D) I ' m sorry I missed your party la st night. How was your Uncle Glen? MAX Stupid. His big nose and stupid orange hair... FLETCHER That's why he should have worn make-up. Fletcher elbows Max, playfully, trying to induce a laugh. Max doesn't laugh. ' MAX . I want to play kickball with my friends.- FLETCHER Yeah, okay, urn... Your mother told me about... the wish you made last night. It came true. Max is amazed. MAX Really? You mean you have to tell the truth? FLETCHER Yes. MAX No matter what? FLETCHER No matter what. Max grins -- then suddenly asks, in rapid succession. MAX Is wrestling real? FLETCHER In the Olympics, yes. On . Channel 23, no. MAX Will sitting close to the TV set make me go blind? FLETCHER Not in a million years. MAX If I keep making this face-- (makes a horrible FACE) will it get stuck that way? FLETCHER Uh-uh. MAX .If I go in the water right after lunch, will I drown? FLETCHER Only if you can't 'swim. MAX Why do I have to eat squash? FLETCHER Because your mom buys it. MAX How come you're always too busy to play with me? The sudden shift in tone startles Fletcher. He feels awful. FLETCHER I . . . I don't know. I ' m . . . Hey, you know I'm coming over to nig ht. We're gonna play together. MAX Baseball? FLETCHER . Yes! This is absolutely an A-number one promise. You and I -- tonight -- baseball. Fletcher and Max do their ritual "five" slap. FLETCHER Now, listen, Max, I need a favor from you. I ' m in a little trouble today. I need you to take that wish back. MAX So you can lie? FLETCHER Not to you. MAX To who? FLETCHER Max, sometimes grownups... need to lie. It's hard to explain, but i f . . . Look, here's an example. When Mommy was pregnant with you, she gained a little weight. Se venty pounds. I thought she was gonna give birth to a car. But she'd say to me "How do I lo ok?" So I'd say, "Oh, honey, you're beautiful, you're glowing.11 Otherwise, I would've hurt Mommy's fee ling s. Understand? Max nods. MAX You didn't think she was beautiful. FLETCHER Right. No... Max, I don't know how to get along in the grown-up world if I have to stick to the truth. I could lose my case, I could lose my promotion, I could even lose, my job... Do you understand? Max shakes his head "no." FLETCHER (CONT'D) Will you help me anyway? A moment -- then Max reluctantly nods. FLETCHER (CONT'D) That's my boy! Fletcher opens the box, revealing a cake and candles.... He takes out two birthday hats. He puts one on Max and one on himself. FLETCHER (CONT'D) Now, do whatever you did last night... only this time, make an un-wish. Not really happy, Max turns to the candles on the cake. He takes a breath-- and blows them out. MAX I did it. ^ FLETCHER Great! Great! Now to test -- ∑ Fletcher spots an attractive FEMALE teacher. Fletcher hurries to her and says something. A moment. Then she SLAPS HIM. Fletcher returns to his son. MAX Did it work? FLETCHER . . (rubbing his sore CHEEK) Not like I ' d hoped. Did you really unwish it? Max nods. MAX Only... FLETCHER Only what? MAX Yesterday, when I wished it, I r ea lly meant it. This time when I unwished it I only did it 'cause you told me to. FLETCHER (losing patience) Well, then do it again. Only this time, mean it. MAX I can't. FLETCHER Why not?! MAX Because I don't want you to lie. FLETCHER I explained this to you! I have to lie. Everybody lies! Mommy lies, even the wonderful Jerry lies-- ' MAX But you're the only one who makes me feel bad. . ' . ∑ ∑ Fletcher is stunned by how much this hurts. MS. BERRY (CALLING) Max, recess 'is over, come on in. MAX I have to go. FLETCHER I am coming over, tonight, Max. You believe me, don't you? Max hesitates, then nods. FLETCHER (CONT'D) I'll see you tonight, buddy... That's a promise. Max heads back to class. Fletcher picks up the cake, looks at it, then dumps it in a trash barrel. EXT. SKYSCRAPER - DAY A worried and preoccupied Fletcher is heading toward his office building when a MACHO ATTORNEY passes by. MACHO ATTORNEY Yo, Fletcher! How's it hanging? FLETCHER Short and shrivelled. Fletcher hurries up the steps when he spots Philip. He shields his face with his briefcase. Philip recognizes him anyway. PHILIP Fletcher! I'm still waiting for your call. I guess you must've lost my card -- FLETCHER No -- PHILIP Or my phone was busy -- FLETCHER No -- ∑ PHILIP Or you just forgot -- FLETCHER No -- PHILIP (cannot be DISCOURAGED) Or something. So anyway,' why don't you swing by my place around seven-thirty! Philip starts off, when Fletcher calls after him resolutely. FLETCHER Philip... I don't want to come over to your house! A long moment, then -- PHILIP Fi n e ! We'll go out! There's this new karaoke bar I've been dying to try. I'll pick you up at your office! Seven- thirty! ! And he runs off. Frustrated, Fletcher hurries on. INT. OFFICE'S - DAY Fletcher drags himself past Greta's desk. Miranda gives him the stink-eye. Fletcher doesn't see her. GRETA Do you want your messages? FLETCHER No. He goes into his office. Greta is concerned. She follows him in, leaving his door open. INT. FLETCHER'S OFFICE - CONTINUOUS Fletcher collapses onto his couch. Greta enters. GRETA Are you okay? FLETCHER My son hates me. GRETA No! He loves you. I've seen y ou together. You're his hero. FLETCHER O h yeah? Last night at his birthday party, he made a ∑wish. That I wouldn't be able to tell a lie for one whole day. GRETA Kids... FLETCHER It came true. GRETA What? FLETCHER It's true. Didn't it seem odd to you that I kept telling the truth all morning? GRETA Well, yeah, but... (INCREDULOUS) You're telling me that you can't lie. FLETCHER That's right! I am incapable of lying. INT. OUTER OFFICE Miranda is 'eavesdropping. A wicked gleam in her eye, INT. FLETCHER'S OFFICE GRETA Just today? FLETCHER Apparently until 9:15 tonight. It's a twenty-four hour curse. GRETA Yes, those are going around. FLETCHER You don't believe me. GRETA Of course not. FLETCHER Go ahead. Ask me something I ' d normally lie about. She thinks. GRETA A ll right. Remember a few months ago, I wanted a raise-- FLETCHER (QUICKLY) Forget it. Let's not do this. GRETA -- and the firm wouldn't.give me one. And I asked you if you would give it to me out of your own pocket and you said the company wouldn't permit it because it creates jealousy among the other secretaries? Was that true or did you just not want to pony up the dough? INT. OUTER OFFICE Greta is emptying all her personal effects into boxes. She's leaving. Fletcher is on the phone and looks very harras,sed. FLETCHER Greta, please... (into phone) Yes Judge Stevens, hi!.. Fletcher Reid. I ' m scheduled to be in your court in half- an-hour... Judge Stevens, I badly, badly need a continuance. . . so I can go home and stay there the rest of the day...111? Am I ill? He wants to say "yes", but he can't. FLETCHER In a way. (covers the MOUTHPIECE) Please, lie to him for me. Greta holds up a framed photograph. GRETA I remember when you. bought me t hi s silver frame. From Tiffany's. (QUESTIONING) . . . Tiffany's? FLETCHER Jumbo's House of Junk. She thrpws it in the trash and keeps packing. FLETCHER (CONT'D) I'll give you the raise! GRETA (gives him the FINGER) Here's your raise. FLETCHER (into phone) Hi, Judge Stevens?... Yes, I know I haven't given you a reason. The PHONE RINGS. FLETCHER (CONT'D) (into phone) But if you could just do this for me, I-- The phone won't stop ringing. .∑' FLETCHER (CONT'D) Hold on, please, (pushes two BUTTONS) Hello... Mom!! The phone flies into the air. He catches it. FLETCHER {CONT'D) Mom... Well, I wasn't actually on vacation... Because I didn't want to talk to you... Because you insist on talking to me about Dad's bowel movements -- size, color, frequency... I'll call you later... No, not really. He pushes -two more buttons. Then SCREAMS. FLETCHER (CONT'D) Oh dammit! I cut him off! I cut off the Judge! Greta... He falls to his knees. FLETCHER (CONT'D) I'm on my knees in a nine hundred dollar suit. Don't leave. Greta stops. She seems to consider. GRETA A few years ago a friend of mine had a burglar up on her roof. FLETCHER Yes? GRETA .. A burglar. -He fell through the kitchen skylight and landed on a cutting board on a butcher's knife, cutting his l e g. He sued my friend. The burglar sued my friend. Thanks to guys like you-- he won. My friend had to pay him six thousand dollars. Is that justice? FLETCHER No. . . but what' s your poijit! GRETA My point is, it's hard to get justice. But this is justice, (pinches his CHEEK) Have a nice day in court, bubbie. She leaves. Fletcher starts to give chase... FLETCHER GRETA-- He runs directly into Miranda. FLETCHER Aaaah! Miranda smiles like a cat that's trapped a mouse. MIRANDA Ah, Fletcher, so nice to bump i nto you. Are you busy? FLETCHER Extremely. MIRANDA Good. Would you follow me, please? Highly nervous, Fletcher follows Miranda down the hall. MIRANDA (CONT'D) Fletcher, did you know that the partnership committee is being headed up by Mr. Allan himself? (off his wary NOD) Say, you used to work directly for Mr. Allan, didn't you? (off his waried NOD) Tell me, what do you think of him? FLETCHER (HELPLESS) He's a pedantic, pontificating, pretentious bastard, a belligerent old fart, a worthless, steaming pile of cow dung. MIRANDA (GRINNING) How delightful! She swings open a door, ushering Fletcher into -- INT. CONFERENCE ROOM - DAY The room is filled with ATTORNEYS, including MR. ALLAN, the founder himself. Fletcher freezes. MIRANDA Pardon me for interrupting your, meeting. Mr. Allan, you remember Fletcher Reid. ∑ MR. ALLAN ∑It's good to see you again, Fletcher. '. An involuntary WHIMPER from Fletcher. MIRANDA Oh, that's right. You used to work together. .Tell me, what do you think of Mr. Allah? Fl etc he r gulps. This is it. His career is history. He's trying to hold it back, but-- MIRANDA I said... What do you think of Mr. Allan? FLETCHER . He's a pedantic, pontificating, pretentious bastard, a belligerent old fart, a worthless, steaming pile of cow dung. DE AN SILENCE. Then --Mr. Allan bursts into raucous LAUGHTER. He is joined by everyone except Miranda, who looks on, STUNNED. Everyone pounds the table in hysterics. MR. ALLAN Marvelous! Marvelous! That's what I love most about this firm-- the collegial atmosphere, the hearty good- fellowship! Miranda is incensed. MR. ALLAN (CONT'D) And thanks for those flowers for my anniversary. My wife loved them. FLETCHER Well, I'm due in court... bye- bye. INT. HALLWAY - CONTINUOUS Fletcher exits the conference, closes the door, breathes a sigh of relief, then FAINTS. . INT. COURTROOM CLOSE UP of Fletcher, seated alone at a table. His hands are on his-face. He looks totally dazed. At the other table, sit Dana Appleton and Mr. Cole. BAILIFF All rise. They do. Judge Stevens enters. He sits. Everyone sits. JUDGE STEVENS Counselors, are we ready to begin? FLETCHER (eagerly and a little too LOUDLY) N o sir! We are not ready to b eg in. My client has not arrived. The doors OPEN and Virginia Cole enters with her CHILDREN and a NANNY. FLETCHER ∑ . -- until now. He collapses into his chair. (to Falk, with DETERMINATION) Did you and Mrs. Cole ever make lo-- forni-- roll in the h-- make the beast with two ba -- Did you two ever fu-- fu-- Fu! He begins to hyperventilate. Virginia turns to Falk. VIRGINIA Wate r! Get him water! Falk hurries into the building as Fletcher hacks on. FLETCHER Fu-- fu-- / VIRGINIA S it down! Get some air! (slaps him on the BACK) Try to relax! Breathe deeply! Falk hurries out with a cup, hands it to Fletcher, who downs it in one gulp -- then spews it out again, SCREAMING in PAIN. - VIRGINIA (CONT'D) W hat?! What?! FALK I couldn't find any water, so I got him coffee! Fletcher runs up and down the steps, frantically fanning h is scalded mouth. The bailiff appears. BAILIFF Judge is taking the bench. Fletcher's expression turns to terror. INT. COURTROOM - DAY The judge settles in. Mr. Allan and a smug Miranda look on from the gallery. JUDGE STEVENS You may proceed, Mr. Reid. . Everyone turns to Fletcher in anticipation. In a voice quaking with fear... VIRGINIA Sorry. One of the kids threw up in the car. Virginia takes her seat, leaving her two young children sitting dejectedly in the gallery with their nanny. FLETCHER (INCREDULOUS WHISPER) You brought your kids. . . to your divorce? VIRGINIA (by way of EXPLANATION) Sympathy. FLETCHER Well, it's working. I feel sorry for them already. The judge BANGS the gavel. JUDGE STEVENS Ms. Appleton, you may begin. CUT TO: Dana Appleton questions BRYSON, a private investigator. Fletcher watches with mounting anxiety, NERVOUSLY DRINKS from a GLASS OF WATER at his table. BRYSON (referring to his NOTES) -- From March six through June twelve, I surveilled Mrs. Cole at the behest of Mr. Cole. During that period, I noted that Mr. Cole left each day between seven-forty and seven- fifty. Thereafter, Mrs. Cole would frequently have a male visitor arrive and stay for one to four hours. I was able to take several photographs of the male visitor. He shows a photo - - o f a strapping hunk. Fletcher TAKES A HUGE DRINK. . DANA I see. And do you .know what Mrs. Cole and her male visitor did during their frequent... visits? BRYSON Well, they were pretty good about keeping the shades drawn -- but I sure was able to hear. I made an audiotape of one such., "session." H e hands her the tape. Fletcher refills his glass. DANA With the Court's permission, I would like to play the tape. FLETCHER Your Honor, I object! JUDGE STEVENS And why is that, Mr. Reid? FLETCHER (can't help HIMSELF) Because it's devastating to my ∑case. The judge is startled by his candor. JUDGE STEVENS Overruled.. As Dana pops the tape into a player, Fletcher anxiously DOWNS THE GLASS. Periodically CUTTING to Virginia, Mr. Cole, Dan and the thirsty Fletcher, we hear Virginia and her visitor engaged in intense physical activity. MALE VISITOR (O.S.) So , what did you say? You ready? VIRGINIA (O.S.) Oh boy am I ready. MALE VISITOR (O.S.) Good. Let me help you off with that. Come on, lie down. VIRGINIA (O.S.) Wai t a minute. Do you have protection? MALE VISITOR ( O . S . ) Right here. Okay, now I ' m gonna show you something new. VIRGINIA ( O . S . ) Oh, I've never done it like this before. .∑. MALE VISITOR (O.S.) Don't worry, you can take it. Oh yeah. That's it. There you go. Yes! Yes! WE HEAR labored rhythmic breathing. MALE VISITOR (O.S) (CONT'D) Yes, yes, yes -- As Dana fast-forwards again, then resumes... with still more labored breathing, building intensity and -- MALE VISITOR (O.S.) (CONT'D) Oh yeah, bring it on .home -- yes! Yes! Yes! VIRGINIA (O.S.) Yes! YES! YES! The groans reach their incredible climax. There's a still moment. . . As the shy COURT REPORTER, the macho BAILIFFS and the no- nonsense judge all mop their brows, Dana shuts off the tape. She turns to Fletcher with a satisfied smile. DANA Your witness. FLETCHER No questions. JUDGE STEVENS No questions? . VIRGINIA No questions? FLETCHER (afraid to ask ANY) No questions. DANA (TRIUMPHANT) Petitioner rests. JUDGE STEVENS All right, Mr. Reid. You may proceed. FLETCHER (to himself) How?! Gathering his courage, he stands, downs the last of his water, and moves to the lecturn. He's about to speak... when a WONDERFUL FEELING sweeps through him. After a momement, he grins. FLETCHER (CONT'D) Would the Court be willing to grant me a short bathroom break? JUDGE STEVENS It can't wait? FLETCHER Not unless you want to mop up. JUDGE STEVENS (FRUSTRATED) All right, but get back in here immediately so .we can finish this. Fletcher beams. Then necessity compels him to race out. INT. REST ROOM - DAY Fletcher stands before the urinal, taking the longest leak i n legal history. Relief. Then, he looks at his watch. It's only 4:15. ' FLETCHER What did I think? That I could piss for forty-five minutes?! He HITS HIS FOREHEAD in frustration... and gets an idea. He HITS HIMSELF AGAIN and AGAIN, SMASHES HIS HEAD INTO THE WALL, POKES HIMSELF IN THE EYES, YANKS ON HIS EARS, finally KNOCKS HIMSELF IN THE STALL, where he continues his attack. A MAN enters, hears a commotion from behind the stall door. MAN What's going on in-there? FLETCHER (O . S . ) I ' m abusing myself! Do you mind?! The man looks disgusted. He carefully leaves the room. INT. COURTROOM - DAY The judge is PISSED. Suddenly the bailiff helps in the severly beaten Fletcher. The entire courtroom is SHOCKED. BAILIFF I found him like this in the bathroom. Somebody beat the hell out of him. JUDGE STEVENS Who did this? FLETCHER (TRUTHFULLY) A madman, Your Honor.. A desperate fool at the end of his pitiful.rope. JUDGE STEVENS -What did he look like? FLETCHER (DESCRIBING HIMSELF) About five eleven, hundred eighty-five pounds, crazed look in his eye. JUDGE STEVENS Bailiff, have the deputies search the building. A HUBBUB rises. He bangs the gavel. JUDGE STEVENS (CONT'D) Under the circumstances, I have no choice but to recess this case until tomorrow morning at nine. Fletcher smiles serenly -- until -- JUDGE STEVENS (CONT'D) -- Unless, of course, you think you can still proceed? Fletcher covers his mouth in a desperate attempt to avoid answering, but he can't repress the truth. JUDGE STEVENS (CONT'D) Can you? FLETCHER Yes, I can. JUDGE STEVENS Splendid. I admire your courage, Mr. Reid. I'll give you a few minutes to compose yourself, and then we'll get started. Fletcher looks as if he has just been sentenced to death. EXT. COURTHOUSE STEPS - DAY Fletcher sits on the courthouse steps, miserable. PHONE RINGS. FLETCHER Hello. INTERCUT WITH MAX AT HOME. AUDREY IS THERE. MAX Dad... FLETCHER (summoning up ENTHUSIASM) Maxi-pad. How's it going? MAX Great. You know Paul and Emanuel from across the street? FLETCHER The twins. MAX . (EXCITEDLY) Well, they never want to play baseball with me, but I told them I was gonna play tonight with my Dad, so now they want to play with us. Is it okay? FLETCHER Sure. MAX Oh boy. We're setting up a whole field in the yard. Where we buried Petey the hamster is second base. (Fletcher sighs) You're still coming right?' FLETCHER (sees Virginia APPROACHING) I'11 be there. I gotta go now, Max. I'll see you in two hours. Max hangs up. MAX (to Audrey) He's really coming. She smiles, but she's worried. . COURTHOUSE STEPS ∑ Virginia approaches with her handsome lover, LAURENCE FALK. VIRGINIA Mr. Reid, you remember Laurence Falk, the man from the tape. FALK How are you? FLETCHER I've slipped into the seventh circle of Hell, thank you, and you? Virginia exchanges an anxious look with Falk. VIRGINIA Shouldn't we go over our testimony? FLETCHER Well, basically the plan is I walk you through the tape step by step, I ask you questions-- VIRGINIA And we give the explanation you came up with. FLETCHER Exactly. FALK So all we have to do is lie. Sounds simple enough. FLETCHER Do esn't it? And I'll finish up with a dramatic series of questions, something like... "Mr. Falk, isn't it true that you and Mrs. Cole have never made lo--" But Fletcher GAGS. He CAN'T GET THE QUESTION OUT. The others look concerned, but he waves them off. FLETHCER (CONT'D) Sorry. I'm fine. "Mr. Falk, isn't it true that you and Mrs. Cole have never made lo-- IO-.H To his horror, he GAGS AGAIN, .unable to form the word. FLETCHER (to himself) Oh my God! I can't do it! I can't finish the question if I know the answer is a lie! At this moment Miranda and Mr. Allan come up the steps. MR. ALLAN Don't let me interrupt, Fletcher. I just want you to know I'll be observing this a fternoon. Miranda insisted I see you in action. Fletcher shoots a hateful look at Miranda. She smiles. MR. ALLAN (CONT'D) I'm looking forward to it. Go get 'em! Mr. Allan and Miranda head into the building, leaving Fletcher more desperate than before. FLETCHER C'mon! Gotta rephrase the question! FLETCHER Respondent calls... Lawrence Falk. Fletcher's clears his throat. Here goes... FLETCHER Mr. Falk, do you know my client, Virginia Cole? FALK Yes. FLETCHER Isn't it true that your relationship with my client is entirely platonic, not? The "not" was INVOLUNTARY. It takes everyone by surprise. FALK Excuse me? FLETCHER If I might rephrase your Honor. (trying again) Is your relationship with my client entirely patonic, not? X\ Is your relationship with my client not entirely platonic? Is not your relationship with my client entirely platonic? (thinks he's got it, beams with CONFIDENCE) Mr. Falk, is not your relationship with my client entirely platonic? FALK (CONFUSED) No. I mean, yes. I think. FLETCHER Yes, is your relationship with my client not entirely platonic, or yes, is not your relationship with my client entirely platonic? FALK What? FLETCHER How 'bout just answering the question you think I'm asking? ' DANA Your Honor, he's badgering the wintness! JUDGE STEVENS It's hig witness! FLETCHER Did you ever not make lo-- Did you not ever make lo-- (losing it) YOU HAD SEX WITH HER EVERYTIME YOU MET, DIDN'T YOU? DIDN'T YOU?!! Falk looks shaken as Fletcher barrels on, unable to stop FLETCHER (screaming at HIM) ADMIT IT! YOU .SLAMMED HER!! YOU STOKED THE FUR FIRE! YOU -DID THE YAM DANCE! ! FALK (breaking down) YES, YES,-- IT'S TRUE! I HUMPED HER. BRAINS OUT! ! A GASP from the audience. All eyes are on Fletcher. FLETCHER (WEAKLY) No further questions. DANA Uh...no questions. JUDGE STEVENS (to Fletcher) Call your next witness. FLETCHER I have no further witnesses, your Honor. A MURMUR erupts from the crowd. JUDGE STEVENS You have no further witnesses?! Fletcher meekly shakes his head, no. VIRGINIA (whispers, to FLETCHER) What are you doing? Call me. FLETCHER (to Virginia) I can't. JUDGE STEVENS Mr. Reid? VIRGINIA Call me, damn it! FLETCHER You don't understand. I can't lie . Until nine-sixteen tonight, I can't even.ask a question that calls for a lie! Virginia GRABS HIM BY THE TIE, pulls him CLOSE to her face. VIRG INIA L is ten , you bastard. I want m y money. I am not gonna wind up a 31 year old divorce on welfare because my scum bag attorney had a sudden attack of conscience! Fletcher suddenly stops -- focused on something Virginia said. FLETCHER (to himself) Thirty-one? JUDGE STEVENS Mr. Reid, we're not getting any younger... Fletcher quickly looks at the blowup of Virginia's prenup and her passport. JUDGE STEVENS (he's had it) Mr. Reid you have presented virtually nothing in the way of evidence and as such I have no choice but to rule in favor of -- FLETCHER WAIT! Silence. FLETCHER ∑. (DRAMATICALLY) Your Honor, I call Virginia Cole to the stand. Stunned, Virginia nervously makes her way up, MR. ALLAN (in the gallery) What the hell is he doing? MIRANDA Kissing his career goodbye. The Baliff stands before the witness. BALIFP Do you swear to tell the truth, the whole truth and nothing but the truth, so help -you God? VIRGINIA I do. Fletcher approaches,. CONFIDENT NOW, COCKY. FLETCHER Mrs. Cole -- may I call you Virginia? VIRGINIA Yes. FLETCHER But that would be a lie, wouldn't it? VIRGINIA What do you mean? FLETCHER Isn't your true name... (BRANDISHING PASSPORT) Carlotta?! VIRGINIA Well, yes. But it wasn't me so I started using Virginia. Is there anything wrong with that? FLETCHER ∑. Not really. It's just the first and smallest in the tissue of lies that is the Kleenex of your life. Let's take one simple document as a sample of your veracity, shall we, Carlotta? He grabs her purse from the desk, rifles through it, F LETCHER Your driver's license. What color are your eyes? VIRGINIA Blue. FLETCHER Tru e blue? What if I asked you to remove your contact l enses? What color would they be then? VIRGINIA (RELUCTANTLY) Brown. FLETCHER And here it says you're a b l on de . Are you? (off her silence) C'mon, Carlotta, there's a very easy way for us to check. If you don't remember, perhaps Mr. Falk will. VIRGINIA Brunette. FLETCH ER More like a dirty brown, isn't it? (she nods) Let's see - . - " Weight: one-o- five"? Please... VIRGINIA . One-eighteen. (off his look) One-twenty-six. I swear! FLETCHER So on this single document, you basically lied at every opportunity. I'm sure a woman as vain as you would also lie about her age. It says you were born in 1964. What's the truth? 1962? '60? How young did you try to make yourself? VIRGINIA (JOYFULLY) Wrong! I didn't lie to make myself younger. I made myself older. I was born in 1965!" FLETCHER (FEIGNING SURPRISE) What? You're trying to tell us you lied to make yourself older? VIRGINIA Yes! " lied so I could get married! So .there Mister 'I GOT-ALL-THE-ANSWERS-BECAUSE-I- went-to-law-school'! JUDGE STEVENS Mr. Reid, does this have a point? FLETCHER Oh, you bet it does, your Honor! (on a roll) My client lied about her age because she was only 17 when s he got married. Which makes h er a minor. And in the great state of California, NO MINOR CAN ENTER INTO A LEGAL CONTRACT WITHOUT PARENTAL CONSENT INCLUDING-- DANA (defeated, to HERSELF) Prenuptual agreements. FLETCHER (knows he has THEM) PRENUPTUAL AGREEMENTS! THANK YOU VERY LITTLE! This contract is void!!! The fact that my client gets nailed ∑ more often than a two-by-four is irrelevant. Standard community property applies and this woman is entitled to half of the marital assets or thirty-seven point three-nine- five million dollars!! (to Dana) Yo . . . . a e . . . . T A T T T ! ! u r OSTT! (DRAMATICALLY) Nothing further, your Honor! A MURMUR OVERTAKES THE ROOM! / JUDGE STEVENS (banging his GAVEL) Q uie t! Let me see-the license and birth certificate. All is quiet while the Judge reviews the documents. Then: JUDGE STEVENS In light of this new evidence, the court must rule in favor o f the defense. Mrs. Cole is hereby awarded half of the marital assets -or thirtyrseven million three hundred and ninety-five thousand dollars. The courtroom ERUPTS. FLETCHER'S WON! Dana, Mr. Cole are devastated. ' MR. ALLAN That son of bitch pulled it off! Mr. Allan gives Fletcher a thumbs-up; simultaneously, Miranda gives him the finger. JUDGE STEVENS O r d e r ! Order!! Now i understand both parties have agreed to joint custody. Is that correct? FLETCHER AND DANA YES-- VIRGINIA No! I'm contesting custody. Fletcher freezes. FLETCHER What? VIRGINIA (re: her husband) Payback. For him trying to prevent me from collecting my thirty-seven million. FLETCHER He was entitled to prevent you. You committed adultery.' You only won because you're a liar, remember? . VIRGINIA No. You pointed out that my husband took advantage of a poor underage girl. I was the vic tim here. And now I'm going to hit him where it hurts. FLETCHER But -- but -- you said he was a good father. JUDGE STEVENS M r. Reid? Do we have an agreement on custody or not? Fletcher takes a distressed look at the children. FLETCHER No. . JUDGE STEVENS In that case, there will be a custody hearing tomorrow mor ning at nine. Court is adj ourned! He BANGS THE GAVEL. Everyone gets up, but Fletcher's attention is drawn to a commotion between Virginia and her kids. VIRGINIA Stop that! We're leaving now! CHILD I want to go with Daddy. V,' ,- .- Fletcher watches, horrified, as she drags the kids away from their tearful father. MR. COLE Don't worry. I'll see you no matter what. I promise. Mr. Allan has made his way up to Fletcher. MR. ALLAN (re: the COMMOTION) I love kids. They give you so much leverage in a case like this. (pats Fletcher on BACK) Congratulations, partner. how does it feel? And with that question asked, as he watches poor Mr. Cole and his kids, the truth dawns on Fletcher like a sledgehammer! FLETCHER ' Excuse me. Just a second. (to the Judge) Y our Honor? Your Honor? Wait! JUDGE STEVENS We',re adjourned, Mr. Reid. FLETCHER Screw that!! She lies and she wins ?! What are we, nuts? Everyone stops, watches Fletcher. FLETCHER (CONT'D) T his woman --my client -- goes down with the frequency of a nuclear submarine and we just gave her thirty seven million dollars because she's a liar! And now as an extra added little bonus, we're going to let her steal, the kids, too? JUDGE STEVENS Mr. Reid, you are out of order! FLETCHER (SCREAMING) ∑ SO'S THE HAND DRYER IN THE MEN'S ROOM!! Do you ever stop to ask yourself, why do people hate us? Could it be because what we did here today sucks?! We don't care about the truth! We don't want to find the t r u th ! We want to win! We want to win at all costs...and you know what the worst thing about wanting to win so badly i s ? WINNING! Winning and finding out you're left with nothing! JUDGE STEVENS That's enough, Mr. Reid -- FLETCHER -Let' s see what I' ve done today. I've helped a gold digging slut get richer. I'm taking this guy's kids away. (to Mr. Allan) I don't like you in the least, now I'm one of your partners! YOU WANNA KNOW WHAT IT FEELS LIKE MR. ALLAN? IT FEELS LIKE SHIT! BUT TO TELL YOU IT FEELS LIKE SHIT, FEELS FUCKING GREAT 1 I Fletcher does feel strangely fantastic. Free, JUDGE STEVENS That's it, Mr..Reid. I find you in contempt! FLETCHER GOOD! I'M CONTEMPTIBLE! MY WHOLE GODDAMN LIFE IS JUST ONE BIG FAT FIB! YOU LIKE MY HAIR? -- (mussing hair) MOUSSED! SHOULDERS -- (ripping out PADS) PADDED! SHOES -- (kicking them OFF) LIFTED! TEETH -- (pulling out CAPS) CAP PED! FIV E-NIN ETY A CHICKLET!! COMMOTION in the court. The judge BANGS HIS GAVEL!!! JUDGE STEVENS Bailiff! Remove Mr. Reid from the courtroom! FLETCHER Yo u wanna know the truth? Oh yeah, let's let it rain... The truth is is that I've traded my life...a beautiful wife, an incredible son for THIS PISS POT OF BIG DOUBLE O'S! The bailiff grabs Fletcher, forces him out... FLETCHER GO AHEAD, YOUR HONOR, BANG YOUR GAVEL .-- KEEP TELLING YOURSELF YOU'RE A BIG SHOT! DO I SENSE A CASE OF GAVEL ENVY!! WHAT'S THAT UNDER YOUR ROBE -- INSUFFICIENT EVIDENCE?!! (the judge is turning beet RED) . I TOUCHED A NERVE DIDN'T I? WE'RE ALL A BUNCH OF BULLSHIT ARTISTS!! IS THAT THE TRUTH IN YOUR PANTS OR ARE YOU JUST HAPPY TO SEE ME?? Fletcher is pushed passed Mr. Allan. MR. ALLAN You just killed your career. I hope you're happy. FLETCHER I'M BEYOND HAPPY MY BUTT FACED FRIEND--- I'M EUPHORIC! EXT. AUDREY'S PORCH -'DAY A sad Max is seated on the steps. TWO other BOYS are there with baseball equipment. PAUL We're going home. EMMANUEL Yeah, thanks for the great game, Max. Emanuel knocks Max's hat off. Audrey's been watching from the door. She goes and sits by her son. AUDREY Max, honey. Your dad had a very big case today. It probably just-- MAX I don't want to talk about it. AUDREY Okay. MAX (SUDDENLY) I hate dad! I hate him! AUDREY Honey, don^t say that. Max is really upset. It's "that look" and then some. The look Audrey never wanted to see again. She makes a decision. AUDREY Max, there's something I-want to talk to you about. . . INT. JAIL AREA Fletcher's handcuffed and is led to jail by TWO OFFICERS-. There's a happy/crazedness to him now. The truth is pouring forth, but he looks way, way off the deep end. (desperately, p as si ng a phone) Pho ne call!! Phone call!! I g et to make a phone call!! INT. AUDREY'S KITCHEN -- DAY Max and Audrey at the table. The airline tickets Jerry gave her are in front of them. MAX When would we move? AUDREY Soon. My semester's almost over. You only have a week left of school... You like Jerry don't you? (he nods) So what do you say, should we check it out? Jerry wants us to come with him tonight. He has to pick out a place to live and he really wants our help? MAX Could I get a sled for when it snows? AUDREY Of course you can. Max thinks, then: MAX Okay. INT. JAIL F l e t c h e r ' s holding a phone. He's frantic, now. F L E TC H E R ( re: ringing PHONE) Answer! Answer!! Answer!! ! % The phone RINGS, Audrey answers it. AUDREY Hello. . INTERCUT FLETCHER/AUDREY FLETCHER Audrey! It's Fletcher-- AUDREY (PISSED) I can't talk now, Fletcher. We have to pack. FLETCHER Wait, the most amazing thing's happened to me! I am feeling so good... (REALIZING) Pack?! Did you say pack?! AUDREY Max was sitting on the porch again, waiting for his dad. I won't let you do this to him anymore. I won't let you do this to me. FLETCHER A ud rey , wait. Please, I need to talk to you. I .swear, I'm a changed man. Just come to the courthouse with a thousand dollars and bail me out... Hello? (to a cop) O ne more call!! I need another call!! INT. JAIL CELL - DAY Fletcher is pacing back and forth. A GROUP OF TOUGH PRISONERS are on the far side of the cell, trying to stay as far away from Fletcher as they can. FLETCHER And what about our water su pply ? You don't think "the man's" dumped enough toxins to render every dick in this cell as lifeless as a beached minn ow? You're damn rightJ "The man" does anything he w an ts. We're nothing but pu ppets... Little game pieces they move back and forth. A DEPUTY appears. ' DEPUTY Mr. Reid. ^ FLETCHER That's me. Fletcher T. Reid. Pawn no. 332-154-9867. DEPUTY You made bail. Some woman. INT. OUTER AREA Fletcher rushes in. FLETCHER Audrey? (he spots) Greta?! GRETA Am I too late? Have you been se xu al ly molested yet? I could circle the block. FLETCHER Greta! Greta!! . . . . Look at you, you well preserved, underpaid, overworked, underappreciated thing you. G iv e me a hug! You came and got me out!! Hug me!! GRETA (totally wierded OUT) Yes, well, I heard you went all noble in front of Mr. Allan so-- FLETCHER Y ou know what?! I love you. I loveyouloveyouloveyou. I wa nt to hug you. Come here.., GRETA Mr. Reid, what has gotten intc to you?! FLETCHER Just the truth, Greta. Fifteen years of being stuck in a lie is nowhere near as powerful as one day of being stuck in the truth. (checks his WATCH) Oh, my God!! I have to go! Thanks again, Greta! (as he runs off he calls back to HER) By the way, the truth is that I need you and I couldn't file a paperclip without you! Greta smiles, then catches herself, and quickly regains her "composure". CUT TO: EXT.STREETS/INT. BMW Fletcher's driving like a madman... FLETCHER (on his phone) Answeransweransweranswer... We HEAR a RECORDED VOICE: ∑ VOICE The subscriber you called is either unavailable or outside the calling area. FLE TCHER Shit!! INT. LAX UNITED TERMINAL - DAY A udrey and Max meet Jerry by the ticket counter. Max is wearing the Dodger cap his dad gave him. Jerry surprises him with a Boston Red Sox hat. JERRY A little going away present. I was gonna get you a bowl of clam chowder but they only had Manhattan. A UDREY Say thank you, Max. MAX Thanks. ∑. Max takes off the hat his dad gave him and replaces it with the Boston hat. INT. BMW - DAY Fletcher's on the phone. He sails passed a parked POLICE CAR. FLETCHER (into phone) Shelton, Jerry Shelton. What time's that flight leave? 7:50. Thank you. (checks his WATCH) Oh, shit! Shit!! Shit! Fletcher spots the FLASHING LIGHTS. FLETCHER Shiiiiit!!! He pulls over -- so quick he jumps the curb. POLICE OFFICER Would you step out of the car, please? Fletcher obeys. FLETCHER Listen; I know I'm driving a little crazy but i have an emergency to attend to... The cop's just getting off his walkie talkie. POLICE OFFICER I'm impounding this vehicle. FLETCHER W h y ? What for? For changing lanes? POLICE OFFICER I just ran your tags through the computer. You've got. seventeen unpaid parking tickets. FLETCHER No ! I paid them! This morning! That's the truth! I swear!! POLICE OFFICER Not according to the computer. FLETCHER The computer is wrong! It ' hasn't been updated. The computer's a liar! POLICE OFFICER You can straighten it out at the impound yard. FLETCHER (checks his watch, firmly) NO! POLICE OFFICER No? FLETCHER That's right, no! I'm not gonna lose my son because some stupid clerk was too lazy to update the computer. (getting cockier. as he goes) Now if you want to follow me, . you can follow me and take the car after I get where I'm going. I'm a lawyer and I k now my rights! Understand?! CUT TO: A TOW TRUCK drives away with Fletcher's car, leaving Fletcher stranded. EXT. STREETS - DAY ' Fletcher frantically tries to hail a... FLE TCHER T axi! Taxi!! No luck. He spots A PAYPHONE digs through the Yellow Pages. Finds "Ten Minute Taxi". Yes ! He fishes for change. Shit! He doesn't have any!! FLETCHER (looking . HEAVENWARD) Noooo!!! He spots a man walking by. FLETCHER 'Scuse me, sir. Do you have any - - The man turns. It's the same BEGGAR Fletcher was rude to outside the courthouse. BEGGAR Change? Absolutely. He continues walking. FLETCHER Could you spare some? BEGGAR Unquestionably. The beggar continues on. ' FLETCHER Alright, I get your point. But this is a crisis! Look, I'll give you ten bucks. The beggar pulls out a quarter and holds it up. BEGGAR (ADMIRING QUARTER) It's so shiny and new. FLETCHER Tw ent y. . BEGGAR Minted in Denver. Imagine that. FLETCHER Thirty-four. That's all I have. A moment as the beggar thinks, then: BEGGAR It's worth twice that to screw you. He walks off, grinning. FLETCHER JERKOFF! BEGGAR LAWYER! Fletcher turns, spots a familiar building in the distance. FLE TCH ER M y office!! INT. LOBBY FLETCHER'S OFFICE BUILDING - DAY He starts in the front door, when a SECURITY GUARD stops him. SECURITY GUARD Whoa, where do you think you're going? FLETCHER I just need to use the phone to call a cab. I work here. MR. ALLAN (O.S.) Used to work here. Mr. Allan has just exited the elevator. ... ∑ MR. ALLAN (to security GUARD) Son, that man is tresspassing. The guard starts toward Fletcher threateningly. FLETCHER Hold it! (to Mr. Allan) I've got ten years worth of dirt on you and this firm, and I'm in the kind of mood today to get a lot off my chest. You let me use the phone or I start talking!! CUT TO: Fletcher's is THROWN ON HIS ASS in the street. Mr. Allan has watched from atop the stairs of the building. MR. ALLAN Still euphoric, Reid? He goes back inside.∑ Fletcher starts to get up when a CAR SCREECHES to a HALT, inches away. MAN'S VOICE ( O . S . ) Fletcher! ∑ It's PHILIP. PHILIP Seven-thirty... It's Karaoke time! Fletcher runs up and HUGS the astonished man, FLETCHER PHILIP!! LOOK AT YOU!!! MY PHILIP!! Fletcher KISSES HIM ON THE LIPS. INT. PHILIP'S CAR - DAY Philip's driving Fletcher. FLETCHER You're saving my life, Philip. PHILIP You know, it's funny, but for some reason I was beginning to think you didn't like me. Isn't that silly? FLETCHER . No. It's not silly. I don't like you. PHILIP What? FLETCHER I don't like you. I'm sorry. I find you boring. I hate ch ara des . And you wouldn't know a good time if it sat on your face. (feels bad) I'm sorry. It was easier than telling you how I really felt. Are you upset? A moment, then: PHILIP No. To be honest, I don't like you either. You treat people like obstacles and you cheat at charades. . FLETCHER Then why are you always trying to socialize with me? PHILIP You're a client. I figured if I didn't try to be your friend, you'd get a new accountant. FLETCHER Philip, I don't like you as a person, but I'm crazy about you as my accountant. I ' d never hire a new accountant. Never! PHILIP So we don't have to like each other anymore? FLETCHER - Not at all. . PHILIP All right. Sooner I get you ∑to the airport, sooner I can dump your sorry ass off. EXT. AIRPORT -- DAY Philip's car skids to a stop. Fletcher jumps out. INT. LAX TERMINAL - DAY . Fletcher races in. FLETCHER Bedelayed. Bedelayed. Fog, rain, something, anything... He sees the DEPARTURE BOARD " F li g ht 69. Departs 7:50. On Time. Gate 17." Fletcher looks at the clock -- It's 7:46!! Holy Shit!! INT. LAX ESCALATOR Fletcher pushes his way HE a crowded escalator. Past people standing on the left despite the SIGN that says STAND ON RIGHT. FLETCHER Excuse me. . . excuse me. . . Come on folks, let's let the frantic man pass... Sorry... Thank... you... Standing on the right, passing on the left. They can't make this- deal any easier than it is... Come on... coming through... At the top,- a WOMAN in a NURSES UNIFORM asks for money... WOMAN Help the poor?... FLETCHER (speeding past) I don't trust you. I don't know what the hell that uniform is. Sorry. (a Hare Krishna tries to stop HIM) NOT NOW, TOGA BOY! INT. LAX - SECURITY AREA Fortunately, there's no line at the metal detector. Fletcher races right by but SETS OFF THE ALARM. INSPECTOR Please step through again. FLETCHER Ahhh!! ! Damn..; Fletcher frantically tosses his keys, cufflinks, his Rolex into a tray. He tries again. It BUZZES again! FLETCHER What? I'tii practically naked! A guy in a TURBAN passes over him with a DETECTOR WAND. FLETCHER It's called a ZIPPER, Hodgy... The wand BEEPS over Fletchers front pocket. He reaches in and pulls out the now familiar BLUE PEN... INT. LAX - DEPARTURE CONCOURSE Fletcher races by Gate 15, 16, gets to 1 7 . . . but sees the PLANE Slowly TAXIING AWAY. FL E TC H ER N ooo!!! Fletcher spots a door marked "NOT AN EXIT". Goes for it when a FLIGHT ATTENDANT interrupts. FLIGHT ATTENDANT Can I help you? FLETCHER Look out!! ! -- (TRUTHFUL) -NOTHING'S COMING!! The woman raises her eyebrows and looks anyway. And Fletcher BOLTS THROUGH THE EXIT! EXT. TARMAC - DAY He scurries down a flight of stairs calling after the plane which is moving away. No way he'll catch it. Then, he sees a MECHANIC working on a MOBILE STAIRS UNIT (These are the steps they pull up to planes) Fletcher gets an insane idea. . . The worker hears an ENGINE START, looks up to SEE FLETCHER in the truck, driving off, TOWING THE STAIRS. WORKER Hey!! Hey!!!! But Fletcher's gone. EXT. AIRPLANE - DAY Fletcher's DRIVING THE STAIRS trying to catch up with the plane. GROUND WORKERS react. Soon, the "stairs" are racing alongside the plane. Fletcher looks for signs of Audrey and Max but he's too low to see in the plane. He grabs the TOOL BOX'on the passenger's seat,-puts it on the accelerator, pinning it to the floor. Then, he CLIMBS THE STEPS! The "stairs" sway back and forth as he reaches the top. INT. AIRPLANE - DAY - MOVING PASSENGERS calmly read while outside FLETCHER speeds along, WAVING HIS ARMS like a maniac. The ENGINE NOISE drowns out his call for... F LET CH ER MA X ? !! AUDREYY?!! A STEWARDESS stands in the aisle, giving the safety lecture. STEWARDESS In case of a water landing, please use your seat cushion AS-- ∑Her MOUTH DROPS as she notices Fletcher. EXT. TARMAC - DAY Fletcher is BANGING on the windows. People on the plane POINT, STARE in amazement. Fletcher looks ahead, SEES the stairs about to CRASH INTO THE WING! Fletcher desperately fiddles with some controls. At the last second, finds the one that LOWERS THE STAIRS. He surfs under the wing... ... and RAISES UP THE STAIRS at the other side. Fletcher's at the front of the plane, where he finally spots. . . MAX, AUDREY AND JERRY SEATED IN THE BULKHEAD Max has the window seat, Audrey arid Jerry are next to him. Audrey has on her headset and Jerry is looking for his seatbelt. NEITHER SEES FLETCHER. Fletcher SCREAMS to get their attention. But it's TOO NOISY. Then, Fletcher looks ahead and his EYES GO WIDE! FLETCHER'S POV The RUNWAY is ENDING!. Just then, Max looks up...SEES HIS DAD. Audrey is now trying to help Jerry find his seat belt. AUDREY (checks under his SEAT) It's right here, honey. M AX Mom! Mom!! ' AUDREY Just a second, Max. MAX Mom, it's dad! AU DREY W hat? What about dad? Audrey turns. Then she sees Fletcher WAVING weakly... AUDREY Fletcher?! AT THAT INSTANT -- THE PLANE MAKES A SHARP TURN! BUT THE STAIRS DON'T! They keeps going straight, heading ∑ right for the END OF THE RUNWAY and a parked LOADED LUGGAGE CART. . - And BAM! FLETCHER, THE STAIRS, THE LUGGAGE ALL GO FLYING! Audrey strains to watch as FLETCHER lands hard ONTO A MOUNTAIN OF BAGGAGE! CLOSE ON FLETCHER With all the strength he has he lifts his head, sees he's in one piece, and then COLLAPSES IN DEFEAT. CUT TO: INT. JAIL CELL - NIGHT Fletcher's BANGED UP pretty good. His head is BANDAGED. He.puts a COLD COMPRESS to his BRUISED FOREHEAD and WINCES. FLETCHER (mumbles to HIMSELF) Oh boy, the truth hurts. Yes indeed. DEPUTY Mr. Reid. Someone made bail for you. EXT. POLICE STATION - NIGHT Fletcher comes out LIMPING, totally dishevelled, missing a shoe, and still holding the compress. FLETCHER (WEAKLY) Greta? Is that you? He looks up and is surprised to see AUDREY and JERRY waiting for him just outside the door. Max is sitting at the bottom of the stairs, still ANGRY. He sees his dad, then quickly turns away. FLETCHER (to Audrey and Jerry, trying to seem chipper) Sorry I made you miss your flight, not really. (no response) You're obviously a little . upset, not that I blame you... although I'll bet you'll still get the bonus miles. . . AUDREY Fletcher, are you crazy? What were you doing? FLETC HER That's two questions. A; Yes, but I think the legal term is temporarily insane. And B; I was trying to finally have that talk with you about Boston. Audrey's patience are growing thin... FLETCHER Okay, okay... The whole truth and nothing but the truth, (with difficulty, SINCERELY) I tried to stop the plane because it was taking off with my life... you and Max. This comes as a surprise to Audrey. Not just what Fletcher said, but the way he said it. FLETCHER I know you've met somebody... somebody pretty great... and the truth is I wish you didn't but you did and... All I ' m asking i s . . . Please don't move to Boston. Please don't take Max away. She's definitely moved by Fletcher, but not convinced. AUDREY You can come visit anytime. It's only a four hour flight. FLETCHER I don't want to visit him. That's what I've been doing-- visiting him, dropping by, stopping in. I want to be in his life. I don't want to be some jerk that sees him at Easter. I want to be his father. Fletcher turns to Jerry. FLETCHER I know I have no right to ask, but can I talk you out of taki ng that job? I can get you a better job here in L.A. I've got all kinds of connect ions... what do you do again? JERRY I design security systems. FLETCHER How symbolic. Okay great. You know Pac-Tec? JERRY The biggest. FLETCHER One of their systems shorted out and burned down a supermarket. I got them off. Another proud day for justice. If I ask them they'll beat your Boston offer in two s ec on ds . .. AUDREY Don't put Jerry in the middle. JERRY It's okay. (to Fletcher) Boston means this (snaps his FINGERS) to me. All I want is for this lady and Max to be happy. Preferably, with me. Whatever they want, I'll go along with. They both look to Audrey. AUDREY All I want is for Max to be happy. Audrey looks over to Max seated at the bottom of the stairs. He's still upset. AUDREY You better know your jury. You're hot exactly Max's hero today. FLETCHER Just let me present my case. Fletcher walks over,, tries to be playful, starts WALKING, TALKING LIKE THE TERMINATOR. FLETCHER/TERMINATOR I have been sent from the future to destroy you. . . Argghhh! (no response, a BEAT) You mad at me? Max nods. Fletcher's at a loss for how to begin. Then: FLETCHER You wanted me to stop lying. But lying isn't the problem. .. Why we lie ~ that's the problem. Sometimes we lie to make someone else feel better. But sometimes we lie because the truth gets in our way... (touches him) But being an adult means you sacrifice some things for more important things. Much more important things. I was so stupid, Max. (pointing to his own head) Malfunction in vector one. All this time you've been here and I could see you anytime I felt like it. And I... didn't. Please don't go to Boston. Max, I love you more than anything else in the world and you know it's true. I couldn't say it if it weren't true. Not today. A moment as Max studies his father, then: MAX (to Audrey) He's telling the truth, Mom. He's not allowed to lie. I made a wish and anything Dad says has to be the truth. (to Fletcher) .. Right? But Fletcher's looking at his watch... FLETCHER Max. .. it's 9:22. AUDREY What? FLETCHER Max, you made the wish at 9:15. I've been able to lie for the last seven minutes. Max steps away from Fletcher. MAX So then, you were... FLETCHER No! It wasn't a lie. I just wanted to be honest with you and tell you -- there was no wish to guarantee it anymore. You just have to believe me. Max looks at Audrey, who is letting Max decide for himself Max looks at Fletcher and tries to decide. MAX (to Audrey) Mommy... do we have to go to Boston? Audrey looks at Jerry, then back at Max. AUDR EY No. We don't have to. Fletcher hugs his son -- the kind of hug that says "I'll never let you go." MAX (to Fletcher) Can we play catch tomorrow? Fletcher smiles. . . EXT. PARK - DAY A beautiful park with a basball diamond. Fletcher is seated on a bench, waiting. He's dressed in sweats, with a baseball glove. Soon, Jerry, Audrey, and Max pull up... M AX Dad! ! FLETCH ER Ma x i mu m ! ! Fletcher picks Max up. MAX Transformer!!! . Fletcher and Max do the TRANSFORMER ROUTINE again... FLETCHER Malfunction in vector seven. I have lost control of my affection reflex... Fletcher starts KISSING MAX on the head over and over. He sees Audrey. FLETCHER Procreate! Procreate! AUDREY (PLAYFULLY) Fletcher... You're gonna lose a limb-- MAX Come on, dad, let's play catch!! FLETCHER Sr. . . UE (starts to toss MAX) Here you go, mom. (Max screams) Oh, you mean with a ball... He puts Max down. Max runs into position. Fletcher stops for a second and turns to Jerry, man to man. FLETCHER I take back every dirty, dishonest thing I ever said about you, wrote about you, faxed about you, E-mailed about you. JERRY Appreciated. Fletcher tosses the baseball up and down. FLETCHER So, you up for a little friendly competition? JERRY No, you go play with your son. FLETCHER I wasn't talking about basesball. A slow smile from Jerry. Fletcher winks and tosses the ball to Max. FLETCHER (to Max) Alright, it's time to show you the old Fletcher Reid change up. Fletcher winds up in an EXAGERATED SUPER FAST MOTION, then instantly shifts to SUPER SLOW MOTION. Max CRACKS UP. Audrey LAUGHS. Jerry can't help but smile, too. There may be better things in life... but at this moment, it's hard to think of a single one. Honestly. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Life As A House.txt b/unformated_scripts/Script_Life As A House.txt new file mode 100644 index 0000000000000000000000000000000000000000..c4ff272bfeb855fb2ac525cb05e680098be6ebfc --- /dev/null +++ b/unformated_scripts/Script_Life As A House.txt @@ -0,0 +1 @@ +LIFE AS A HOUSE WRITTEN BY MARK ANDRUS FADE IN: A clock alarm SOUNDS over TITLES on BLACK. We HEAR someone clearing congested lungs, coughing up phlegm; a slight crash STOPS both the cough and the alarm. EXT. GEORGE'S BEACH SHACK - MORNING The cottage is a tiny, peeling paint rat-trap set dead center on a small ocean front cul-de-sac, surrounded by four massive post-modern mansions. INT. GEORGE'S BEACH SHACK BEDROOM - MORNING GEORGE NELSON, 42, squints and shivers as the spotty morning light and ocean breeze enter through an open window. Bold waves crash against the cliffs outside the room. A five-foot wide stack of hand hewed beams are piled pyramid style, making movement in the room next to impossible. George stands shirtless in underwear and coughs again. He steps over a pile of tools and stands at the window, facing the sea. A happy sounding tune by Guster, "WHAT YOU WISH FOR," begins with the lyrics: 'Woke up today, to everything gray and all that I saw just keeps going on and on...' EXT. WEBBER'S HOUSE - MORNING The post-modern house is three-levels of concrete and glass. INT. SAM WEBBER'S BEDROOM - MORNING SAM is sixteen with spiky black hair, a nose ring, two earrings and painted black nails. The song continues with: '...sweep all the pieces under the bed, close all the curtains and cover my head.' Sam looks wasted as he climbs out of bed and rummages through his dresser, retrieving an empty bottle of prescription drugs; he tosses the bottle. He walks to a desk where a half-built model of a house sits unfinished and squeezes glue into a plastic bag and sniffs it. Sam enters the closet and digs into a pile of dirty clothes, pulling out the tie to a robe; he knots it around the closet pole and then twists it once to form a noose. He slips his neck through the noose and lowers his body; though we don't see exactly what he's doing below his neck, it's evident through his jerking arm that he's masturbating. EXT. BECK'S OCEAN FRONT MANSION - MORNING COLLEEN BECK, George's next-door neighbor, is a well maintained blonde in her late thirties. She walks out of the angular concrete mansion, grabs the paper and walks back in. INT. BECK'S KITCHEN - MORNING This is a minimalist kitchen, with pored concrete walls and stainless steel cabinets. Colleen drops the paper on the table and walks to the sink to wash her hands. The SONG CONTINUES: '...If this serenade is not what you want, it's just how it is...' Colleen appears distracted for a moment. She walks outside onto the terrace with wet hands, then bolts back in, breezing through the kitchen with purpose. INT. ALYSSA BECK'S BATHROOM - MORNING ALYSSA is sixteen and perfect with strawberry blonde hair and white teeth; her head is partially out the bathroom window. Colleen bursts in, eases Alyssa aside and with effort, sticks her head out of the same high open window. COLLEEN This is ridiculous! We must not see exactly what they see, but out the window and almost beyond view, a stream of urine arks out from George Nelson's beach house bedroom, into the pacific ocean some twenty-feet below. The piss stops. Colleen bangs her head trying to get it back inside the house. INT. WEBBER'S UPSTAIRS HALLWAY - MORNING ROBIN WEBBER is George's ex-wife, still beautiful at forty. She herds two boys, RYAN (8) and ADAM (7), down the hall. ROBIN Run downstairs and give your dad a hug. RYAN Why? ROBIN He'll be gone for his birthday. ADAM Can we have a party for him while he's gone? Robin stops and KNOCKS on a bedroom door. ROBIN I hope you're showered and ready for school! A loud CRASH stops Ryan and Adam at the top of the stairs. INT. SAM'S ROOM - MORNING Robin rushes in and glances around the room for her son. ROBIN Sam?! INT. SAM'S WEBBER'S CLOSET - MORNING The closet pole and a long line of clothes have been felled by Sam's dangerous whack-off technique; he's on the floor with the robe tie still around his neck and a pile of shirts sprawled over him. The song continues: '...come out come out, wherever you are, would you do it all over right from the start, and what you wish for won't come true, you aren't surprised to love, are you?' Robin stops at the door, trying to figure out why her son is sitting in a pile of his own clothes. Ryan and Adam join her, looking equally perplexed. EXT. GEORGE NELSON'S CUL-DE-SAC - MORNING George's dog, GUSTER, is doing his business on the lawn of a modern day robber baron, DAVID DOKOS, who exits his house with a briefcase. He hops into his Mercedes and proceeds to chase Guster straight across his well-manicured grass. Guster easily escapes death and runs off. George walks out of his shack as David hops the curb, flips him off and drives away. George waves goodbye. GEORGE Stick it up your ass! Have a nice day. (glancing around) Guster! Guster runs to his side as Colleen rushes out of her house. COLLEEN This has got to stop! GEORGE He escaped. He's going back in. COLLEEN Does it give you some sort of perverse pleasure to expose your...penis in plain view of my sixteen year-old daughter? GEORGE There are no windows facing my...exposure. COLLEEN George, this is the third time. GEORGE The plumber's due out on Friday. COLLEEN You'll have to explain that to the police. GEORGE You were the only neighbor I could tolerate. COLLEEN I did warn you. GEORGE My life is a warning. I just can't figure out for what. Colleen shies away from George's stare; he finally turns and walks toward the house but stops short as he turns back. GEORGE (CONT'D) Colleen, how hard was it for you to get your head outside that window far enough to see my dick? This stops Colleen for a moment; it was difficult. George walks back to the cottage and locks Guster in before stepping into an old Ford truck and driving off. Colleen watches him drive off, then turns to her house and stares. INT. WEBBER'S DINING ROOM - MORNING PETER WEBBER, Robin's husband, is a distinguished, intimidating man with silver hair and an expensive suit. LOIS, the maid, serves French toast to Ryan and Adam as Robin sips tea. ADAM Sam broke his closet. Peter glances at Robin, who shrugs. ROBIN I don't have a clue anymore. I wish you'd talk to him. He needs a man. PETER His father is a man. ROBIN A man he respects. Sam walks into the room from the hall, outfitted in all black with kick ass boots. SAM Thanks for talking about me behind my back...useful in court. PETER Are you wearing eye shadow? Adam, Ryan and Robin check out the eye shadow. SAM No. PETER Take it off. Sam flutters his eyelids in defiance of his stepfather. PETER (CONT'D) Do it now! SAM If I walk out the door, who's gonna be here tonight for the follow through? Peter hesitates for just a second. SAM (CONT'D) Have a nice flight. Sam's out the door with his eye shadow intact. RYAN Queer. ROBIN What did you say? RYAN Dad said it first. Robin focuses on Peter, who simply shrugs. Adam stands up, walks over to his father and gives him a hug. ADAM I get chocolate cake for your birthday. PETER Are your hands clean? Adam is quick to back away from his father and lick the fingers of one hand. INT. COMMUTER TRAIN - MORNING George is resting his head against the glass window as he stares out at the blighted landscape leading to downtown Los Angeles. A sudden pang tightens his face; he presses his hand against his stomach and closes his eyes. EXT. LAGUNA BEACH HIGH SCHOOL - MORNING Sam is alone at the back of the parking lot, sitting on the hood of an old Saab, smoking as two boys, JOSH and MAREK, both seventeen, park a Porsche and pull Alyssa Beck (George's peeping neighbor) and another girl out of the backseat. MAREK Dude, nice look. Sam simply nods as Marek and the other girl laugh at his all black garb, earrings and eye shadow. ALYSSA I saw your dad this morning. Sam drops his cigarette and stomps it out as he stands; his face lightens as Alyssa waves before walking away. JOSH Been thinking? SAM No. MAREK Forget him! JOSH Two hours a week for three-hundred cash. The whole summer. Do the math. (as a dig) They consider that a hatchback or a station wagon? Oh, that isn't yours anyway, is it? Josh raises his eyebrows and smiles before walking away. Sam faces the Saab and kicks the bumper as hard as he can. Suddenly, a boy (COREY) bolts up from the back seat. COREY I was in total REM, man! INT. DOWNTOWN LOS ANGELES HIGHRISE - LATE MORNING The architectural firm of Benson and Feinsilber occupies the entire fortieth floor; George Nelson is their sole model maker. Rather than offices, most of the space is open, segmented only by portable low walls. Along the outer walls, below the long line of windows, is a shelf filled with amazingly intricate models. George is alone in a cubicle of his own, cutting polystyrene with a hot wire. STEVEN GARDNER rounds a corner with a velocity that makes George flinch. STEVEN Done...close to done? GEORGE I'm doing the grass. STEVEN Fuck the grass. Who said grass? Steven exits as quickly as he entered, but as soon as George goes back to work, Steven pops his head back in. STEVEN (CONT'D) Burke bided out the Berlin Plaza. Did he tell you? GEORGE I was going to start Monday. STEVEN He likes the look of the computer models, anyway. You take too long. (beat) After you mow the grass, would you mind bringing the house to my office? I have a presentation to make. George simply stares as Steven nods and leaves. EXT. HIGH SCHOOL CAFETERIA ATRIUM - LUNCHTIME Sam is by himself, his eyes closed, listening to music through headphones as Alyssa stops to stare; she visually scans him head to foot, appearing slightly perplexed as a friend passes. FRIEND I wouldn't make a habit of it. ALYSSA Okay. The friend walks on; after a beat, Alyssa does too. EXT. TOP OF THE WORLD PARK - EVENING In the distance, the sun colors the sky a blinding orange as it sets. A Range Rover with blackened windows is parked behind a Porsche. 'TINTED WINDOWS,' an up-tempo tune with a hand clapping by the Pansy Division, begins: 'A bed would be a treat/But all we've got is this backseat/Tinted windows are a beautiful thing.' Through the front windshield, we can see Marek sitting in the passenger's seat with his eyes closed. ANOTHER VIEW Josh, Marek's friend, is sitting on a bench in the park behind the cars. 'A dark secluded spot/In a deserted parking lot/Tinted windows are a wonderful thing.' Suddenly, the passenger door on the Rover opens and Marek climbs out, brushing his hair with his hands before casually checking his zipper. He closes the door and the car speeds away. Josh walks to Marek and wordlessly they climb into the Porsche and drive off. EXT. GEORGE NELSON'S BEACH SHACK - DAY George is shirtless in his front yard, hand hewing a twenty foot beam. One strong, long pull and a thin shaving flutters to the ground; Guster nabs it and starts to chew. GEORGE You'll crap real logs if you keep eating wood. Guster appears unconcerned as he awaits a new shaving. ALYSSA (O.S.) Hi, Mr. Nelson. George glances up, wipes the sweat from his forehead as Alyssa walks toward him in white shorts and a tee shirt. ALYSSA (CONT'D) Sorry I got you into trouble. GEORGE I'll survive. George goes back to works and Guster taste tests shavings as Alyssa searches for something else to say. ALYSSA Does Sam have any friends? George stops and looks up; he has no idea how to answer. GEORGE He must. ALYSSA He seems lonely. GEORGE Are you his friend? ALYSSA No. GEORGE Why? ALYSSA Marilyn Manson...and I guess he's into guys. I hate nose rings. And the blue eye shadow thing really isn't working. George is totally confused, unsure most of the answer, but before he can question her, a police car pulls to a stop; OFFICER KURT WALKER steps out. KURT Thought I'd run over the list. Officer Walker removes a pad from his pocket and flips through to find his place. ALYSSA This is such a street of whiners. KURT From Tuesday to yesterday, not including Monday or today. Okay...Mrs. Dokos is repeatedly running over her lawn. The Corliss' have attributed the increase in rat population in their environs to the state of your...structure. ALYSSA IPO's caused the rat population on this street. Officer Walker focuses on Alyssa. KURT And of course the Beck's, with the... ALYSSA It could have been a squirt gun. KURT (to George) You've been good this week. GEORGE You forgot David Dokos and Tom and Barbara. Kurt stuffs his pad back into his pocket. KURT Mr. Dokos calls animal control for Guster and I was out here on the other. (pointing to the plane) Do you mind? George hands him the plane and Kurt begins to work the wood. ALYSSA Are you guys' friends? KURT We've known each other since grade school. ALYSSA I mean, but did you both go camping on weekends? Listen to music? Masturbate together? Talk on the phone? George doesn't answer and Kurt keeps working. KURT Hunted rabbit in the hills. Alyssa stares at George, disappointed. GEORGE I aimed high. KURT We just weren't very much alike, I guess. I don't know. (casually; to George) I liked your dad more than I liked you. ALYSSA I wouldn't want you as a friend. KURT George just never really...aimed that high. Even with not hitting a rabbit. I knew you were doing that, by the way. That's why I stopped doing it with you. You were no fun. It was always like you were frightened. Quiet and boring. Kurt is beginning to perspire as he shaves food off the beam for Guster. ALYSSA Funny how he's the architect and you're just a loud mouth cop. KURT He builds models for architects. His dad, on the other hand, was the real deal. Designed and built the coolest houses I've ever seen. GEORGE Was bankrupt and dead before I was twenty. KURT Left you this place. GEORGE It was in my name so he wouldn't lose it. He stole it from everyone that deserved it by putting me on title. KURT Do you know what I'd give to have this! Forget how I got it! I can't afford dirt in this town. I live in Riverside, Goddammitt And you get to piss in the ocean. Kurt stops working and steps back. KURT (CONT'D) Your kid was down around Diver's Cover again, smoking pot. I didn't write him up...told him I wouldn't tell you... GEORGE Thanks for telling me. KURT At least your father tried, George. Kurt walks to his car and drives off. There's a moment of awkwardness with Alyssa. George walks into his house leaving Alyssa with Guster. INT. WEBBER'S KITCHEN - AFTERNOON Robin is sitting at the kitchen counter, cutting carrots; through the French doors, she's able to watch Ryan and Adam, along with a few friends, play in the pool. GEORGE (O.S.) I could be anyone. Robin jerks with fright as half the carrots roll to the floor. ROBIN Then why do you stay you? George picks up the carrots and washes them in the sink. GEORGE You should lock your doors. ROBIN Ring the bell before you try the door. George bites into a carrot as Robin starts chopping again. ROBIN (CONT'D) Did Sam call to tell you he wouldn't be over this weekend? GEORGE You let him pierce his nose? Robin snatches the carrot from George's hand and chops it up. ROBIN Lock the door behind you. GEORGE Where is he? ROBIN Where he always is. George takes Robin's hand and removes the knife. GEORGE Not that I don't trust you. As George lets go, Robin holds on; he appears surprised by her grip of his wrist. Robin's eyes well with tears. GEORGE (CONT'D) I should have knocked. George is clearly not comfortable with his ex-wife's hold of him, with her tears. ROBIN What kind of a mother can't stand her son? George jerks his arm away from her grip. GEORGE I don't know. INT. WEBBER'S UPSTAIRS HALL - AFTERNOON George is tense and he walks to Sam's door and KNOCKS. GEORGE Why aren't you coming in for the weekend? (beat) Sam?! Nothing. George tries the door - it's locked. Frustrated, he walks back down the hall and down the stairs. INT. WEBBER'S KITCHEN - AFTERNOON Outside, the boys are engaged in a raucous version of Marco Polo. Robin is at the sink; she holds her hair back with one hand and splashes water on her face with the other. George walks by outside, carrying a ladder. EXT. WEBBER'S BACKYARD - AFTERNOON Ryan is the first to notice George. ADAM Marco! RYAN What are you doing? ADAM I'm not cheating! I'm not looking! Robin wipes her face with a hand towel as she rushes out. ROBIN What are you doing? GEORGE He doesn't answer. The boys have stopped playing; Adam opens his eyes. ROBIN He never answers. GEORGE Why does he have a lock on his door? ROBIN Because he put the lock on! Do you think I told him he could have a nose ring?! Why do you ask me everything you should ask him!? I don't know anything, anymore! The boys line up against the edge of the pool and watch George extend the ladder against the house and climb. ROBIN (CONT'D) You climb up there and tell him what he can and can't do. Take him for the summer, okay? Whip him into shape. Cut his hair. Make him smile. Let him hate you for a while! (sadly) You're too late for heroics, George. George lops a leg over the railing and steps onto the bedroom balcony. He peers into the room through the sliding glass door and tries to open it (locked) before removing the screen to the small open window beside it. He climbs in. INT. SAM'S ROOM - AFTERNOON Sam is asleep on his bed in his underwear, wearing headphones. On the floor is an aerosol can of whipping cream. George picks up the can and tosses it in the trash. He focuses back on his son with his nose ring, earrings, blue eyeshadow and thin, pale white body. Sam is soundly asleep. George gently removes the headphones from his son's head; drum heavy music surges from the small, padded speakers. GEORGE You need every brain cell you've got. A KNOCK on the door stirs Sam more than his father's voice. SAM (half-asleep) Leave me alone! Sam's eyes are still closed as he shifts onto his side. George opens the door; Robin is weak and weepy. ROBIN I don't know what to do, anymore. Take him. You take him. (hostile) You're such a good father. George walks out of the room, around Robin and down the stairs without a word. Sam stirs at the sound and sits up to confront his mother. SAM What are you doing in my room? ROBIN I didn't go in your room. SAM I locked the door! Get out! I locked the door! Get out! EXT. WEBBER'S UPSTAIRS HALLWAY - AFTERNOON Robin grabs the door and closes it quickly, but doesn't move. SAM (O.S.) Stupid bitch! Liar! I locked the door! I don't sneak around your room! Liar! INT. SAM'S ROOM - AFTERNOON Sam rushes over to the window and stares down at the screen and ladder. Ryan, Adam and their friends are still in the pool, holding onto the coping, staring up at Sam. Sam slams the window shut and searches for the can of whipping cream. He gets down on his knees to search under the bed. Standing and making one more pass of the room, he notices the can in the trash. He instantly focuses all his rage at the closed door. SAM This is my room! You have no right in here! This is mine! INT. WEBBER'S UPSTAIRS HALLWAY - AFTERNOON Robin is sitting on the floor at the top of the stairs, staring blankly down at the foyer of this modernist mansion. SAM (O.S.) Why can't you all just die and leave me alone! EXT. DOWNTOWN LOS ANGELES - MORNING The traffic is thick and loud and the sky is a blanket of brown as George makes his way down a sidewalk mixed with professionals and panhandlers. Suddenly sick, George rushes to the side of a building and vomits. INT. BENSON, KIDDLER, FEINSILBER AND ASSOICATES - MORNING George wipes a clump of wet paper towel against the vomit stain on his cuff as he walks through the pockets of cubicles to a large enclosed office. A SECRETARY smiles as she stands up from her desk and opens the door. SECRETARY Good morning. GEORGE Is there a... He holds out the wad of wet paper towels, but before he can say trashcan, BRYAN BURKE stands up from behind his desk. BRYAN George, have a seat! I've got juice. INT. BRYAN BURKE'S OFFICE - MORNING George steps in and the secretary closes the door to the office. Bryan approaches with his arm outstretched, but George can only raise the paper towels. GEORGE A bird caught me. Bryan grabs a trashcan and holds it up; George tosses the ball into the trash and sits down. BRYAN Orange juice...croissant? Bryan motions with his hand as he sits. GEORGE I'm good, thanks. BRYAN What are you on? GEORGE Pardon me? BRYAN how much weight have you lost? GEORGE Oh...nothing. Thirty pounds. I just haven't been very hungry. BRYAN How's your wife? GEORGE When we divorce a decade ago, she was very, very angry. (beat) Now she's just hostile. Bryan nods and laughs as he takes a chunk of croissant and chews as he talks. BRYAN Right...she married...what was he? GEORGE He buys and sells the world. BRYAN Peter Webber! Right. Quite the spotlight on that guy. GEORGE I did tell you, didn't I? That I'd be ready to start the Berlin model today? BRYAN Well, that's sort of...you're sure you're not hungry? Bryan is anxious as he holds up the rest of the croissant. George shakes his head "no". Bryan tosses his croissant into the trash can and leans forward. BRYAN (CONT'D) This isn't me. (beat) We can show clients endless options, change anything in a matter of hours on the computer. But you won't change. GEORGE Typing and clicking myself to renderings isn't why I started building models. BRYAN All of us are typing and clicking, George. Whether we want to, or not. GEORGE I'm not. BRYAN Which is why we bid out a quarter of our projects. It doesn't make a lot of sense anymore to want what we don't have and don't want what we do. George glances around the office, angered by the thought he's being fired. GEORGE I've been here twenty years. BRYAN Maybe that's too long. GEORGE (hopeful) Maybe...? BRYAN That's too long. George nods as he stares at Bryan. BRYAN (CONT'D) Listen, they decided on a week a year severance, but I got them to twenty-six. That's six months salary, George. Medical and everything for six months. You can learn all you need to on the computer long before that. Maybe find a job closer to home. Bryan is rattled by George's blank stare. He takes his glass of orange juice and sits back in his chair, taking a sip, all the while keeping an eye on George. GEORGE My wife left me because I wasn't...very emotional. I kept trying to explain that my father sucked all the emotion from me. Drunks do that, sometimes. Make their kids afraid. Make them unwilling to express themselves. Bryan knows he's supposed to say something, he just can't seem to figure out what. BRYAN Oh. GEORGE How old are you? BRYAN Forty. GEORGE We were probably in school together. You went to Berkley? Bryan lights up at the sound of his Alma matter. BRYAN Class of eighty-six! I didn't know you were there. GEORGE I was a sophomore when I got the call my parents were dead. This is not the direction Bryan had hoped the conversation was headed. GEORGE (CONT'D) My dad had a blood alcohol level of .18. A little high. Drove right into oncoming traffic. Killed my mother with him. A lady in another car. Hurt her daughter. A five-year old girl. I think about her still. Bryan wants this to end. He leans forward with a whisper. BRYAN Listen...maybe I can get you a year. GEORGE I hate this job. BRYAN What are you talking about? You love your job. GEORGE From the day I started...to today. Can't stand it. Bryan is perplexed as George stands. BRYAN Then it sounds like I'm doing you a favor. GEORGE It may sound that way, but I react out of fear. My life has nothing to do with what I like or don't like. You haven't been listening, have you? BRYAN I didn't know there would be a quiz, George. GEORGE For everything. BRYAN Well, I feel better about this now. GEORGE Good. I was hoping for that. Relieved and not understanding anything about irony, Bryan stands and extends his hand. George shakes Bryan's hand without malice. GEORGE (CONT'D) I've got one favor to ask. BRYAN What can I do for you, George? GEORGE I built my first model here when I was twenty. There are hundreds of them on shelves around the office. Twenty years of my life. I was wondering if I might be able to pick a few to keep, to take home? Only the ones that really mean something to me. Bryan recoils slightly from the request. BRYAN Oh, well...those are...I mean, we don't get to keep our work. I could maybe ask them if you could choose one. But, you know, frankly George, you were the best. Computer models can't begin to match the beauty you gave yours. They're a part of this firm. They inspire me. I go out there and sometimes just stare at something I've designed. It amazes me. I would miss that too much. (beat) Look, I may be going out on a limb, but you go out there and look them over, every single one of them and pick the one you like the best and take it with you. Just run it by me first, just in case, you know...but I'm sure it'll be okay. GEORGE Thank you. BRYAN Well, it's the least I can do. GEORGE Yes, it is. George nods and leaves. Bryan looks lost and guilty again. INT. BENSON, KIDDLER, FEINSILBER AND ASSOICATES - MORNING George walks around the maze of cubicles back to his own. He finds an empty box and starts to pack. Against a wall, a large rack is filled with spools of architectural plans. George pulls one of the plans down, rolls it out and detaches the wooden spool. Without warning and with a fury hard to fathom, he proceeds to bat and smash a shelf of beautifully rendered models. Heads pop up in other cubicles as George walks out of his own and armed with a frightening rage, methodically attacks model after model resting on shelves just below massive plate glass windows that frame downtown Los Angeles. Steven Gardner, who asked for his model without grass, rushes to within feet of George as he witness his creation deconstruct into shards of cardboard and plastic. STEVEN Mother of God! Not my house! George stops for a second to focus on Steven, but Steven is smart enough to run. George continues on with the business of disassembling his work. VOICE Oh, please, please, no! The plea is instantly followed by a pathetic low whine. George works up a sweat as he whacks model after model; portions of plastic walls or window splatter the office as though bombed in war. Bryan Burke's secretary inches as close as she dares. SECRETARY Uh...Mr. Burke would like a word with you, George. George lowers his stick as he faces her. GEORGE Oh...okay. SECRETARY In his office. When you're able. GEORGE Thank you. With that, George finishes what he began only minutes prior: the complete and utter destruction of every model displayed on every shelf in the office, save one. Workers huddle together, collectively moaning and moving en mass from the mayhem. George picks up the sole surviving model in his arms and cradles it carefully as he walks into Bryan Burke's office. INT. BRYAN BURKE'S OFFICE - MORNING Bryan cowers behind his desk as George enters with his model in one hand and the long wooden stick in the other. GEORGE I'll take this one, if that's okay? It takes Bryan a few aborted attempts to answer before he simply nods. GEORGE (CONT'D) Thank you for going out on a limb and allowing me one. Bryan nods again, then quivers as George steps forward, leans the stick against the desk and extends his hand. GEORGE (CONT'D) You're a great architect and a miserable human being. Bryan winces as he extends his hand. They shake hands and George grabs hold of the stick again. BRYAN Thank you. George walks around the desk and bashes in a model hidden on the floor, one that Bryan had obviously wanted to save. BRYAN (CONT'D) Oh, fuck! George drops the wooden spool and walks out of the office as Bryan garners the courage to stand. BRYAN (CONT'D) You're not even an architect and you're a miserable human being. George turns around only long enough to answer. GEORGE You're right. You win. George closes the door behind him. Bryan stares down at the remains of the model; he gets down on his knees and carefully gathers up the pieces. EXT. DOWNTOWN LOS ANGELES - MORNING George is sweating as he walks with his box of personal items under one arm and the model under the other. Dizzy, he stops for a moment and tires to orient himself, glancing one way, then the other before staggering back and pressing himself against the building for support. Sweat beads and drops from his nose and chin as the song, 'ACROSS THE UNIVERSE' begins by The Beatles. George sets the box down but clings tightly to the model as he closes his eyes. 'Pools of sorrow, waves of joy are drifting through my open mind, possessing them, caressing me...' George drops face first to the cement, crushing the model beneath him. MONTAGE AS THE SONG CONTINUES George is probed and poked by doctor after doctor. An ultrasound test followed by a CT scan, followed by a MRI results in more tests. A flexible tube is slid down George's throat as dye is shot into his body. 'Sounds of laughter, shades of life are ringing through my open view, inciting them, inviting me...' A long blunt needle is shoved into George's side for a biopsy of his pancreas. X-rays are lit and highlighted as doctors ponder the specks, the disease. Finally, George is opened up; nearly bloodless slice through skin, muscle and fat reveals death. 'Limitless undying love, which shines around me like a million suns, which calls me on and on across the universe...' George is wheeled down a long hall to the critical care unit. 'Nothing's going to change my world, nothing's gonna change my world...' INT. HOSPITAL ROOM - EVENING George tries to sit up, but falls back as he closes his eyes, opens his eyes, closes his eyes. FEMALE VOICE (O.S.) That took care of the pain? George opens his eyes again as an attractive NURSE enters with a tray of food. GEORGE I could kiss you. The nurse smiles as she lifts the cover off the dinner. GEORGE (CONT'D) No food. I'm painless. She raises George's bed. GEORGE (CONT'D) What would you do if you had three or four months to live? The nurse glances over at the other patient in the room, who's sleeping, before answering in a soft voice. NURSE I'd eat a lot of red meat. GEORGE Good for you. The nurse smiles as she sits down beside the bed. She fills a spoon with corn and aims it for George's mouth; he accepts the good will, chews and swallows. NURSE What would you do? GEORGE I'd build a house. George takes another spoonful of food. NURSE What kind of house? GEORGE You know what mortise and tenon is? The nurse shakes her head "no". GEORGE (CONT'D) I've got every part of it ready. It's like a jig saw puzzle...all in pieces now, just waiting to make sense. I've been through design and review...the planning commission, city council. She feeds George another small spoonful of food. NURSE No one's really said four months is all you have, have they? GEORGE Stage four pancreatic cancer. They haven't even pretended to offer treatment. You tell me, when would you start eating red meat? NURSE Can you build a house in four months? GEORGE I can die trying. The nurse rests her hand for a moment on George's cheek. NURSE Good for you. GEORGE I haven't been touched in years. Suddenly alarmed by her emotion, the nurse removes her hand and stands back away from George. NURSE I'm sorry, I don't know what that was. GEORGE A handshake, or you know, someone pats you on your back through clothes. Doctors, people who have to touch you. But not by people who want to. NURSE No. A friend... your mother? Everybody gets touched by someone they love. GEORGE Isn't that weird? I mean, I dated a little bit after my divorce, for four or five years. Six years. I know when my son was younger...maybe when he was ten or eleven even, he'd run up and wrap his arms around me. George suddenly stops to catch his emotion. The nurse checks the door before walking back to George; she brushes back his hair with both hands, then fingers the curves of his ears, finally resting her thumbs on his lips. NURSE Oh God, I'm married. Feeling guilty, she flees the room, waking the other PATIENT. PATIENT I'm hungry. GEORGE I'm touched. EXT. SAN JUAN CAPISTRANO TRAIN STATION - AFTERNOON George is resting, eyes closed, sitting on a bench with his box and the remnants of the model beside him. A black Range Rover pulls to a stop with a HONK. George stands to gather his things as Robin steps out of the car, yelling. ROBIN I called everyone, everywhere! You just vanished! You could be dead! GEORGE Thanks for waking me up. Picking me up. You're loud today. ROBIN You're inconsiderate and absolutely devoid of emotion! GEORGE You're the most beautiful woman I have ever known in my life. Robin is stumped for a second, confused by the words. ROBIN What? GEORGE I'm not talking just physically. Even your anger is perfect. Robin climbs back in the car and slams her door shut. INT. ROBIN'S RANGE ROVER - AFTERNOON George sets his box in back and climbs into the front seat as Robin takes off. He closes his door as she runs a stoplight. GEORGE I didn't think you'd know I went missing. ROBIN You didn't think someone from your office would call and tell me you wrecked the entire building and threatened people with a baseball bat?! GEORGE A blueprint spool. ROBIN Where have you been for a week?! GEORGE Four days. I left to think. ROBIN What did you do with your dog? GEORGE Kurt's been feeding him. ROBIN But you can't call me while you think? GEORGE I wasn't thinking. Look, I'm sorry I didn't think to call you while I thought...I think. George raises his eyebrows, wanting just the slightest give from Robin. She glances at him, but won't yield. GEORGE (CONT'D) I need to talk to you. ROBIN Why would they tow your truck? GEORGE I was parked in day parking. ROBIN Why call me? GEORGE I'm going to tear down the shack and build my house. ROBIN You've been saying that for twenty years. While we were dating, you said it. GEORGE There's nothing anymore to stop me. ROBIN Money? GEORGE Severance pay. And I'm going to cash in my life insurance policy. ROBIN How many years did I live with your beams and boards? First in the garage, then in the living room. We're going to do it, Robin. Next year. Next year. Salvaged floorboards from a house in Pasadena. Doors from a church in New Hampshire... GEORGE I love those doors. ROBIN Where will you live? GEORGE The garage. ROBIN Look, I wasn't serious about you taking Sam, so you don't have to get into any actual construction to get out of it. GEORGE When's school over? ROBIN Friday...God, I hate the thought of him home all day. GEORGE I'll be by Saturday to pick him up. ROBIN He doesn't want to spend the weekends with you anymore. GEORGE Not for the weekend. For the summer. Robin scoffs. ROBIN You and Sam are going to live in a garage without plumbing for the summer? GEORGE The garage is plumbed. I'll put in a toilet. We'll survive. ROBIN Thank you for at least sounding sincere. GEORGE Sounding? I need help. He's cheap labor. ROBIN One of you would end up dead. GEORGE At least we'll have a house to show for it. ROBIN Forget it, really. I'll survive. GEORGE I want him with me. ROBIN No, you don't. Trust me. George rests a hand on the back of her neck. GEORGE I want Sam for the summer. Robin furrows her brow for a moment and glances at George. It takes a while for her to answer. ROBIN Okay. George rests his hand on Robin's cheek for a moment, as the nurse had done with him. Robin turns her head and bites his finger. GEORGE Hey, hey! ROBIN I'm married. George nods as he mock nurses his finger. INT. HIGH SCHOOL HALL - AFTERNOON Sam is walking with Corey, who's wiry and wan with a red nose. COREY The whole summer, man. Party in Tahoe. SAM I don't know. COREY It'll just be my brother the dweeb on weekends. All we gotta do is sand and paint the cabin, dude. (boasting) My dad's gonna let me use the boat and my charm is gonna let me use my rod. Income village is the place to hook up with hump. SAM I'll ask. COREY Hey, it beats letting town folk go down on you for the summer. Sam stops which stops Corey. Sam glances around to make sure no one's listening. SAM I never said anything. I haven't done anything. COREY I know what the deal is. Josh is a pimp. I'm not stupid. SAM You don't know what the deal is. There is no fucking deal. Sam walks away pissed that Corey knows what the deal is. EXT. GEORGE'S SHACK - MORNING George is shirtless, the stitches still fresh on his side; he carries/drags his mattress into the garage. Alyssa walks from her house to the garage and peeks in. INT. GEORGE'S GARAGE - MORNING George is making his bed, which is not easy because Guster is curled up on it. The one car garage is not dry-walled and the cement floor is clean but stained. ALYSSA Hi, Mr. Nelson. George steps away from the bed, slightly rattled by Alyssa. GEORGE Alyssa. ALYSSA Why have you put a toilet and a bed in your garage? GEORGE I'm living here while I build another house. ALYSSA Is that legal? Alyssa sits down on the bed beside Guster and starts to bounce up and down. George takes another step back. GEORGE Don't you have school? ALYSSA Nope. Alyssa lies down on the bed, lifting the sheet to her nose. ALYSSA (CONT'D) Are these clean? George is alarmed. Guster licks Alyssa's ear. GEORGE What's today? ALYSSA Monday. George bangs his head with his hand and starts to search the room. GEORGE My keys. ALYSSA What's that? Alyssa reaches out and slides a finger down his scar. GEORGE Nothing. I cut myself. George pats down his pockets. GEORGE (CONT'D) I had them in my pocket. ALYSSA I'm not shaving my legs or pits this summer, I've decided. George opens the drawers of a small desk and a chest, not paying attention to Alyssa as she raises her leg and runs her hands down the stubby skin. ALYSSA (CONT'D) Paula Cole isn't a vertical kisser. George dabs his keys from the floor beside the chest. GEORGE Make the bed for me, would you? I gotta run. George turns around to Alyssa's leg up and a great view of her underwear. COLLEEN (O.S.) What are you, forty? George whirls around to face Colleen as Alyssa lowers her leg. GEORGE I forgot where I put my keys. COLLEEN And you thought they might be under her dress? ALYSSA I was just showing him my hair. Alyssa miffed as she stands. ALYSSA (CONT'D) I think you need to rethink what you think of me. Alyssa walks around her mother and out of the garage. Colleen stares at George. GEORGE Her leg hair. Colleen turns and walks out. INT. GEORGE'S TRUCK - LATE MORNING George drives the four miles North to Robin's house listening to Paula Cole. He turns into Emerald Bay, a guard-gated community and a Guard waves him in. EXT. WEBBER'S HOME - LATE MORNING George rushes from his car and tries the front door, but it's locked. He rings the bell and LOIS, the maid, answers. LOIS Mrs. Webber is in the backyard. GEORGE And Sam? LOIS In his room, packing. GEORGE Oh...Good. INT. SAM'S ROOM - LATE MORNING Sam has a CD by MARYLIN MANSON on loud as he packs a suitcase on his bed. The KNOCK on the door is barely heard. ANOTHER KNOCK draws his disapproval. GEORGE (O.S.) Sam! Sam's face turns sour as he yanks the door open. GEORGE (CONT'D) Ready? Sam shrugs and returns to finish his packing. GEORGE (CONT'D) I think you'll have fun this summer. It's nearly impossible to hear George over the music. GEORGE (CONT'D) Don't forget your headphones. The music is quickly driving George crazy. GEORGE (CONT'D) Would you mind turning it down? This doesn't register with Sam. GEORGE (CONT'D) It won't all be work, you know? George is once again, seemingly unheard. He walks to within inches of Sam and grabs his head and yells into Sam's ear. GEORGE (CONT'D) It won't be all work, you know! Sam pulls away from the touch and turns the music off. SAM I heard you already! George walks to the sliding glass door and stares down at the boys and Robin in the pool. GEORGE Your mom and the boys can drop by anytime. SAM To check up on me? GEORGE I'll be around to check up on you. SAM Why would you be there? GEORGE Because I live there. SAM You live in Cory's parents' cabin? EXT. WEBBER'S BACKYARD - LATE MORNING Ryan and Adam are on their backs on rafts as Robin swims laps between them. Suddenly, like a UFO crashing to Earth, Sam's suitcase spirals downward straight into the pool, barely missing both Adam and Ryan. SAM No fucking way!!! The boys are knocked off their rafts as Robin takes off her goggles and focuses on Sam up on his balcony. SAM (CONT'D) You liar! You stupid liar! I hate you! George bursts out of the kitchen, onto the patio. GEORGE Did you tell him he's spending the summer with me? SAM (O.S.) No I'm not! Sam storms off the balcony, back into his room. ROBIN What was I supposed to do? When you didn't show up Saturday, I tried to call. Your phone isn't working. GEORGE I don't have a phone. ROBIN I drove over and you were gone. GEORGE I can't leave the house? ROBIN Last time you were gone for a week! GEORGE Did you tell him he was spending the summer with me? ROBIN No. I was going to let you do that. GEORGE He's not spending the summer in Tahoe. Sam walks out of the kitchen to confront his father. SAM Who are you, anyway? I don't even know you. GEORGE You'll know me by the time we're through. SAM I'm not going! GEORGE I'll get your bag. George walks to the edge of the pool and scoops up the suitcase, holding it out as it drains. SAM Mom, tell him I'm not going. You already promised me! GEORGE You have everything? Robin is in an uncomfortable position as she glances at Sam before focusing on George. ROBIN I did say he could go. GEORGE Let's go. SAM I'm not going! GEORGE You don't have a choice. SAM Mom...please. Sam's eyes well with tears as his voice cracks. Robin is ready to concede. ROBIN George -- GEORGE (adamant) He's not spending the entire summer with another kid in Tahoe. If he leaves, I will follow him up there and I will drag him home by his nose ring. He can hate me. You can hate me. He can try to kill me while I sleep. You can call the police. You can call your husband or your attorney, but Sam is spending the summer with me. He's my son. He's sixteen. That's it. Sam is crying now -- snot's running down his nose. Robin is shocked by George's forcefulness. ADAM Can we hate you? GEORGE You can do anything you want. George walks to Sam and touches his arm. GEORGE (CONT'D) Go get in the truck, Sam. Sam jerks away from his dad as dramatically as he can manage. SAM Go fuck yourself! George drops the suitcase and grabs Sam by the arms. As much as Sam tries to resist, he's clearly no match for his father. GEORGE Your nose ring comes out of your nose. If you've got them in your nipples, they come out, too. And there's no make-up at my house. No glue sniffing. Huffing. No pills, no grass. SAM If you hit me, I'll call the police. GEORGE You've worn out your welcome at this house, Sam. I won't ever hit you. (beat) This may well be the worst three months of your life, but you've earned it. So, pick up your suitcase and go get in the truck. Now. SAM I'll hate you forever. GEORGE You can't even begins to know how much I hate my father. (upbeat) Think of it as a family tradition. Sam glares at his mother before grabbing his soggy suitcase and stomping out of the backyard. Robin is stunned silent by George's decisiveness. INT. GEORGE'S TRUCK - LATE MORNING Sam is pressed against the passenger side door. George walks from the backyard and opens the truck door to climb in but is stopped by Sam's suitcase. He lifts it out and sets it in the bed, then slides into the cab, sitting on the soaked seat. George rises up and turns to Sam, who is sullen and silent. EXT. GEORGE'S SHACK - AFTERNOON Sam is shirtless on his back on the roof of the shack, sunning himself as George struggles to extricate a sofa from a doorjamb. Guster is asleep on the grass, under a tree. GEORGE Sam? I'm...for like three minutes? After another bout of trying, George drops the sofa and steps back to glance up at Sam. GEORGE (CONT'D) That's okay. If I break my back, daddy's gonna buy you a naval ring. No reaction from Sam. GEORGE (CONT'D) And if that naval ring don't fit, daddy's gonna rub you down with the sun screen. Sam glances down at his father, puzzled by the verse. GEORGE (O.S.) (CONT'D) I want you wearing sun block. And I want you down here to help me. Now. Sam dismisses his father without a word - he simply adjusts his face back to the sun. George walks away. A sudden spray of water drenches Sam, forcing him to his feet in a cold panic. George stops the hose water pelting. GEORGE (CONT'D) It works on Guster. MOMENTS LATER George is still struggling with the sofa stuck in the door. Frustrated, he steps away from the sofa. GEORGE (CONT'D) You're in there not helping at all, aren't you? INT. BEACH SHACK ENTRY - CONTINUOUS Sam is leaning against a wall with his arms folded across his chest. GEORGE (O.S.) You know what else helped Guster? Neutering. The slightest alarm crosses Sam's face. INT. GEORGE'S GARAGE - EVENING George is shirtless in shorts, boiling pasta on a portable stove as he heats a sauce in the microwave. A dresser topped with plyboard serves as a countertop; other than a sink being across the garage near the toilet, this is a fairly well equipped makeshift kitchen. GEORGE Do you want garlic bread?! George waits a bit to make sure no response is no response. Then stuffs a hunk of garlic bread into the toaster oven. EXT. GEORGE'S GARAGE - EVENING Sam is sitting on the edge of a cliff that drops twenty feet to the ocean; Guster is whining for attention behind Sam. SAM Well, get over here, then, stupid. Guster inches forward on his belly, which makes Sam smile. SAM (CONT'D) Are you afraid of heights, Guster? Sam drops to his belly and stretches out to pet Guster. SAM (CONT'D) The fall probably wouldn't kill me, anyway. Guster inches closer and licks Sam's face. George walks out with a tray filled with spaghetti, garlic bread and a Coke. GEORGE Thinking of jumping? George sets the tray on the ground beside Sam. SAM Pushing. George walks to the edge of the cliff. GEORGE Only jump after you hear the wave crash against the rock. The water will take you out. Let it. Swim a little North and you'll see the sand. Sam sits up and faces his father with a trace of alarm. GEORGE (CONT'D) First time I did it, younger than you, I thought I'd break my neck and just sort of float to Catalina. (beat) You don't always get what you wish for, Sam. George suddenly leaps forward and disappears into the sea as a wave crashes against the rocks below. SAM Oh, shit! Sam scurries to his feet and scans the ocean for his father; the only thing visible is darkness. SAM (CONT'D) Hello? Guster is lapping up the dinner, bread and all as Sam calls out again. In a bit of a panic, Sam runs from the cliff. EXT. PACIFIC COAST HIGHWAY - EVENING The traffic is heavy as Sam runs against it. Without a sidewalk and with parked cars blocking a reasonable path, this is a dangerous trek North. EXT. ALISO CREEK BEACH - EVENING Sam runs to the edge of the water and anxiously waits for his father to emerge from the sea. A jogger startles Sam - he steps into a wave that soaks his shoes. George floats on a wave into view and stands in waist high water, only to be knocked way back down. He rises and falls and rises before making his way to the sand and Sam. SAM Are you totally insane?! GEORGE I almost saw Catalina. George coughs and drops onto the sand exhausted. Sam storms off, angry that he cared enough to get angry. EXT. GEORGE'S SHACK - EVENING Sam is winded as he walks off the street to the middle of the yard. He glances around for Guster. SAM Guster! Guster bounces out of the garage with spaghetti sauce covering his muzzle. SAM (CONT'D) You're so busted, dude. Sam sits down on the grass and plays with Guster, who yaps with joy as he breaks away and closes the distance with the abandon of a puppy. SAM (CONT'D) Where's my dinner, huh? Sam manages to pin Guster on his back. He looms over the dog as he kisses him on the nose. SAM (CONT'D) I'm hungry! Where's my dinner? Who ate my dinner? Huh? Who's in trouble now? ALYSSA (O.S.) Hi. Sam rolls over Guster and stands, nearly stumbling in the process - way uncool. SAM Hey. ALYSSA What are you doing here? Guster bumps against Alyssa for her attention; she kneels down to pet him. SAM They're trying to make me spend the summer here. I'm leaving in the morning. ALYSSA Where to? SAM I'm supposed to be in Tahoe. ALYSSA Your dad's really gonna build his house? SAM I don't know. ALYSSA Well, if you don't go, I guess I'll see you. Alyssa stands. Sam is clearly shy around her. ALYSSA (CONT'D) You should stay. SAM I don't know. ALYSSA Where's your dad? SAM He jumped into the ocean. ALYSSA Tell him I said "hi". Alyssa pets Guster again before walking away. Sam is smitten. INT. GEORGE'S GARAGE - NIGHT Sam's curled up in a tattered lazy-boy near the toilet, watching television as George sits on the bed, brushing his teeth. Suddenly, Sam turns to face his dad. SAM I'm not taking a dump with you in here. George nods as he continues brushing. SAM (CONT'D) My brothers say it's the worst smell they've ever smelled. George nods again, which appears only to irritate Sam. SAM (CONT'D) I think you have to have a door between where you cook and where you crap. Like even in the bush, tribal people and like that have a place for both. It's like a law. George walks around Sam to the sink and spits, rinses and wipes his mouth with a towel. He faces Sam. GEORGE Which side of the bed do you want? Sam's jaw drops as he glances at the double-bed. GEORGE (CONT'D) Just kidding. The sofa's a pullout. George smiles and pats Sam on the shoulder before walking to the sofa and pulling it out to make a bed. SAM Probably in the bible. GEORGE Goodnight. George drops his pants and climbs into bed. He pulls the sheet up and fluffs the pillow before resting his head. SAM I have to take a dump. George twists around in bed to face Sam. After a beat, he tosses the sheet back, climbs out of bed, pulls back on his pants, slips on his shoes and walks out of the garage. EXT. GEORGE'S SHACK - MORNING George is up on the roof, hacking through the shingles and beams with a chain saw. A huge dumpster set on the lawn receives only about half the throws George makes. Sam is near the ocean in a chaise lounge, listening to music through his portable CD player. GEORGE Have you got sunscreen on? There's no chance he's been heard. TOM and BARBARA, two older neighbors of George's nearing home from a walk, stop on the driveway - both look pleased. BARBARA It's about time this shack is torn down. Barbara appears surprised as George turns to face them - she obviously didn't realize he was the one up on the roof doing the demolition. TOM Oh, hello George. GEORGE Guess how many low-income apartments the city approved for this lot? Tom and Barbara react by trying not to react. GEORGE (CONT'D) Come on...ballpark figure. Tom and Barbara step back and walk away. George heads to the ladder and climbs down. ANOTHER VIEW Sam is grooving to the music with his eyes closed as George's hand, filled with a gob of sunscreen, plops onto Sam's stomach. Sam bolts up from the chaise lounge in a rage. SAM What are you doing?! GEORGE I warned you yesterday. SAM Don't touch me! You can't touch me! ALYSSA (O.S.) Hey, you stayed. Alyssa walks across her lawn to the feuding family. George holds out the bottle of sun lotion to Alyssa. GEORGE Rub him down, please. George walks back to the ladder and up onto the roof as Alyssa and Sam stare at one another. SAM He's a freak. ALYSSA You look better without make-up. SAM I can't even take a shower here. ALYSSA Come over to my house whenever you want. I'll tell my mom. SAM I might not stay, anyway. ALYSSA I'll get your back. SAM No. That's okay. Sam reaches out for the lotion, but Alyssa hides the bottle. ALYSSA Have you ever had anyone but your mom or dad put it on for you? Sam thinks about it for a second before shaking his head no. ALYSSA (CONT'D) It's weird how different it is. Lay down. George is back with the chain saw, hacking away at the roof. Sam is hesitant as he lies down on his stomach. Alyssa kneels and squeezes lotion on his back. She works it in, starting at his neck, working her way down to his pants. She squirts Sam's arm and as she rubs close to his pit, he squirms. ALYSSA (CONT'D) Do you remember me from when you lived here? SAM Yeah. ALYSSA Your dad dated my mom after her divorce. SAM Really? ALYSSA I wanted him to marry her. SAM Why? ALYSSA Turn over. Alyssa grabs under his armpits and tickles him. Sam yelps and rises onto his elbows as Josh roars by the shack in his Porsche. ALYSSA (CONT'D) Josh and I are going to South Coast. Wanna ride? Maybe see a movie? SAM No thanks. Sam is disappointed as Alyssa stands to leave. ALYSSA Don't forget your front. Alyssa walks to the shack and waves goodbye to George. George waves her off. Sam curls onto his side as he watches Alyssa run across the lawn to Josh. GEORGE She's pretty...for a girl. Sam appears irritated as he stands and walks into the garage. INT. GEORGE'S GARAGE - MORNING Sam glances out the window to check on his father, then quickly rummages through every drawer and cabinet looking for what he finds: a prescription bottle. It's Vicodin. He checks on his dad through the window again, then opens the bottle and takes out five pills. He fills a glass with water and swallows two, saving three for later. He sets the bottle back where he found it before he drops on the bed with a grin. EXT. GEORGE'S GARAGE - AFTERNOON Guster is in a full out run for a rubber ball. Sam is shirted, sitting at the patio table. With the ball gladly returned, Sam tosses it again. George walks out juggling two plates of sandwiches and two Cokes and sits down. GEORGE Do you ever get like the slightest inkling that you might want to help me instead of doing absolutely nothing? SAM No. GEORGE Get the inkling, Sam. I'm getting tired of your attitude. Sam picks up the sandwich, examines it and sets it back down on the plate. SAM I hate turkey. GEORGE No you don't. George takes a bite of his sandwich before responding. GEORGE (CONT'D) I want you to take out your nose ring and leave it out. SAM Why? GEORGE It bugs me. SAM You snore at night. That bugs me. Can I take you out? GEORGE Your brothers are right. It was the most god-awful smell I've ever had my nose around. George tightens his face and waves his hand in front of his nose. Sam stares at his father. A black Range Rover pulls to a stop and Robin steps out with a pizza box in her hands. ROBIN Thought you guys might be hungry. As Robin walks up the drive, Sam picks up the turkey sandwich and starts eating. George glances at Sam as Robin sets the box on the table and sits down. GEORGE We're fine. Turkey sandwiches. ROBIN Well, for later then. Robin focuses on the nearly roofless shack. Guster walks to the table and sits down by Robin, ready to beg. ROBIN (CONT'D) It makes me sad. GEORGE What? ROBIN I used to live here. GEORGE But you hated four out of the five you did. ROBIN I was here six years. And I only hated two. GEORGE Which? ROBIN The first and the last. George sets his sandwich down. GEORGE I don't even like turkey sandwiches. What kind of pizza? ROBIN Sam's favorite. George opens the box and pulls out a slice. Sam appears disinterested as George starts in on the slice of pizza. ROBIN (CONT'D) (to Sam) Sure you don't want any? Sam shrugs off his mother, looking away. Robin nods and grabs a piece for herself. ROBIN (CONT'D) You're too thin, George. From what you used to be, anyway. George responds with a pleasant face; he's not going to explain his weight loss right now. GEORGE Why the first and the last? Robin sets her slice of pizza down as she studies George. ROBIN The first because I wasn't sure you really loved me...the last because I wasn't sure I really loved you. George nods. Though it may appear that Sam isn't interested in the conversation, his ears are perked. GEORGE I was up on the roof this morning, tearing it down and it struck me as strong as anything ever has. That I'm happy today. ROBIN What have you been before today? GEORGE It was just that, maybe the way the sun struck the ocean, the sound of the waves. It was simple, whatever it was. Then I started thinking about the last time I felt this good. (beat) It's been a long time. ROBIN Do you remember? GEORGE The only time I can think of for sure, I was holding onto Sam in the ocean, saving him from the waves. George turns to Sam, who's caught staring at his father. GEORGE (CONT'D) You head was pressed against my chest. I could feel your heart racing. And I remember I kissed your hair. ROBIN We have it on video! Was that when? My parents were down for his sixth birthday! I remember that. Robin inexplicably starts to cry. She instantly tries to take it back, pressing her hand to her mouth, wiping her eyes, but whatever emotion has her, has her good. Both George and Sam are confused and concerned. SAM I have to go. She stands and backs away from the table. GEORGE What is it? ROBIN I'm fine. Nothing. (beat) I'll drop by your lunch tomorrow. Robin wipes her eyes again as she climbs into her car and drives off. Sam and George face one another. GEORGE I don't know. SAM I'm gonna take a walk. I need some money. GEORGE You'll have money when you work. SAM You're so predictable. Sam sets his sandwich down and grabs a slice of pizza as he stands. He walks for a few feet, stops and turns around. SAM (CONT'D) You haven't been happy in ten years? He doesn't wait for an answer; as he walks away, Guster follows. George takes Robin's slice of pizza and drops it on the cement; that's all it takes to turn Guster around. INT. ROBIN'S KITCHEN - EVENING Robin is sitting alone at the table, doing nothing. The TV is on loud in another room. Adam walks into the room in his pajamas. He sits down across from his mother at the table. Robin smiles at him. He smiles back as he scoots his chair closer to the table and extends his arms straight out across the top. Robin extends her arms and they lock hands near the middle. Without a word, they hold hands. Adam lets go and climbs on top of the table, scoots across it with a kiss for his mother before he's gone, sliding off the table on his rear and running back to the TV. EXT. GEORGE'S GARAGE - EVENING George is on the patio, bending a thin piece of copper tubing. Sam storms out of the garage, fuming. SAM No one would blame me if I left! GEORGE I'd blame you. I want you here. SAM I'm not doing it! GEORGE It'll be fine. SAM Why don't you just beg some money off my dad and move into something decent with a real kitchen and a real bathroom? GEORGE I'd rather sell my nuts to a castrati. Sam screws his face down - huh? GEORGE (CONT'D) I don't beg. SAM And I don't take a shower in the middle of the yard. GEORGE I can promise you complete privacy. SAM You can't promise me anything! You don't have anything to promise! You live in a garage! You don't have cable! You're not hooked up to the internet because you don't even own a computer! You don't have a job! George finishes bending the copper into a circle. He stands and holds the copper circle out for proof of privacy. GEORGE This will save you from prying eyes. Sam dismisses his father with a shake of his head. He heads back into the garage. INT. GEORGE'S GARAGE - EVENING Sam quickly heads to where George's prescription bottle was hidden under a pile of underwear. He steals two more pills and swallows them before grabbing a towel and walking out. EXT. GEORGE'S GARAGE - EVENING SAM If you had a stupid phone or I could use your truck, mom would give me some money. GEORGE You'll have money when you work for it. Sam stomps down the driveway and across the grass to Alyssa's house. George walks around to the back of his garage with the rounded copper tubing. EXT. ALYSSA'S HOUSE - EVENING Sam is standing on the porch with his towel and clean clothes. Colleen answers the door. SAM Is Alyssa home? COLLEEN She's out with a friend. SAM Oh...do you know when she'll be home? COLLEEN She didn't really say. SAM Oh...okay. Sam nods and steps back as he prepares to leave. COLLEEN Sam? SAM Uh huh. COLLEEN I didn't recognize you! SAM I'm sorry. COLLEEN Alyssa said you don't even have plumbing over there. SAM Not a shower. Colleen takes Sam by the arm and nudges him into the house. INT. ALYSSA'S ROOM - EVENING Sam is slowly making his way around the room, taking note of everything: some dried flowers; a yearbook; a cabinet full of CD's; dirty clothes stuffed in a hamper. He walks into the bathroom before walking back out and making one more round. INT. ROBIN'S FAMILY ROOM - EVENING Robin is sitting between her sons on the sofa, watching a movie. Peter enters the room, carrying his jacket. PETER The goddamn traffic. Were we going out to dinner? Robin focuses on her husband, but the boys are riveted to the television. ROBIN We've eaten. PETER Is Lois still here? I'm starved. ROBIN I'll make you something. Robin stands as Adam and Ryan try to hold her down. PETER Did someone call to tell you I'd be late? Robin walks into the kitchen without responding. INT. ALYSSA'S BATHROOM - EVENING Sam's in the shower, obscured by the sandblasted glass. JOSH (O.S.) Bro, I need you tonight. Sam bumps an elbow against the glass as he opens the shower door enough to look out. Josh is sitting up on the marble countertop. SAM I locked the door. Josh holds up a tiny screwdriver. JOSH It'll take you like twenty, thirty minutes. SAM Does Alyssa know? JOSH Nothing. SAM You got any weed? JOSH You got the money? Sam waits a beat before closing the shower door. JOSH (CONT'D) Alyssa sent me up to see if you wanted to hang around and watch a movie with her and her mom. EXT. GEORGE'S GARAGE - EVENING The round copper tube is braced and nailed to the side of the garage; on it hangs a shower curtain. George is making noises inside the curtain as he showers. GEORGE Ah! Oh.... KURT (O.S.) I know there's an explanation. George pulls back the shower curtains just enough to see Kurt standing by in his police uniform. GEORGE No hot water. George is shivering as he closes the curtain back up. KURT Mr. Dokos called to complain that you and a boy are squatting illegally in the garage of your house. GEORGE Check the permits. It was built as a guesthouse. It's a legally rentable unit grandfathered when South Laguna was incorporated. Without warning, the copper tubing holding the hanging curtain falls to the ground. George turns the water off and grabs a towel. Unfortunately, his ass is not what the towel covers. KURT Now that should be illegal. INT. ALYSSA'S FAMILY ROOM - EVENING Alyssa and Colleen are curled up on the sofa as Josh and Sam stick their heads in to say goodbye. SAM Thanks for the shower. COLLEEN I want you both to stay. ALYSSA And candy too. Alyssa holds up a huge bowl of popcorn and the DVD case. JOSH I'm gonna give him a ride in my car. ALYSSA I'll see you tomorrow. COLLEEN Come over anytime you need to, Sam. SAM Thanks, I'd like that. Thank you. The only thing keeping Sam from staying is Josh, who jerks him out by the shirt. INT. GEORGE'S GARAGE - EVENING With Kurt in the only chair, George hands him a cup of coffee and sits down on the pullout sofa, which is pulled out. KURT I'm surprised he hasn't left. GEORGE I haven't forced him to work. I only wet him down once. Why would he leave? Sam rushes in and grabs a sweater before starting out. SAM I'm leaving. GEORGE Hey...hey! Sam stops at the door and waits impatiently. GEORGE (CONT'D) Where are you going? SAM I don't know. GEORGE When are you going to be back? SAM I don't know. GEORGE Well, until you know, you can't go. SAM Oh, okay. Sam is gone in a flash. Kurt studies George for a second. GEORGE I'm not very good at it. Parenting. Kurt nods; agreed, he's not. INT. ROBIN'S KITCHEN - EVENING Robin arranges an attractive plate of food, which she sticks in the microwave. Peter walks in wearing different clothes but the same personality. PETER I hope your ex-husband is equipped for the havoc of Sam, because it seems absolutely blissful here tonight. He sits down at the table, opening up a newspaper as Robin stares at him. ROBIN Do you think it's odd your kids don't hug you? PETER Should I? ROBIN It would worry me. Peter glances up from the paper, focusing on Robin. PETER If I let everything that should worry me, worry me, I'd be dead from worry. ROBIN What would you be if you asked Adam and Ryan to run in now and hug you? PETER I'd be you. The answer bothers Robin enough that Peter can't concentrate back on the paper. PETER (CONT'D) I'll do it if that's what you want. Robin walks out of the kitchen. Peter folds the paper and shoves it across the granite counter. INT. JOSH'S PORSCHE - NIGHT Sam and Josh are parked on a street that overlooks the Valley East of Laguna Beach. They share a joint as Josh explains the specifics of the job. JOSH You don't have to do a thing. Just get in and get out. As quick as you can. Close your eyes and think of whatever. Sam hands the joint to Josh. SAM What's your deal with Alyssa? JOSH Don't even...I'm there. SAM I wasn't sure. JOSH She wouldn't even fucking go out with until she was sixteen. I mean, that's not even a rule, just her own thing. She like figures things out on her own and then that's it. A black Mercedes Benz pulls to a stop a ways down the street. Josh hands Sam a cell phone. JOSH (CONT'D) If this rings, run. Sam is scared and it shows. JOSH (CONT'D) He already knows everything about what he can't do. You can tell him not to even look at you, if you want. SAM I'm thinking it's too weird now. Josh pulls a baggie of grass and holds it out for Sam, who takes it and stuffs it in his pants pocket. JOSH It beats working. Josh hands Sam the joint. JOSH (CONT'D) Inhale and get out. Sam is quick to inhale, but slow to get out. Josh takes the joint and Sam steps out. He walks slowly to the Mercedes, opens the door and climbs in. Josh turns the CD on to Guster's "ALL THE WAY UP TO HEAVEN." Sam closes the door to the Mercedes. 'He said to only look up, he said to never look down, down is where we came from...' It's an odd song sung in a happy tempo; a whistling refrain overtakes the lyrics as Josh inhales. 'He said to hope for the best and take a load off my chest. Soon, I could be happy, and go all the way up to heaven and go all the way back home.' With the music loud, Josh misses the police car as it stops behind him without the lights. Too late for a getaway, he fumbles for his cell phone and tosses the joint out the open window. The OFFICER approaches the Porsche with his hand on his gun. OFFICER What did you toss into the brush? Josh furtively presses send on his cell phone as he faces the officer with a guilty face. JOSH Nothing. 'He said I might need his help, no one gets high on themselves. I just seem so lonely; he's just trying to be nice and spread around his advice. I could be happy...' OFFICER Turn off the music! As the music stops, the door to the Mercedes opens and Sam hops out with his pants around his ankles. The officer notices and walks towards the Mercedes. The parking lights flash red as the car starts and flees the scene. Sam yanks up his pants and leaps down the hillside, falling and rolling in the brush as the officer yells for him to stop. Josh starts his car, but the officer dissuades him from leaving by removing his gun. Josh turns off the engine. JOSH Oh, it's working now. OFFICER What did you toss into the brush? Before Josh can feign innocence again, the brush starts to smolder. Busted. EXT. HILLSIDE - NIGHT Sam is spotted with weeds and dirt as he continues his way down the steep hillside holding up his pants. After he's sure he's safe, he sits down and rests his head in his hands. He starts to shake, frightened by his actions. He drops onto his back, buttons and zips his pants as he starts to cry. Slowly, he stops crying, but keeps staring up at the sky, which is loaded with stars and a full moon. Mesmerized by the brilliant night, Sam can't stop staring. EXT. GEORGE'S SHACK - MORNING George is removing the last of the windows, carefully prying it out of the casement as Robin pulls up in her Range Rover. She steps out dressed in Levi's, boots and a t-shirt, carrying a large bag. ROBIN Lunch. She smiles and walks toward George, dropping the food sack on the patio table. GEORGE It's not breakfast yet. ROBIN I dreamed about your house last night. GEORGE Finished or unfinished? ROBIN It was perfect, George. Amazing. It was so real. GEORGE Didn't you once dream you could lick people well, though? ROBIN That wasn't a dream. That was Sam. GEORGE Oh...with his ear infection! ROBIN My tongue around the edge of his ear is what cured him. George isn't quite sure how to take her comment. Finally, he points to the Garage. GEORGE Go in there and lick his attitude. ROBIN The antibiotics weren't working. (beat) It's what I believe, George. George stares at Robin for a second before he nods. GEORGE You were wrong about the first year, you know? It takes Robin a second to understand he's saying he loved her when they married. ROBIN I've been wrong a lot in my life. GEORGE Hindsight. It's like foresight without a future. Robin almost smiles; George confessing love ten years dead. ROBIN I have three hours before I pick up Adam and Ryan. (beat) Where will I be most useful? Robin glances around, assessing the best use of her time. GEORGE With your hands or your tongue? ROBIN You're not well. Robin picks up a pile of splintered board and tosses them in the garbage bin. George nods...he's not. LATER Robin and George carry a twelve-foot beam from inside the shack and set it down on cinder blocks. Both look exhausted as they head back in for another beam. Sam saunters out of the garage in shorts, sits down on the patio chair and opens the sack his mother had packed for lunch. He pulls out a peanut butter and jelly sandwich and starts eating as George and Robin emerge from the shack with another beam. GEORGE Good morning. Robin and George set the beam down and turn to Sam as they both wipe sweat off their faces. Sam chews his sandwich, ignoring them both. ROBIN I'm late. Robin walks close to Sam, trying to capture his attention. ROBIN (CONT'D) Ryan has a game later. He asked if you'd come and watch. Sam glances up at his mother, just long enough to let her know he hates her, then drops the sandwich and walks back into the garage. A city inspector's car pulls to a stop on the street and BOB LARSON steps out with a clipboard. Robin passes him as she walks back to her Range Rover. BOB Mr. Stevens? GEORGE I've been dreading you. Bob and George shake hands as Robin drives off. BOB Bob Larson. Do you happen to have an unenclosed toilet in close proximity to a kitchen? GEORGE A violation? BOB Oh, yes. GEORGE And if I enclosed it? BOB An exhaust system or a window is code. GEORGE A sink? BOB Allowed outside the enclosed area. Sam walks out of the garage in long pants and a shirt. SAM Where is it? GEORGE A friend of yours is here. SAM Did you got through my pants? GEORGE I might have a solution. George grabs his chain saw and walks to the garage with Sam and Bob in tow. SAM Where'd you put it?! INT. GARAGE - AFTERNOON George walks to an armoire and empties it. He grabs a hammer and bangs, pries and pulls the back off, then dumps the cabinet onto the floor. SAM I know you took it. I want it now! George yanks the chain saw to a roar and fashions an oval cut a few feet deep on the cabinet base. He kills the saw, lifts the armoire and scoots it in front of the toilet. GEORGE Doors. Bob grimaces as George opens the armoire, revealing the toilet inside. BOB I hate to ask about a window. GEORGE (to Sam) I flushed it down the toilet. SAM No! Oh my God! George jerk starts the chain saw again and fashions a small opening above the toilet, ripping through the studs, wire mesh, tar paper and stucco - fine dust invades the space like a storm. Bob coughs as he writes in his book. George kills the chain saw and sets it down as he surveys his work. SAM (CONT'D) If I had a gun, I'd kill you. Bob seems fairly anxious to conclude his business. BOB I assume you'll fill the...uh, window, with glass? GEORGE If that's what it takes. SAM What's in my pants is none of your fucking business! BOB (a little rattled) I would say you're in compliance. GEORGE I hope that makes the pain in the ass that called you happy. George is staring at Sam. Bob backs out of the garage. BOB You and me both. With Bob gone, George walks to Sam and gets in his face. GEORGE Everything about you is my business. What you smoke, what you swallow, what you sniff, it's all my business. Sam slams his fists against his own chest, maddened. SAM I've been using since I was twelve! You're all so unbelievably stupid. You didn't give a shit about anything I did until now! GEORGE I'll apologize for everything but today...Today I give a shit. SAM You're too fucking late. GEORGE The gloves on the table are for you. SAM You can't make me do a thing. GEORGE Sit down for a second. SAM No. George gently guides Sam back onto the bed. Sam hops up mad. SAM (CONT'D) I'll call the cops if you touch me again! George sets Sam back onto the bed, not so gently this time. Sam is less eager to hop up in defiance. SAM (CONT'D) Oh, so you're in the big shit now! Child abuse. People go to prison for what you just did to me. GEORGE My dad used to play a game. I never really understood what it was until after he was gone. Sam appears immensely disinterested. SAM I was holding for someone. That wasn't even mine. GEORGE The game was to make me smaller than he was. No matter what. He could be almost invisible as a human being, but I had to be smaller. So if I got good grades, I was a pussy for not playing football. If I cut my hair for him, it wasn't short enough. If I shaved it, I looked like a psycho. I never won the game. Not once. And if he couldn't make me smaller with words... Tears well in George's eyes. Sam is caught up enough in what his father has to say that he has to feign his lack of interest. SAM I'll have to pay him back. GEORGE I won't ever hit you. (beat) I don't want you smaller. I want you to be happy. You're not. Not here with me. Not home with your mother. Not up in Tahoe. Not alone. Not anywhere. (beat) You're what I was most of my life, Sam. I see it in your eyes. In your sleep. In your answer to everything. You're barely alive. SAM I'm not even listening. GEORGE You know that great thing, though? Is that change can be so constant you don't even feel the difference until there is one. It can be so slow that you don't even notice that your life is better or worse, until it is. (beat) Or it can just blow you away. Make you something different in an instant. It happened to me. George walks to the garage door as he wipes his eyes. He stops and turns back around to face Sam. GEORGE (CONT'D) Build this house with me. George walks out leaving Sam on the bed to think. EXT. GEORGE'S BEACH SHACK - AFTERNOON George gathers a pile of splintered boards and tosses them into the dumpster. He works while Guster sleeps. LATER The sun is fierce, low on the horizon with a heat that distorts the distance. George is sweating and shirtless as Sam walks out of the garage with the gloves on and stands staring at his father. After a beat, George notices him. SAM I have to pay back what you flushed down the toilet. (beat) I want ten dollars an hour...then I'm done. George nods. He points out the roofless shell of a shack. GEORGE It all has to come down before we can start again. (beat) Knock it down. George picks up a sledghammer and hands it to Sam. Sam hoists the hefty hammer and with some true effort, slams it on a sideboard. He slams again and again as George picks up a slightly smaller sledgehammer. GEORGE (CONT'D) I hated this house from the second my father cheated everyone and put it in my name. George takes a good hard whack at the wall, knocking a huge hunk of it down. Sam stops to watch. GEORGE (CONT'D) Twenty years of hating what you live in...what you are. This is the end of it, Sam. I'm gonna build something of me here that I can be proud to give to you. SAM Don't. I don't want it. George YELLS as he lands the hammer into the wall again. Sam is alarmed by his father's blatant rage. GEORGE Do whatever you want with it. I don't care. All I want from you is for you to remember we built this house together. SAM We haven't build shit. You're just tearing down your father. GEORGE Try it. It feels good. George strikes another blow to the house joined with a MAD WAIL. Sam starts low, a whisper of a scream, but quickly builds, soon rivaling George in volume as he pounds away. This soul letting, cleansing ritual is both impelling and frightening to watch. Tom and Barbara, Colleen and her maid step out of their houses, drawn and perplexed by the guttural noise. INT. RYAN AND ADAM'S ROOM - MORNING Both boys are asleep as Robin enters and wakes them with the drop-and-bounce-back-to-your-feet-from-the-mattress method. ROBIN It's morning, sleepyheads! They both wake with a groan. Robin leaps onto Adam and tickles him to life. INT. ROBIN'S KITCHEN - MORNING Robin is quickly finishing a breakfast of oatmeal and fresh fruit with Adam and Ryan, who are still dressed in pajamas. RYAN Why do we have to get up and eat with you this early? ROBIN I just thought it would be nice. ADAM Are you going to see Sam again? ROBIN I thought I might stop by. RYAN All day again? ROBIN Not all day. I'll be home after lunch. Robin stands and dumps her dishes in the sink. ROBIN (CONT'D) You can go back to bed...or Lois might let you go swimming. ADAM I wanna be with you today. ROBIN Oh, honey. There's not much to do there. I mean, it's all work. ADAM We can work. Robin focuses on her sons, both of whom seem willing to work. ROBIN Ryan, would you rather swim or work? RYAN Can we really help build a house? Peter walks in, surprised by everyone being up. PETER Why is everyone up so early? EXT. GEORGE'S SHACK - MORNING George is knocking away the forms used to pour the foundation. Sam walks out of the garage with a towel; he shields his eyes from the morning sun as he watches his father work. Without make-up or a nose ring and with the black dye gone from his hair and the polish from his nails, Sam is a handsome kid. George looks happy, laying bare the foundation that will hold his home. Sam walks to Alyssa's house, unseen by his father. INT. ALYSSA'S ENTRY - MORNING Colleen is walking with Sam toward the stairs. COLLEEN If she's not up, you can use my shower. SAM Thank you. COLLEEN You're here early today. SAM We're getting out of the ground today. Sam looks fairly excited as he rushes up the stairs. INT. ALYSSA'S HALLWAY - MORNING Sam stops at the door and KNOCKS. ALYSSA (O.S.) Huh? SAM I can use your mom's. ALYSSA (O.S.) I'm okay. INT. ALYSSA'S ROOM - MORNING Alyssa is curled up in bed, cuddling a stuffed bear as Sam walks in and closes the bedroom door behind him. ALYSSA Were you with Josh when the cops arrested him? Alyssa sits up in bed, holding the sheet to her chest. SAM (nervously) Not really. No. Kinda. He got busted? ALYSSA His parents took his car. They're making him ride a bicycle the rest of the summer. Sam can't help but like that. SAM Really? ALYSSA He asked me to tell you that you owe him a hundred dollars. SAM He can peddle over anytime he wants to for it. Sam breaks into a full-on smile. ALYSSA This is serious! I don't have my license. He was my ride. SAM I'm sorry. I'm just here to shower. Sam walks into the bathroom; before he closes the door, he faces Alyssa with another smile - she tosses her bear at him. EXT. GEORGE'S SHACK - MORNING George is prying off the last of the boards when he's hit with a pain that takes him to his knees. He drops the crowbar and sits down in the dirt as Guster walks over to comfort him. George takes deep breaths and closes his eyes as he tries to gain control over the pain. INT. ALYSSA'S BATHROOM - MORNING The doorknob jiggles, jiggles and turns; Alyssa opens the door and walks in dressed in a t-shirt and panties. Once again Sam jumps and jams his elbow to the frosted glass as he partially opens the shower door. SAM Is this like a past time with people? Go away! Alyssa sets a tiny screwdriver on the vanity. ALYSSA I've seen lots of people. It's not a big thing for me. SAM Hand me a towel. I'm getting out. ALYSSA I'm coming in. SAM I don't want you to! ALYSSA We're not gonna do anything. SAM Why are you so stupid? ALYSSA Why are you so uptight? SAM I don't even...what do you mean? I don't even know what that means. ALYSSA It means I'm gonna shampoo my hair and stay out of your way. SAM Hand me a towel. Hand me a towel. Sam is anxious. Alyssa takes off her t-shirt and pulls down her panties before grabbing a towel; she hands it to Sam as she forces her way into the shower. Barely visible through the frosted glass, Alyssa wets her hair as Sam stares in her direction. The towel drops to the tiled floor. INT. GEORGE'S GARAGE - MORNING George is curled up in bed, the prescription bottle and a glass resting on a table. He's holding onto his side, still in some pain. A HONK gets Guster BARKING outside. EXT. GEORGE'S GARAGE - MORNING Ryan and Adam run to Guster with glee as Robin steps out of the Range Rover with a large covered basket and a boom box. She sets the basket and radio on the patio table and searches for George, ending up at the entrance to the garage. INT. GEORGE'S GARAGE - MORNING George has hidden the prescription bottle and is sitting on the bed as Robin walks in. ROBIN I thought you'd be up with the sun. GEORGE My stupid back. Robin sits down on the bed next to George, concerned. ROBIN Do you need anything? I'll go to the pharmacy. I have some Demerol at home. GEORGE No, I'm...thanks. I took something. Robin runs her hand down George's spine. ROBIN Where's Sam? GEORGE He won't use my shower. I don't get it. Outside, Adam and Ryan are each calling Guster. GEORGE (CONT'D) You brought your kids? ROBIN I kind of said that maybe they could do something. Help. I'm sorry. They really wanted to come. I really wanted to come and they wanted to be with me. I don't think they'll be too much trouble. GEORGE I'll find something that won't kill them. ROBIN Or wound. Let them keep their eyes and fingers. GEORGE You're a good mother. Robin smiles. With some effort, George stands. ROBIN Do you need help? GEORGE I think so. Robin stands and wraps her arm around his waist and he drapes his arms over her shoulder as they walk out of the garage. ROBIN I woke up this morning at three and couldn't fall back asleep. Everyday I think I see more of Sam than I've seen in years. ADAM (O.S.) Sam! EXT. GEORGE'S GARAGE - MORNING Adam runs with abandon to Sam and Alyssa as Robin helps George to a patio chair. SAM Hey. Adam runs into Sam with a hug, then steps back. SAM (CONT'D) What's that for? ADAM Mom said I should. SAM Oh. ADAM I would have anyway. Sam appears awkward as he rests his hand for a second on Adam's shoulder. ADAM (CONT'D) Who are you? ALYSSA Who are you? ADAM I'm his brother. ALYSSA I'm his friend. Adam views her suspiciously as they walk across Alyssa's grass to the patio. ADAM Mom says we can build a house. ALYSSA Hi, Mr. Nelson. GEORGE Hi, Alyssa. SAM Hi, Mom. ROBIN Good morning. It's clear that Robin is falling in love with her son again. ALYSSA Hello. Alyssa extends her hand to Robin and they shake. ROBIN You're so nice to let Sam use your shower. ALYSSA He's got a standing invitation. Sam instantly flushes red. SAM Hey, Ryan. Sam walks to Ryan, who's been standing back from the group. RYAN Hey. Sam drapes his arm over Ryan's shoulder and together they walk to the foundation. SAM So, you wanna build a house? RYAN If we do, will it stay up? MONTAGE A BLINK 182 SONG BLASTS from the boom box on the patio table. Ryan and Adam slather paint remover on five old painted doors. They work with gloves and brushes and appear meticulous in their application. Alyssa and Sam nail and bolt the corner posts to the rim joist as Robin and George work on the stick framed door deck. While George is moving a little slower than usual, it appears that the pain is nearly gone. As the song ends, Robin rushes toward the radio. ROBIN I brought a few of my own. RYAN Someone stop her! Robin runs to her car and retrieves a few CD's. She slips the CD in and we HEAR John Hiat's "DISTANCE." It's a slow, soft song that brings a smile to George's face. GEORGE It's been a while. ROBIN This was my very first slow dance. ADAM Did you know him before you knew Dad? ROBIN Since seventh grade. GEORGE Tell him how you made me fall in love with you. ROBIN I smiled at him. GEORGE Watch out for the smile, boys. Robin's body moves slightly to the music as she smiles. George grins. The boys aren't sure what to make of the advice. 'You are the beautiful love (my lover), I am the distant shore (so far away). There is so much to uncover (love's hiding). What is this distance for? What is it for? ROBIN Who's up for a dance? Robin glances around for any takers, finally focusing on George. ADAM (O.S.) Just don't hug me too tight. Adam walks to his mother and they hold hands as they dance. Sam sits down to watch. George wears a smile that wipes the last of the pain from his face. ADAM (CONT'D) That's all you get. I'm busy today. Adam backs away and grabs his paintbrush. Robin stops dancing as she focuses on George. ROBIN Let's see if you've gotten any better. GEORGE Oh, I'm worse. Much, much worse. Robin waits to see how worse. George finally walks to her and takes her in his arms. He must have been better than this. The waltz smooths out as they dance closer, holding tighter. "We fill the air with silent stares. But still, no one there, we are strangers." Alyssa decides it's time to go. ALYSSA I'll see you tomorrow. Sam watches Alyssa walk away, but he's quickly drawn back to his mother and father dancing. Ryan appears anxious, unsure of the music and George. RYAN When did you fall in love with my dad? The dance stops. George lets go of Robin as she focuses on Ryan. ROBIN When I found out I was pregnant with you. INT. GEORGE'S GARAGE - NIGHT Sam is on the pull out bed, listening to music through head phones. We HEAR a flush, the armoire doors open and George walks out of the cabinet, washes his hands, turns off the light and drops into bed. A nightlight stuck in a socket above the bed casts a dull blue light over the room. Sam takes the headphones off. After a long silence: SAM I took some of your Vicodin. GEORGE I know. (beat) Why? SAM I like how it feels not to feel. George turns onto his side to face his son. GEORGE I know the feeling. SAM How do you become something you're not? GEORGE What would you like to be? SAM What I'm not. GEORGE What are you now? SAM Nothing. GEORGE That's not true. SAM See, that's the thing...I am what I say I am. GEORGE I know parts of who you are. SAM What do you know about me? George drops back onto his back. He takes his time to answer. GEORGE When you started first grade and your mom went to work, it was so she could save for an apartment. But then she met Peter and skipped the idea of renting. SAM He's got nothing to do with me. GEORGE I couldn't imagine how I could compete with him for any part of you. So, I didn't. He wanted you to have his last name...I let him even take that. SAM He was a prick when I was six, and he's a prick today. George turns onto his side to face Sam again. GEORGE I wish you had told me then. SAM I'm telling you now. GEORGE I gave up on you. SAM I'd be in Tahoe having fun if you had given up. GEORGE What would you be doing now? SAM Getting high, I guess. GEORGE If I asked you to stop, would you? SAM I haven't used anything for two days. I'm trying. GEORGE I'm proud of you, Sam. SAM Don't be. And hide whatever that new drug is you have. I like it. Sam turns away from his father and puts his headphones on. The music bleeds through the headphones in a muffled rumble. GEORGE I put a gun to my father's head once. George's voice is soft - there's no chance Sam can hear. GEORGE (CONT'D) Have you ever thought like that? I've been thinking...watching you work. How much do you hate me? (beat) He was passed out. Just screaming at my mother before. About nothing. Under-cooked meat. I went back to my room... put the barrel close to his ear and chickened out again. Not my dad. Hid in my room. Not even me. (beat) Of course it was a BB gun. But it still would have hurt like hell. Sam notices his father's mouth moving and takes off the headphones. SAM Are you talking? GEORGE I was just thinking about my mom. She wouldn't leave him. I remember one time she made us dinner wearing sunglasses. I mean it was dark outside and in. But we never talked about it. SAM Sun glasses? GEORGE To hide a black eye. SAM Why wouldn't she leave? GEORGE I think she was terrified of living with him...but maybe even more terrified of life without him. SAM I would have killed him. GEORGE Everything would have been better if you had. You'd have liked your grandmother. And there'd be a girl out there that'd have her mother. I remember reading about her in the paper. They couldn't find her father and her mother was dead. I still feel guilty about that. SAM Do you ever wish you had done it? George thinks about that for a second. GEORGE I loved him too much. SAM After everything he did to you and your mom? GEORGE After everything. SAM That's so weird... Sam slips his headphones back on. George nods...it is. EXT. DAVID DOKOS' HOUSE - MORNING Guster is squatting on the lush lawn of the mansion taking a dump. David bursts out from his house, rushes to his black Mercedes and tries once again to run over Guster. No such luck. Guster moves on to another lawn as Mr. Dokos drops over the curb and drives off down the street. EXT. GEORGE'S BEACH SHACK - AFTERNOON In the late June afternoon, with a clotted cloud sky, Robin, Adam, Ryan, Sam, Alyssa and George work at building a house. Adam and Ryan are staining the interior doors they stripped days earlier. George and Sam carry large wood beam to the foundation and slip it into the pocket mortise of the laminated beam that spans from pier post to pier post. Robin grabs a drill and screws the cast-in tie down to the wood beam. Alyssa is sawing a rafter in half as her mother walks across the grass with a huge basket of food. COLLEEN Is anyone hungry? LATER With MUSIC playing in the background, everyone is packed around the patio table eating pasta and drinking lemonade. ADAM I like the color I'm making the doors. GEORGE The absolute best color I've ever seen in my life. Adam lights up, pleased to be praised. RYAN How many bedrooms will your house have? GEORGE Three. ADAM Will Sam live with you or us? GEORGE With you. It's a quick response that draws Robin's attention. Sam lightly bops Adam on the head. SAM So put your plans of my room in the trash. ADAM I don't think Dad wants you home. ROBIN Adam, that's not true! RYAN Yes, it is. ROBIN Would you stop being ridiculous? Your father wants Sam home as much as I do. Sam starts laughing. George smiles. Sam can't stop laughing. ROBIN (CONT'D) It wasn't meant to be... Sam and George stand at exactly the same time and walk back to the house. Without a word, they work together as they continue to frame the house. Suddenly George turns back to the pack of people at the table and loudly proclaims: GEORGE I love you! That's it. He goes back to work as Sam glances at him, amused. Adam and Ryan are surprised and it shows on their faces. Robin smiles. INT. ROBIN'S BEDROOM - NIGHT Robin's in bed reading as Peter emerges from the bathroom in pajama bottoms. PETER You know what I've decided? Robin glances up from her book to Peter's hairy chest. ROBIN To shave your chest? PETER We should take a vacation. Peter grabs his pajama top and slips it on as he climbs into bed. Robin sets her book down. ROBIN The biggest waste of time since television. PETER Do you remember anything I've said that wasn't negative? Robin takes long enough to think that Peter forges on. PETER (CONT'D) Just the two of us. It takes Robin a few seconds to answer. ROBIN I'd love to drive through New England in the Fall. PETER Sooner than the Fall. He closes in on her, kisses her cheek. ROBIN After the kids are back in school. PETER Lois will stay with them. Or we can pawn them off on your parents. Out of reasonable excuses, Robin opts for the truth. ROBIN I'm helping George build his house. PETER What? ROBIN I've been helping for the last few days. Weeks. Sam's working. I told you Sam was working. I mean, he really is. PETER Good. That was the plan. We couldn't stand him and George needed help. As true as it is, this still irritates Robin. ROBIN I can't go right now. PETER You can't go because of Sam? ROBIN We haven't been away together for three years. What difference does a few months make? PETER You can't go with me because of Sam? ROBIN Sam is working at something for the first time in his life. Once in a while he even talks to me. I want to be around for that. PETER So am I, Robin. I'm working at something, too. I'm even talking. Do you want to be around for it? Peter is intense, close up, not giving her breathing room. ROBIN I don't know. Robin whispers her answer. Peter pulls away and settles down on his back. Robin doesn't move for the longest time. Finally, she eases onto her back and turns out the light. PETER I was talking about our marriage. ROBIN I know. Silence finishes the conversation. EXT. GEORGE'S HOUSE - MORNING With an extended plate and overhung rafters, the frame takes its form; rooms are roughed in; windows are framed; two gable dormers distinguish the common-rafter roof in the front and a frame for a balcony juts out over the ocean in back. Robin and Adam are locking in and hoisting the sheets of plywood on a pulley system up to Ryan and George, who are stripped down to shorts - George is thinner than ever. INT. ALYSSA'S BATHROOM - MORNING Sam is showering as Alyssa walks in from the bedroom and joins him; no protest is voiced this time around. INT. SHOWER - CONTINUOUS Alyssa smiles at Sam as she grabs a wash cloth and slathers it with liquid soap. SAM What's the point of this? ALYSSA Does everything have to have a point? SAM It's freakish. I don't get it. I'm not really supposed to touch you, but I can look. Alyssa faces Sam as she washes her body with the cloth. ALYSSA Are you sure you're totally into guys? SAM What are you talking about? ALYSSA Josh said... SAM I'm not gay. Sam glances down at himself; Alyssa looks too. SAM (CONT'D) I mean, hello! They both look up. ALYSSA I was wondering. SAM You're driving me crazy! Do you know what it's like trying to jack-off in an armoire? ALYSSA Not really. SAM You're off, you know? You're way, way off. ALYSSA I thought I was helping you. SAM It would help me if I could kiss you. ALYSSA No, I don't...NO. I thought we were just friends. SAM What you think, you know, doesn't have much to do with reality. I mean, I hope I'm not the first to say that about you. ALYSSA Okay, but then we'll just be friends. Okay? SAM Okay. I guess. Sam stands still, unsure of his next move. ALYSSA Have you ever even kissed a girl? Sam appears shocked she would even ask; he hasn't, but she's not supposed to know that. Alyssa makes the move, closes the distance and kisses him. Apart, it appears to be something they enjoyed. Sam wraps his arms around her, presses himself against her and kisses her again. After a few seconds of making out, Sam jerks once, then again as he backs away. Alyssa grimaces as she glances down. ALYSSA (CONT'D) Oh, yuck! Alyssa steps into a corner of the shower as Sam turns around and rests his forehead on the tile. ALYSSA (CONT'D) You're scrubbing the shower down. EXT. GEORGE'S BEACH SHACK - AFTERNOON George and Sam are on ladders, reinforcing a window opening on the second floor with a 2x4 spline. Ryan and Adam are flat on their backs on the grass with Guster between them, dog-tired. Robin is at the grill with hamburgers as Alyssa prepares the table for dinner. ALYSSA You must have a really great husband. Robin glances up at Alyssa. ROBIN Why is that? ALYSSA Just, I mean, well, you're here every single day. ROBIN He's at work while I'm here. ALYSSA I guess I'd just be jealous if I were him. ROBIN Well, he doesn't need to worry. ALYSSA If my kids and my wife were always at an ex-husband's house, I'd worry. ROBIN He's not the type to worry. Robin is slightly pissed at Alyssa grilling her; she flips the hamburgers and calls out: ROBIN (CONT'D) Let's eat! INT. WEBBER'S LIVING ROOM - AFTERNOON Music is playing softly in the background. Peter is sitting alone in a chair with a drink in hand. After a bit, Lois walks in holding a can of Pledge and a rag. LOIS I'd be glad to fix you something. PETER No, I'm fine. Lois nods and walks away. For all the presence of the room, Peter looks small and frayed in it - lost in his own house. EXT. GEORGE'S BEACH SHACK - AFTERNOON Lunch is over. Adam is wrestling with Guster on the lawn. Robin is taking money from her purse as George hands Sam the keys to his truck. ROBIN Nothing R, okay? RYAN Enough for drinks, popcorn and candy! ADAM And video games after! ROBIN Home after. (to Sam) Will you come in and say "hi"? Sam shrugs, takes the money and keys as Ryan and Adam rush close to him. ADAM Do we have to take her? The three boys turn to watch as Alyssa, now dressed in a dress, walks across the lawn to join them. SAM Definitely. It's literally frightening how beautiful Alyssa can look; with her tan and white dress, Sam shutters. EXT. PACIFIC COAST HIGHWAY - LATE AFTERNOON Josh is peddling down the highway on his bike, sweating in the full afternoon sun. EXT. GEORGE'S HOUSE - LATE AFTERNOON George is hewing a beam as Robin watches from a chair. ROBIN I should go. George stops and wipes the sweat from his forehead. GEORGE Maybe you shouldn't come everyday. ROBIN No. Why? I like to be with Sam. GEORGE It's just that there's less that Adam and Ryan can do anymore. (beat) I'd hate to have them bored. Robin stands and walks to George. ROBIN I know they're not much help, but they love coming here, George. GEORGE How much time do they get to spend with their dad? ROBIN What is it with this? They wouldn't spend less time with Peter if they lived here! He has no time! Robin walks away, then back - she's frustrated. ROBIN (CONT'D) Do you know Alyssa thinks something is up with us? She's giving me crap about being away from Peter and now you're trying to do the same thing! What no one seems to realize is that Peter isn't there! He's not there! And when he is, he isn't! (beat) So, if you don't want me here, or you don't want my kids here, just tell me, George. I'll stop coming. But it won't be because of Peter. It'll be because you asked me to stop. Say what you need to say, because I'm not leaving until I hear it. GEORGE I'd rather you not be here. In the distance, on the street, Josh peddles past on his bike. ROBIN I thought we were helping. GEORGE I can hire workers to help me. Robin nods, gathers her things, walks to her car, climbs in and drives off. EXT. COLLEEN'S HOUSE - LATE AFTERNOON Colleen is standing in the entry, talking to Josh. COLLEEN You can come in and wait if you'd like. JOSH What friends did she go with? EXT. GEORGE'S HOUSE - LATE AFTERNOON Robin pulls right back to where she was parked and parks again. She steps out of the car talking. ROBIN Nothing is going on with us, is it? GEORGE Going on? ROBIN When I picked you up from the train station...what you said. GEORGE What did I say? ROBIN That thing about I was the most, you know, beautiful person you had ever known. What was that? GEORGE That was the truth. ROBIN You've never said that before. GEORGE I'll say a lot of things I've never said before. It's habit. ROBIN It sounded like a pick-up line. GEORGE I can't pick you up. Robin sits down, weighted by the reason. ROBIN I'm married. GEORGE You bit my finger. ROBIN If I weren't married? George wants to answer quickly, dismiss the impossible and move on, but emotion catches him off-guard. He forces a smile. GEORGE Let's not do this, okay? ROBIN I need to know. GEORGE You need to know what? Do I still love you? Robin is surprised by the question. She nods her head. GEORGE (CONT'D) Absolutely. There's not a doubt in my mind that through all my anger...my ego, I was faithful in my love for you. From seventh grade on. Robin raises her eyebrows - what a revelation. GEORGE (CONT'D) That I made you doubt it, that I withheld it...that's the greatest mistake of a life full of mistakes. (beat) But the truth doesn't set us free, Robin. I can say it as many times as you can stand to hear it. And all that does, the only thing, is remind us that love isn't enough. Not even close. Tears well in Robin's eyes as she stands. ROBIN I should go. George nods - she should. Robin walks to her car, opens the door; she faces George before climbing in. George walks into the garage. INT. GEORGE'S GARAGE - LATE AFTERNOON George rummages through his sock drawer. Pulls out a folded sock and opens it - the prescription bottle drops to the floor. He fills a glass and swallows three pills. INT. ROBIN'S ENTRY - LATE AFTERNOON Robin opens the door and heads straight for the kitchen. PETER (O.S.) All I am is what I have. Robin jumps and searches for the voice. Peter's sitting alone in the living room. PETER (CONT'D) That sounds pathetic, doesn't it? ROBIN What are you doing home? PETER I always felt I could never marry you without first showing you what a fabulous life you cloud live despite me. Robin takes a few steps into the room. ROBIN You never really trusted me. PETER You live a fabulous life, Robin. ROBIN Despite you. PETER I never asked for more. ROBIN That's the problem. PETER Please don't leave me. Peter stands and walks to her. Robin doesn't respond. PETER (CONT'D) Where are the kids? ROBIN Sam took them to a movie. PETER I'll be in the bedroom. Peter takes her hand and kisses her cheek before walking down the hall. Robin stands still, trying to assess the exchange. INT. BEDROOM - EVENING In a bedroom we don't quite recognize, two people are in the throes of making love under a silk white sheet. WOMAN (O.S.) Oh God! It's hard to tell whose voice that is - Robin's? INT. GEORGE'S GARAGE - EVENING George is in bed, awakened by a KNOCK. GEORGE I fell asleep! Alyssa walks in, closing the door behind her. ALYSSA Sam's dropping Adam and Ryan off. George is slightly out of it with oral morphine; he tires to sit up, but settles for propping up his head. GEORGE Can you keep Sam straight? ALYSSA He's not gay. I found out purely by accident, believe me. GEORGE I mean drugs. (catching up) I thought you said he was? ALYSSA He wouldn't use around me. I don't like any of it. GEORGE You're a good girl. ALYSSA I need to ask you something, Mr. Nelson. Alyssa walks over and lies on the bed beside George. GEORGE You have to ask like that? ALYSSA I want you to try something with me, okay? GEORGE I've taken a lot of morphine. Oral morphine...for my back. Can I wait till I can say no and sound convincing? Alyssa leans forward and kisses him; it's a real kiss that lasts a lot longer than it should. And when it's over: ALYSSA Did you feel anything? GEORGE Maybe your tongue...I don't know, my mouth is numb. Why did you do that? They both stare up at the ceiling. ALYSSA When you dated my mom, I saw you kiss her once. You looked like such a good kisser. INT. BEDROOM - EVENING It's the couple making love again; this time we're close enough to make out Colleen's face underneath Josh, who is working with speed, if not exact precision. ALYSSA (V.O.) My mother would die. GEORGE (V.O.) Let's shut up and not kill her. COLLEEN Oh my God! INT. ROBIN'S BEDROOM - EVENING Peter has changed and is on the bed; his head propped up by pillows; he stairs blankly at the door. INT. ROBIN'S LIVING ROOM - EVENING Robin is sitting alone in the living room, in the same spot Peter had been sitting earlier. INT. GEORGE'S GARAGE - EVENING Alyssa and George are still beside each other in bed. ALYSSA It's not what I was expecting. GEORGE What did you think it would be? ALYSSA I don't know... (realizing) More like when I kissed Sam. Alyssa sits up in bed. ALYSSA (CONT'D) More like that. She stands and grabs his big toe. ALYSSA (CONT'D) Thanks for your time. Alyssa waves goodbye and leaves. George is confused by it all. INT. COLLEEN'S BEDROOM - EVENING Josh looks as though he's been struck by a hammer as he lay on his back with his mouth slack. Under the sheet, low down, Colleen is swallowing her pride and showing off her technique. A sudden blaring noise, AN ALARM, pierces Josh's throaty groan. Colleen jumps off the bed, the sheet still haunting her head. COLLEEN Oh my God! Get dressed! Get dressed! INT. COLLEEN'S KITCHEN - EVENING Alyssa closes the French door she entered through and rushes to the alarm panel as the siren blares. INT. COLLEEN'S BEDROOM - EVENING Colleen and Josh are frantically pulling on clothes as the noise throws them off balance. INT. COLLEEN'S KITCHEN - EVENING With the ALARM OFF, Alyssa walks to the entry. ALYSSA Mom!? INT. COLLEEN'S BEDROOM - EVENING Josh has pulled on his underwear backwards; only speed counts. INT. COLLEEN'S ENTRY - EVENING Alyssa glances around before heading up the stairs. ALYSSA Hello? INT. COLLEEN'S BEDROOM - EVENING Without a knock, Alyssa opens the door. The room is empty, but the bed is messed. ALYSSA Mom? COLLEEN (O.S.) Here, honey! Alyssa walks to the master bath, following the voice. INT. COLLEEN'S BATHROOM - EVENING Colleen is standing above Josh, who is bent over on his knees, with a plunger in the bath. ALYSSA I completely forgot. I'm so sorry, Josh. (beat) What are you doing? Josh's face is flushed red and beaded with sweat. COLLEEN I put him to work. ALYSSA What's wrong? It takes a second for Colleen to realize that Alyssa is talking about the plumbing. COLLEEN I couldn't get it to go down. ALYSSA And why was the alarm on? COLLEEN Oh...I set it to see if it would work. ALYSSA You'd better call and cancel. COLLEEN Oh God, we don't want the police! Colleen is anxious as she rushes out. Josh stands and wipes the sweat from his forehead. ALYSSA What's going on? Josh fumbles and fidgets, finally finding a way out. JOSH What's the deal with you and Sam? INT. ROBIN'S KITCHEN - EVENING Robin is fixing dinner as we hear the front door open. Adam is talking as he rushes into the kitchen. ADAM I got to play one video game for three hours straight! Ryan enters right behind him. RYAN Wouldn't you move to another one if the one you were playing made you look stupid? Robin checks the entry to the kitchen - no Sam. ADAM That's how you get things right is to always try and never give up. Huh, Mom? ROBIN I guess it depends on what you give up on. Robin's face lights up as Sam walks into the kitchen. SAM There were no PG's. So I just gave them money to play games. ROBIN Can you stay for dinner? SAM Depends on what I'd give up on. Robin opens the oven and shows Sam a platter of lasagna. SAM (CONT'D) It looks like a trap. Robin turns to Adam, excited at having Sam stay for dinner. ROBIN Go tell your father we're eating. RYAN Dad's home, already? ROBIN In the bedroom. Adam takes off in a run as Sam walks to the sink and washes his hands before grabbing a stack of plates for dinner. He arranges the five on the table and then heads back for utensils as Adam runs back in. ADAM He's not there. ROBIN He's here. Check the bathroom. ADAM I checked everywhere. He's not there. INT. GEORGE'S GARAGE - MORNING Guster's at the door, whining. George and Sam are asleep. INT. COLLEEN'S KITCHEN - MORNING Colleen is sitting alone at the kitchen table, drinking coffee as Alyssa walks in. ALYSSA What are you doing up so early? COLLEEN I couldn't sleep last night. ALYSSA I'm supposed to be mad at you, but I'm not. Colleen is trembling as Alyssa pours herself a big bowl of Lucky Charms. COLLEEN Why? What do you mean? ALYSSA Uh...using Josh like that. Alyssa eats her cereal as Colleen bursts into a confession. COLLEEN I will never forgive myself. Never, Alyssa. I know I took advantage. It's inexcusable. Oh, God. I should have my head examined. Alyssa looks confused as she swallows her Lucky Charms. ALYSSA He said you asked him to tighten your toilet seat, too. That's so uncool. Colleen quickly nods. COLLEEN I won't do it again. I swear. Alyssa keeps an eye on her mother as she continues on with her cereal. EXT. DOKOS HOUSE - MORNING Guster is taking a dump on the immaculate lawn. David Dokos rushes from the house dressed in a suit and picks up the shit with a gloved hand and heaves it at Guster as the dog trots back to safety. Tom and Barbara, the old early walkers of the street, stop and watch as David picks up more crap and tosses it onto George's driveway. He notices Tom and Barbara. DAVID Mind your own fucking business! Tom and Barbara stay silent as David Dokos walks back into his house and slams the front door shut. EXT. PACIFIC COAST HIGHWAY - LATE MORNING Josh is in eleventh gear on his ten speed peddling like a demon for the Beck's house. EXT. GEORGE'S HOUSE - LATE MORNING Robin pulls to a stop and Ryan and Adam run from the Range Rover to Sam and Alyssa, who are helping an ELECTRICIAN (DALE) install the outside boxes and sockets. ADAM Dad's disappeared! RYAN He was there and then he wasn't! Sam faces his mother as she walks toward the house. SAM He hasn't called? ADAM Who are you? Robin shakes her head "no" to Sam. Dale turns to face Adam. DALE I'm the electrician. ADAM I'm the builder! Sam turns back to finish what he was working on as Alyssa grabs Adam with a hug. INT. GEORGE'S GARAGE - MORNING George is swallowing two pills as Robin knocks on the half open door, opening it all the way in the process. ROBIN Is your back still killing you? GEORGE I didn't think you'd come today. ROBIN I kept thinking about it, what you said... I hope you were trying to keep me away fro the sake of me. GEORGE No. Mostly me. ROBIN Peter left me yesterday. GEORGE Left you? ROBIN No goodbye. No fuck you. No 'Are you in love with George?' GEORGE What did he say? ROBIN 'I'll be in the bedroom.' Robin walks to George and holds on to his shirt. ROBIN (CONT'D) I couldn't walk in there. (beat) So he left. She rests the side of her head against his chest. He kisses her hair. Outside, a hammer beats a reminder that they're not alone. The ocean drowns the sound long enough for Robin to kiss George's chin; and in that instant, the instant where everything but the touch washes away, George kisses Robin with such punch that it knocks them onto the bed. They continue to forget everything as they roll with the punch. SAM (O.S.) Dad, Dale needs to know.. Sam stops at the jamb of the open door as his mother and father scramble to their feet from the bed. GEORGE I had a kink in my... As George falters, Robin feels compelled to complete the lie. ROBIN Back. Neck. Back. GEORGE What? SAM The door was open. ROBIN (a quick confession) I don't know what I'm doing. SAM I wouldn't let Adam or Ryan see you doing it. GEORGE It won't happen again. George and Robin are flustered, embarrassed by being caught, something Sam clearly relishes. SAM Dale wants to know if we should run an outside outlet for Christmas lights with a switch inside? GEORGE Absolutely. (beat) Have him put it on a separate line. At Christmas, we'll pact it so full of lights, we'll make God wear sunglasses. Sam laughs, grabs the door and closes it on his parents. Robin slumps, truly embarrassed. ROBIN I could die. GEORGE So could I. George touches Robin's chin, draws her head up. He stares at her, afraid to say what he needs to say. ROBIN Are you going to kiss me? GEORGE It's not my back that's killing me. Robin furrows her brow, not understanding. George surrounds her head with his hands and kisses her forehead. EXT. GEORGE'S HOUSE - MORNING Adam and Ryan are helping Dale run the electrical lines; Alyssa and Sam drill screws into the second story floorboards. MUSIC is playing loud on the radio. ANOTHER VIEW Josh stops peddling quite a distance from George's house and gets off to search for Alyssa. Only seeing Adam, Ryan and Dale, Josh pulls out his cell and dials. INT. COLLEEN'S BEDROOM - MORNING Frustrated and anxious, Colleen slips off the dress she's wearing and tries another one as the phone RINGS. EXT. GEORGE'S STREET - MORNING Josh is standing behind a tree, talking on his cell phone as he stares at George's house. JOSH I don't see her. (beat) Please just open the door when I knock. He slips the phone back in his pocket, hops back on the bike and makes a beeline toward Colleen's house. ALYSSA (O.S.) Josh? Busted, Josh has no choice but to join Alyssa. JOSH I was hoping...you could..you know. Go for a ride? Alyssa and Sam are leaning out the framed second story window. SAM On the handlebars or your shoulders? ALYSSA Are you afraid of heights? Sam walks away from the window and goes back to work. JOSH Not really. ALYSSA Can you help us out? JOSH My parents cut my allowance off. Without a car, I'm totally screwed. ALYSSA George is paying Sam ten dollars an hour. Sam sticks his head back out the window. SAM Hey, I can get you three hundred cash for two hours. ALYSSA What? Josh is fuming as he stares at Sam. SAM It's just a joke. A stupid joke. JOSH I could use the money. Sam turns away from Josh. George walks out the garage as he wipes his eyes. ALYSSA Hey, George! I recruited some help for the roof! George walks to Josh and extends his hand. GEORGE George Nelson. JOSH Josh. Adam races to George with a hug - something unexpected. Adam rushes back to work as George breaks into a smile. Alyssa rushes down the stairs and straight into George's arms. ALYSSA Me too! George is still smiling as he tucks a strand of Alyssa's hair behind her ear. Ryan sort of saunters over to George with his hands sunk deep in his pockets. Without asking, George wraps his arms around Ryan with a hug. Afterward: RYAN I just wanted to know where Mom was? GEORGE Oh. Sorry. RYAN It's okay. GEORGE She needs to be alone, I think. RYAN Because Dad left? GEORGE She's a little sad, is all. RYAN I don't even care if he ever comes back. Ryan walks back to Adam, who's been standing still, listening. GEORGE Josh, you look like you could use a hug. JOSH No...I'm okay. I'm okay. George is too quick with his hug. Josh is stiff as a board. Sam looks pissed as he walks away from the second story window and resumes screwing the floorboards. George sets his eyes on Dale as he opens his arms wide. DALE Don't even think about it. George walks toward Dale with his arms still extended. GEORGE Well, they got me started. DALE I swear to God, I'll use these wires and shock you so bad your tongue will turn black. Adam and Ryan are excited as George closes the distance. Finally, Dale drops the harmless wire and takes off in a run. INT. COLLEEN'S KITCHEN - LATE MORNING Colleen is pacing the kitchen in a silky dress we haven't seen before. Finally, she grabs the phone. EXT. GEORGE'S HOUSE - LATE MORNING George is propped up on the chaise lounge next to the patio table where everyone has dropped their crap. Sam and Josh are sheeting the roof with tarpaper. Robin is still in the garage. One of two cell phones on the table begins to RING. DALE Would you get it for me? Dale is in the middle of wiring a box. JOSH (O.S.) Just let mine ring! GEORGE I guess... I don't know. George picks up the offender, unsure whose phone it is. GEORGE (CONT'D) (into phone) Hello? INT. COLLEEN'S KITCHEN - CONTINUOUS COLLEEN (into phone) Where are you? You're driving me crazy, waiting like this. I want you in me now! EXT. GEORGE'S HOUSE - CONTINUOUS George nearly drops the phone; he sits up straight. GEORGE (into phone) Colleen?! INT. COLLEEN'S KITCHEN - CONTINUOUS Colleen sits down, panicked. COLLEEN (into phone) I..I..I.. George?! EXT. GEORGE'S HOUSE - CONTINUOUS George holds the phone out and examines it for a second. JOSH (O.S.) Is it mine?! GEORGE God, I hope not. DALE (O.S.) That's not mine. JOSH (O.S.) Oh, shit! Josh trips, slips and slides off the roof to the ground below as Alyssa lets out a loud SCREAM. INT. COLLEEN'S KITCHEN - LATE MORNING Colleen tosses the receiver as though it were a ball on fire. EXT. GEORGE'S HOUSE - MINUTES LATER Everyone, including Robin, is circled around Josh, who is sprawled on the ground. JOSH I'm okay. I'm fine. Maybe I'll go home. ADAM Is that bone sticking out? ROBIN Don't move! GEORGE I'm an idiot to have you up there. JOSH No. It's my fault. An ambulance is HEARD approaching. Colleen runs from her house - she's now dressed more appropriately in Levi's and a blouse. COLLEEN I heard a scream! JOSH If I could just stand up. ALYSSA Josh fell. Colleen stops a few feet short and covers her mouth with a trembling hand. GEORGE I think he might have broken a leg. The ambulance silences the siren as it turns onto the cul-de sac and stops in front of George's house. EXT. GEORGE'S HOUSE - EARLY AFTERNOON Robin, George and Sam are sitting at the patio table as Ryan and Adam play catch with Guster. GEORGE Two ribs, a finger, a leg, a bruised kidney and a mild concussion aren't bad considering he landed on brick. Neither Robin nor Sam attempts a response. Finally: ROBIN I better get the kids home. GEORGE Not a perfect day. Robin stands. George stands because Robin's standing. Without warning, Robin begins to cry again. Ryan and Adam stop playing ball. Sam studies her before finally lowering his eyes. With her kids looking on, George stands still, hesitant to comfort her. There's a moment where all that there is, where the only thing seen or heard is Robin's pain. After an awkward amount of time, she wipes her eyes, wipes her nose, crosses around the table to Sam and kisses the top of his head, then his cheek. Without a word, she walks to her car and climbs in; Ryan and Adam quickly join her in the car. INT. GEORGE'S GARAGE - NIGHT George is brushing his teeth, dribbling and foaming over the only sink in the garage. Sam is propped up in bed with Guster, dressed on top of the sheets, fingering through a stack of CD's. He glances over at his father twice before speaking. SAM You look like shit, lately. George spits and rinses, facing Sam as he wipes his mouth. GEORGE You look better than ever. SAM I don't think Mom cares that much that my...that Peter left. GEORGE She seemed upset. SAM What's wrong with your back? Sam tries to look slightly less interested than he is by continuing to flip through the CD's. George sits down. SAM (CONT'D) I mean, do you need to have surgery on it or what? Because those pills you're taking are for a lot of pain. And you're going through them quick. GEORGE Are you taking them still? SAM No, but I count them. In a sock isn't new, you know? This is not easy for George; he fumbles a bit before answering. GEORGE I'm having a problem with cancer. Sam stops flipping though the CD's. SAM I don't know what that means. What kind of problem? GEORGE The kind where there isn't really an answer. SAM I still don't know what that means. GEORGE I wanted you here so we could have a few months together. Maybe everything happens for a reason. Something bad to force something good. Sam looks somewhat panicked. SAM What? Are you dying? This is not easy for George; he fumbles a bit before answering. GEORGE I'm having a problem with cancer. Sam stops flipping through the CD's. SAM I don't know what that means. What kind of problem? GEORGE The kind where there isn't really an answer. SAM I still don't know what that means. GEORGE I wanted you here so we could have a few months together. Maybe everything happens for a reason. Something bad to force something good. Sam looks somewhat panicked. SAM What? Are you dying? George nods his head. SAM (CONT'D) And you told Mom today? GEORGE Yes. Sam whacks the CD's off his stomach; they scatter across the floor. Guster scoots off the bed in a panic. SAM Fuck you! You knew you were dying from the start! Sam bounds out of bed in a rage. GEORGE We're all dying from the start. (beat) I just got picked for Advanced Placement. SAM You lied to me! GEORGE I would have lied to me if I thought I'd believe it. SAM This was all for your sake, wasn't it? Having me here? Trying to get me to like you. GEORGE I never tried to get you to like me. (beat) I tried to get you to love me. SAM Well, congratulations! You fucking pulled it off! Sam storms out of the garage. INT. COLLEEN'S ENTRY - NIGHT Colleen pulls a robe around her nightgown as the doorbell RINGS again and again. She flips on a light and opens the door. Sam backs away from the door as he talks. SAM Is Alyssa here? COLLEEN It's midnight. What's the matter, Sam? SAM Nothing. My dad's dying. I really need to talk to Alyssa. ALYSSA (O.S.) Sam? Alyssa is leaning over the upstairs railing. Sam walks up the stairs as Colleen closes the door. EXT. BEACH - EARLY MORNING Sea lions romp on a rock offshore as gulls circle above. The sun sheets the morning on the water that's blinding. INT. ALYSSA'S ROOM - EARLY MORNING Alyssa is under the covers holding onto Sam, who is still dressed. Both are asleep. INT. GEORGE'S GARAGE - EARLY MORNING George is in bed in pain. A prescription bottle is open beside him and pills are scattered on the sheet. A KNOCK on the door forces George to gather the pills and hide the bottle. GEORGE It's open. Kurt the cop opens the door dressed in civilian clothes. KURT It's my day off. I thought I'd help with the plumbing. GEORGE I need you to do me a favor. KURT (concerned) God, you look like crap, George. GEORGE I want you to find someone for me. EXT. COLLEEN'S HOUSE - EARLY MORNING Colleen walks out her front door straight to her neighbor's house. After a bit of RINGING and a bit of waiting, Tom (of the walking Tom and Barbara) answers the door in a bathrobe. COLLEEN Does your son still own a company that builds houses? EXT. GEORGE'S HOUSE - LATE MORNING Dale is wiring with Adam and Ryan helping. Kurt, Robin and Colleen are setting up and sealing the plastic plumbing pipes. Two new men (GREG and MIGUEL) are on the roof, finishing up where Josh fell down. MUSIC is playing on the radio. George is asleep on the chaise lounge. Alyssa walks across the grass and stops to stare at George. Tears well in her eyes. Alyssa continues on to the house and walks up the stairs. COLLEEN He's been asleep for hours. ROBIN Is Sam okay? ALYSSA He won't leave my room. ROBIN Will he talk to me? ALYSSA No. Robin accepts the answer. Slowly, they all return to work. MONTAGE The day is productive as we see the black drainpipes and the copper water runs coming together like a maze. The roof is shingled and the wiring is nearly complete. Whether awake or asleep, George spends the day in the chaise lounge. EXT. GEORGE'S HOUSE - LATER A city inspector's truck pulls to a stop and Bob Larsen steps out with a clipboard and a concerned look on his face. George is dozing on drugs. BOB You're not a plumber, Kurt. Kurt finishes hooking in a plugged tee at a turn and stands. KURT I worked every summer with my dad. Check out what I've done. BOB It's not whether it's good or bad. You know that. It's whether your licensed. Frustrated, Kurt glances around at all his good work before answering. KURT Are you still renting that illegal non conforming studio under your house for a thousand a month? Bob opens his clipboard and checks a number of items off. BOB Okay. Looks good to me. KURT Oh, that's embarrassing. That was too easy. At least look around. I really did do it right. BOB That isn't why I'm here, anyway. George wakes up and quickly hones in on Bob. GEORGE I've been dreading you. Bob walks toward George as he talks. BOB Mr. Stevens. One of your neighbors is adamant your home has exceeded its approved height. He's filed to have construction stopped immediately. GEORGE It's thirty feet. BOB Well, if it is, we have a problem. George stands, he appears slightly shaky. GEORGE I have the permit. BOB After your last extension request and with Design Review and the Board of Adjustment and the appeals to the city council, was there an amended permit? GEORGE To the patio and one north-facing window... (suddenly realizing) And six inches to the height. George sits back down. Everyone emerges from the house to join George and Bob. GEORGE (CONT'D) David Dokos? Bob nods. KURT Why do you let your dog crap on his lawn, day after day? GEORGE I don't let him. He just loves to. COLLEEN He'll make you tear the entire roof off rather than give you any satisfaction. BOB I'm afraid you won't be able to continue until this is settled. You can always go back and file an appeal. GEORGE That would take weeks. BOB Months. ROBIN Just so you know, we'll be here working tomorrow and every day after until this house is finished. BOB He'll call us again and then he'll call the police. He has an attorney on retainer. ROBIN Just so you know. Robin turns and walks back into the house. Colleen, Alyssa, Adam and Ryan soon follow. BOB If he hears a hammer, he'll have you arrested. Robin picks up the hammer and pounds a nail into a piece of wallboard. Dale, Miguel, Greg and Kurt walk back to the house and go back to work. Bob glances at George who shrugs. INT. COLLEEN'S FAMILY ROOM - NIGHT Colleen is watching the news as Alyssa walks in to say goodnight. ALYSSA I'm going to bed. COLLEEN Has he eaten anything at all? Alyssa shakes her head "no" as Colleen flips on the TV. COLLEEN (CONT'D) I'd be more comfortable if he slept in the guestroom. ALYSSA I'd be more comfortable if you hadn't slept with Josh. And George would be more comfortable if he weren't dying. Colleen is embarrassed Alyssa knows the truth. ALYSSA (CONT'D) Comfort doesn't mean that much when just getting through the night is the goal, Mom. Alyssa walks out. Colleen curls up and hides clutching pillows on the couch. INT. GEORGE'S GARAGE - NIGHT George is shaking and sweating as he tries to crawl off the bed to his sock drawer. Guster wakes up and hops off Sam's bed to lick George on the face. GEORGE Please...I can't. George is in real pain as he drops to the floor on his back. He winces and cries out as he pushes himself forward with his legs toward the dresser. George suddenly stops pushing; his legs slump flat on the concrete floor. His eyes flutter shut as Guster continues to lick his face. INT. ALYSSA'S BATHROOM - MORNING Alyssa is dressed, combing through wet hair when the sound of construction distracts her. She opens her window and sticks her head out. Suddenly excited, she pulls her head back in. INT. ALYSSA'S BEDROOM - MORNING Sam is in bed as Alyssa speeds out of the bathroom. ALYSSA There are like twenty people working on your dad's house! Alyssa bolts for the door, but stops short as she faces Sam. ALYSSA (CONT'D) If it were my father, I'd wanna spend every second with him I had left. Sam doesn't face her, doesn't even attempt to look up. SAM You hate your father. ALYSSA If he tricked me into loving him, is what I meant. SAM You'd hate him for the trick. ALYSSA Not if what he left me was real. Alyssa leaves, closing the door behind her. Sam stays put. EXT. GEORGE'S HOUSE - MORNING Colleen is talking to Tom and Barbara as they stand to the side of the house where a throng of men assemble the house. TOM He pulled this crew off a tract in Newport. They're the best. Robin pulls to a stop on the street and Adam and Ryan run out to gawk at all the workers. ROBIN What's going on? COLLEEN I hired some help. ROBIN Why? ALYSSA (O.S.) Mom?! Colleen glances back as Alyssa runs to join the group. COLLEEN Atonement. ALYSSA Who are all these people? ROBIN Where's George? COLLEEN I think he's still sleeping. ANOTHER VIEW Robin walks to the garage door and KNOCKS. Guster barks. Robin KNOCKS again before opening the door. INT. GEORGE'S GARAGE - MORNING Guster is beside George on the floor. Robin rushes in and kneels down. ROBIN George!? She presses her hand against George's cheek. ROBIN (CONT'D) Wake up...You're still warm. George's eyes flutter open. Robin leans down and kisses him on the cheek. George focuses on Robin; he tries to speak, stops, and tries again. Finally, in a weak voice, we hear: GEORGE Stop licking me. INT. COLLEEN'S ENTRY - MORNING Alyssa bursts into the house and rushes up the stairs. INT. ALYSSA'S ROOM - MORNING Sam is sitting on the edge of the bed as Alyssa enters. ALYSSA Your dad's going to the hospital! Sam doesn't respond. ALYSSA (CONT'D) Come on! Alyssa holds out her hand as we HEAR the ambulance approach. SAM I don't wanna go. ALYSSA He asked where you were! He wants you with him. SAM I don't wanna go. Sam is nearly pleading, frightened to move. Alyssa walks out. The siren stops. The front door closes. Sam sits still. EXT. GEORGE'S HOUSE - AFTERNOON The house is coming together incredibly fast with all the workers. Tom and Barbara are supervising the crew. David Dokos whips around the corner in his black Mercedes and parks in his driveway, rushing over as he yells. DAVID Nothing is built until the Board of Adjustment hears the appeal! David is searching for George, finally settling for Tom. DAVID (CONT'D) Where is he? TOM I should have reported you for tossing that piece of dog doo. Tom's face is flushed; Barbara calms him by grabbing his arm. BARBARA Tom, let's not overreact now. David Dokos stomps his feet and thrusts his fist into the air, as a child might if he were overreacting. DAVID I want this fucking piece of shit construction stopped now and I want that goddamn roof ripped off and lowered and I don't care if I have to spend a shit load of money to get it done!! I will do it!!! Tom and Barbara simply stare at him in disbelief. David walks back to his house. Tom turns to his wife. TOM I want this house finished before he can stop it. Tom rolls up his sleeves and walks toward the house to help. INT. COLLEEN'S ENTRY - EVENING Colleen and Alyssa walk into the house listless - both look tired and sad. INT. ALYSSA'S BEDROOM - EVENING Alyssa enters the room, walks into the bathroom. Sam is gone. ALYSSA Sam? INT. ROBIN'S FAMILY ROOM - EVENING Adam and Ryan are sitting next to each other on the floor subdued, tossing a ball to Guster. The kitchen door opens and Peter walks into the family room. Adam is the first to notice but the last to react. Ryan stands as Guster barks. RYAN Guster, be quiet. Peter has a growth of beard and is dressed in Levi's and a knit shirt - he doesn't look like himself. PETER Hey. RYAN Hey. PETER You got a dog? RYAN It's not ours. It's George's. Peter nods. PETER I've missed you guys. RYAN Why? Ryan is tough - not giving an inch. Peter stares at his sons, ashamed that the question could be asked. Adam stands and walks to this father, takes his hand. RYAN (CONT'D) I'll tell Mom you're here. INT. HOSPITAL ROOM - EVENING George is asleep, looking dead with tubes in his arms. We HEAR a bit of the song by Warren Zevon, "MY SHIT'S FUCKED UP." 'Well, I went to the doctor/I said 'I'm feeling kind of rough'/He said, 'I'll break it to you, son, your shit's fucked up.' EXT. GEORGE'S HOUSE - EVENING Sam is alone on the roof in the fading light, stringing party lights over the shingles and under the eves. INT. ROBIN'S FAMILY ROOM - EVENING Robin couldn't look worse as she walks down the hall to the family room with Ryan. Peter is standing alone. Ryan joins Adam on the floor with Guster. Robin stops and stands ten feet from Peter. PETER I thought maybe... I know it's late...but if you're hungry... EXT. GEORGE'S HOUSE - EVENING The sun has set as Sam stands at the edge of the cliff trying to garner the courage to jump. After the sound of a wave crashing against the cliff, Sam closes his eyes and leaps off the edge of the earth. INT. ALYSSA'S ROOM - EVENING Alyssa is sitting on the edge of her bed as Colleen stops beside the open door. COLLEEN Are you doing okay? Alyssa shakes her head "no". Colleen walks into the room and sits down beside her daughter. Alyssa rests her head on her mother's shoulder. INT. RESTAURANT - EVENING Robin, Peter, Ryan and Adam are in the middle of dinner as Adam excitedly tries to explain all that he and his brother have accomplished. ADAM And we got to take all the old paint off all the doors and then George taught us how to stain everything and he even let me choose the color I liked best! And he said he loved me! RYAN We did a lot of the wiring too. ADAM With Dale. Oh, and I got to drill a hole into a board to put the wire through! PETER I've never heard you so excited about anything. ADAM Maybe you can come help us too?! PETER I'd like that. Peter glances at Robin. INT. HOSPITAL CORRIDOR - NIGHT Sam is still wet as he walks down the hall. We HEAR more of the Warren Zevon song. 'I had a dream/Ah, shucks, oh, well/Now it's all fucked up/It's shot to hell.' INT. GEORGE'S HOSPITAL ROOM - NIGHT Sam enters the room as a NURSE scurries to catch up. NUR I'm afraid no one's allowed in here now. SAM He's my dad. Sam is staring at George, who is either asleep or unconscious. The nurse finally relents and walks out. Sam sits in a chair beside the bed and begins to cry. Slowly, George's arm slides out beyond the railing of the bed, his hand open. Sam does his best to stop crying. SAM (CONT'D) I brought you something. Sam pulls out a pair of sunglasses from his shirt pocket. George shakes death and drugs away as he manages to open his eyes. GEORGE (weakly) I don't wanna go, Sam. SAM Here. Sam gently slides the sunglasses over his father's eyes; he rushes to the window and pulls the curtains back. SAM (CONT'D) Can you see? Sam walks back to the bed and pulls it toward the window, stretching the cords and tubes to their limit. He grabs the remote and raises George's head. Off in the distance, against the backdrop of an endless black ocean, George's house is seemingly on fire with lights. Pain can't stop a smile. SAM (CONT'D) It's almost done. George takes hold of Sam's hand with his own. They continue to stare at the lit house holding hands. INT. ROBIN'S ENTRY - NIGHT The door opens and Robin, Adam, Ryan and Peter are greeted by Guster, who bounces around like a wired rabbit. ROBIN Go brush your teeth and get right into bed. It's late. Adam runs to Robin for a kiss, then grabs Peter with a hug. ADAM Goodnight. PETER Goodnight. Adam runs up the stairs, Guster right on his heels. Ryan is staring at his father. RYAN Do you know anything about building a house? PETER No. RYAN I guess I could teach you some things. PETER Okay. Robin sneaks a quick kiss on Ryan's cheek as he heads for the stairs. After he's gone, Robin turns back to Peter. ROBIN I hardly recognize you with a beard. PETER That was my plan...to be hardly recognizable to you as me. ROBIN I feel in love with George again. Peter nods, something he already knows. PETER I'll see you tomorrow. Robin nods. There's a moment where it's clear that Peter doesn't want to leave and Robin doesn't want him to leave, but after the moment passes, Peter walks out and Robin sits down at the base of the stairs. INT. ALYSSA'S BEDROOM - NIGHT Colleen and Alyssa are asleep together on the bed. EXT. GEORGE'S HOUSE - EARLY MORNING Sam is up on a ladder, pounding copper nails into cedar shingles that face the house. Alyssa runs across the grass. ALYSSA Where are you?! SAM Floating to Catalina. ALYSSA What? Sam steps off the ladder. Alyssa wraps her arms around him. Sam removes sleepy bugs from Alyssa's eyes before he kisses her. A police car stops in front of the house and Kurt steps out. Alyssa and Sam turn to face him. KURT He said he heard hammering. SAM Who? Before Kurt can answer, David Dokos storms out of his house and trudges toward them talking. DAVID My attorney is driving down from Newport Beach. If I hear one more nail being hammered, I swear to God before this is all over I'll end up owing this house! As Sam is staring at David Dokos, a hint of recognition crosses his face. KURT Mr. Dokos says that your father missed his height envelope by six inches. ALYSSA He wants the entire roof taken off and lowered. SAM Wait a minute. A wave of fear rushes through David Dokos that's instantly visible. SAM (CONT'D) Do you drive a black Mercedes? DAVID No. Sam figures out why we knows David Dokos - from the aborted blowjob in the black Mercedes. DAVID (CONT'D) I'm going back to my house to wait for my lawyer. David starts to leave, but Sam stops him with: SAM Are you sure we need lawyers? David's face is sheet white as he forces himself back around. SAM (CONT'D) Because all we're really talking about is six inches, right? DAVID Are you threatening me? KURT What are you talking about? SAM I'm sixteen years old. I'm underage. How could I possibly threaten you? David Dokos stares at Sam for a long time before glancing at Kurt and his police uniform for just a second. SAM (CONT'D) Would you like to help us finish the house, Mr. Dokos? DAVID Yes, I would. KURT What the fuck? SAM Everything happens for a reason. That's what my dad said. KURT Then you tell me, what just happened? SAM The payoff. Sam walks back to the ladder and hammer, leaving Kurt and Alyssa confounded. David takes a step back. DAVID I'll just...change clothes. Sam pounds in another shingle as David walks quickly back to his house. INT. GEORGE'S HOSPITAL ROOM - MORNING George is unconscious as Robin enters and sits down beside him with a video camera. ROBIN I found the last time you were happy. Robin adjusts the viewfinder and presses play on the camera. George doesn't wake up. On the tiny screen, we see a younger George in the ocean, his arms wrapped around six-year old Sam; he shields Sam from the waves and kisses his son's hair. Robin rests the camera on the bed as the video continues to play. She takes hold of George's hand and begins to weep as she presses her head on his chest. An envelope with Robin and Sam's name on it rests on the nightstand beside the bed. INT. GEORGE'S HOUSE - MORNING Twenty men along with Tom and Barbara, Alyssa and Colleen, Sam and David Dokos are painting; installing windows, floors or cabinets as the house begins to take its final shape. EXT. GEORGE'S HOUSE - MORNING Peter stops and steps out of his car as Adam and Ryan race for the house. ADAM It's almost done! Sam walks out the front door. SAM Do you guys feel like painting? ADAM What color? SAM Red. ADAM I love red! That's my favorite color! Adam and Ryan walk into the house as Sam focuses on Peter, who keeps his distance. PETER You don't look like you. SAM Either do you. Peter glances down at his work clothes. PETER I thought I might be able to help, but it looks like you have all you can handle. SAM Do you like red? Peter nods, hesitates for a moment before walking up the driveway to Sam. INT. GEORGE'S HOSPITAL ROOM - AFTERNOON George's bed is empty, stripped of everything. Robin is still sitting in a chair beside the bed, a letter resting on her lap. A NURSE stops at the door. NURSE Are you sure we can't call anyone? Robin shakes her head "no". The nurse moves on. EXT. GEORGE'S HOUSE - LATE AFTERNOON From the outside, the house is finished: windows in, doors on, roof shingled. The sun drops behind the house, causing a halo of bright light to envelop it. INT. GEORGE'S HOUSE - LATE AFTERNOON Most of the workers have gone home, because most of the work is done. All the floor are hand-scrapped cherry; huge beams and wood planks lend a strength to the ceiling. The kitchen cabinets are in; the bathrooms are complete. Sam, Ryan, Alyssa, Adam and Peter are the only ones left. Outside, we hear a car pull to a stop. ADAM Mom! Adam and Ryan run down the stairs. Peter stops cleaning a brush and walks to the window as Sam stands still. EXT. GEORGE'S HOUSE - LATE AFTERNOON Adam runs to Robin and meets her mid-yard with a hug. ADAM When does George get to come see his house? ROBIN It's so beautiful. Adam and Robin are staring at the house. Ryan can see the strain on his mother's face. RYAN Is George okay? All Robin can do is shake her head "no". INT. GEORGE'S HOUSE - LATE AFTERNOON Sam backs away from the window. Peter turns to face him. Standing straight as he can, being as brave as he can, tears well in Sam's eyes as he softly shakes. Peter walks to Sam and wraps his arms around him. GEORGE (V.O.) I always thought of myself as a house. I was always what I lived in. It didn't need to be big. It didn't even need to be beautiful. I just needed to be mine. I became what I was meant to be. I built myself a life. I built myself a house. Sam clings to Peter, completely lost in sorrow. EXT. GEORGE'S HOUSE - LATE AFTERNOON Adam and Ryan have their arms wrapped around their mother as we pull back and watch the sun set the sky off in dazzling hues of orange and red. INT. RANGE ROVER - ONE WEEK LATER Robin is driving with Sam beside her in a low-middle income neighborhood in Santa Ana. Sam is holding the letter. ROBIN You're sure about this? SAM Yeah. ROBIN You could keep it and rent it out? SAM This is what he wants. ROBIN I read the letter. You read the will. He wants you to keep it. To live in it some day. SAM Then maybe this isn't what he wants, but this what he was hoping for. (beat) Maybe it's what I want. It's clear to see that Robin's proud of Sam's decision. She checks an address on a piece of paper and pulls to a stop. Sam steps out of the car, holding the letter. EXT. SANTA ANA APARTMENT BUILDING - MORNING Sam is shaking slightly as he walks up the cracked concrete walk to the door. He RINGS the bell. GEORGE (V.O.) Twenty-one years ago, my father crossed a double-line. He changed my life and the life of a little girl forever with that mistake. I just can't stop thinking about her. A WOMAN in her mid-twenties opens the door in her wheelchair. WOMAN Hello. Sam is very nervous as he reaches in his pocket and pulls out a set of keys. SAM My father built you a house... The woman is confused as Sam holds out the keys. EXT. GEORGE'S HOUSE - MORNING The house is majestic in its setting among the trees and grass, on the jagged just of rock that accepts the constant crash of ocean against it with a solid permanence. This is where, if you were a house, you would want to be built. THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Life of David Gale, The.txt b/unformated_scripts/Script_Life of David Gale, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..f0fa18f7f98c14deee99c966a51939cd3bb24ffa --- /dev/null +++ b/unformated_scripts/Script_Life of David Gale, The.txt @@ -0,0 +1 @@ + "THE LIFE OF DAVID GALE" by Charles Randolph FIRST DRAFT March 1, 1998 FADE IN: EXT. TWO-LANE HIGHWAY - SUNRISE A dishevelled WOMAN in a business suit (27) runs down a lonely highway in Texas hill country, moving desperately through the thick morning fog. She's carrying a VHS cassette. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. She slows, out-of-strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. DISSOLVE TO: WHITE DISSOLVE TO: INT. OFFICE OF "DEATHWATCH AUSTIN" - SUNRISE A clock on the wall: 6:11. Beneath the clock a simple banner reads "DeathWatch Austin." YOUNG MAN (O.S.) It's probably been about seven minutes... The office is small, cheaply furnished. One wall is filled with neat rows of 8x10's of death row inmates. About 30 percent have red crosses over their faces. Five people wait in tense silence. A SKINNY COLLEGE GUY with a mullet and pinch of Skoal in his mouth looks at a computer screen. A co-ed cuddles a Styrofoam cup of coffee, sobs quietly. A matronly woman sits quietly at a desk holding a phone to one ear. The clock's minute hand changes from :11 to :12. CONSTANCE HARRAWAY (36), bookish, sits beside DAVID GALE (31). He wears a blue Yale sweatshirt. They both stare at nothing. She bites her lip. COLLEGE GUY Okay. Okay. We've got pronouncement. 6:12. Roughly eight minutes. (a beat as he records the time) Number 36 this year for the Great State of Texas. They all exchange looks: they've lost. David stands. CONSTANCE David, don't start throwing things. A PHONE RINGS. David controls himself. DAVID I'm going home. Let's do the press fax tomorrow. Another PHONE RINGS. Constance stands. CONSTANCE Go. I'll do it. He nods to her, exits. She walks to the photo wall. With a red magic marker she marks a cross over the photo of a Hispanic male. The wall clock reads 6:13. EXT. PARKING LOT IN FRONT OF OFFICE - SUNRISE The office is in a largely abandoned mini-mall. It's going to be a clear summer day. David hurries through the empty parking lot to Volvo station wagon. As the car exits the lot, we see the Austin skyline with the capitol building in the distance. INT. DAVID'S CAR - SUNRISE David drinks from a travel cup as he drives, windows down. EXT. INTERSECTION - SUNRISE David stops at a red light beside a squad car with one cop inside. The cop gives him a cursory glance. INT. DAVID'S CAR - SUNRISE He stares at the cop. The cop looks neutrally ahead; behind him the buckle of his seat belt shoulder strap catches the reflection of the rising sun. BACK TO DAVID He stares, then: DAVID Hey! The cop ignores him. DAVID Yo! Officer! The cop looks over; his face says he expects a confrontation. David points to the seat belt buckle. DAVID Your seatbelt. The cop nods, weary, embarrassed. He reaches back for the belt. David takes a sip and drives on. DISSOLVE TO: WHITE DISSOLVE TO: CLOSE ON TELEVISION Court TV reporter, Roberts, stands in front of the Supreme Court. ROBERTS (V.O.) The high court also refused to stay Friday's execution of former philosophy professor, David Gale. FEMALE (O.S.) (with her mouth full) Christ doin' Karaoke. PULL BACK TO REVEAL WE ARE IN: INT. NEWS MAGAZINE OFFICE - DAY KRUGER (47) watches with a leg up on her messy desk, eating low-fat tortilla chips and massaging a knee with an electric massager. A name plate on her desk reads "Barbara D. Kruger, Crime and Courts Editor." News magazine covers are on the walls. Kruger is black, short, overweight, wears an old jogging suit and new oversized athletic shoes. She has half- frame granny glasses on a cord around her neck. ROBERTS (V.O.) Gale had sought a review of his 1993 conviction for the rape and murder of University of Texas colleague, Constance Harraway. Kruger reaches for a phone, hits four numbers, takes a chip. ON TV A book-jacket photo of Constance. BACK ON ROBERTS ROBERTS (V.O.) Defense lawyers had hoped to argue that Gale's former activism against capital punishment unduly prejudiced... ON KRUGER She waits impatiently, munching, swallowing. ROBERTS (V.O.) ...the Texas judicial system. Citing 'discriminating purpose' -- KRUGER (into the phone) Hey, they're not gonna stay Gale. It's on Court TV right now, listen. She holds the phone out in the direction of the TV, uses the opportunity to eat another chip. ON TV We see old footage of David on a TV talk show. ROBERTS (V.O.) ...clear political gain in executing its leading opponent of the death penalty... ON KRUGER KRUGER (into the phone, swallowing) So, what's it gonna be? Belyeu said to call after the decision... No, they said only Bitsey. ROBERTS (V.O.) (in b.g.) ...Further failed to consider that the victim was herself an abolitionist activist... KRUGER It means only Bitsey. Bill, I don't get to make the rules, I'm a fat black woman. Bitsey Bloom (The runner from the opening) enters. She wears, as always, a tailored suit. KRUGER (into the phone) ...What we need is to put her on a plane to Houston. BITSEY (WOMAN) Gale's going down. Kruger shushes her with a we-know-already gesture. KRUGER (into the phone) Why do you always get lordosis around legal? She's here. She puts him on SPEAKER, and reaches for a chip. BITSEY (to the phone) Hi. What's lordosis? BILL (V.O.) Female ape's posture when preparing for intercourse. Hello, Bitsey. Bitsey shoots Kruger a look, mouths "you're sick." BILL (V.O.) Look, kids, setting aside the cost issue, though half-a-million dollars for three two hour interviews is not only illegal it's obscen-- KRUGER Market value. Guy's never talked. BILL (V.O.) That aside, I, we are still uncomfortable with the arrangement. BITSEY Meaning? BILL (V.O.) Meaning you've just spent a very public seven days in jail for a very public contempt of court citation. BITSEY Protecting sources, even kiddie porn scumbags, is magazine policy. BILL (V.O.) And I, we continue to appreciate your decision. We're just concerned. A rapist slash murderer, five days before he's executed, demands a reporter known for protecting sexual deviants. A reporter who is also a very attractive woman -- Bitsey and Kruger moan in unison. KRUGER This is disparate treatment. BITSEY I could go if I were an ugly blabby guy? BILL (V.O.) There's an agenda issue here which would be diffused with an older male... KRUGER I hear lawyers gleefully saying the words Bloom vs. News Magazine Inc. BITSEY 'Well, Your Honor, I started to notice that my assignments were evaluated on the basis of my sex.' KRUGER You've gotta let her go now. BILL (V.O.) That's not quite what I meant. KRUGER He's gotta let you go. BITSEY 'Certain references were made -- ' BILL (V.O.) (interrupting) All right. All right. Enough. The intern is with you at all times? Bitsey vehemently shakes her head "no" to this idea. KRUGER Yes. I, we are hanging up. 'Bye. Kruger hangs up the phone before he can respond. BITSEY I'm not baby-sitting. Kruger reaches for a chip. INT. RENTAL CAR - NIGHT ZACK (boyish, 24) sits in the passenger seat, smoking and looking at a case file in his lap. He holds the cigarette just outside the slightly open window. Zack has a bohemian grunge thing going -- long hair, ultra-hip glasses. As Bitsey drives, she keeps looking down at the dash's instrument panel. We hear strained patience in her voice. BITSEY Gale was seen leaving the house. EXT. INTERSTATE 45 - NIGHT The car's lights move past a sign: "Huntsville 27 Miles." BITSEY (V.O.) His sperm was inside her. INT. RENTAL CAR - NIGHT BITSEY His prints were all over the kitchen, including one on the bag. Zack has a police photo: a woman naked on a kitchen floor, hands handcuffed behind her. Over her head is an opaque white plastic bag, sealed around the neck with duct tape. ZACK Half-a-thumb print. BITSEY Okay, half-a-thumb print. ZACK Could have touched it before it was a murder weapon. BITSEY Do you fondle your friends' garbage bags? ZACK Yeah, I get very touchy around household plastics. 'Hello, everybody -- ooooh, Tupperware.' Chill. I'm just saying the bag could have been out on the counter or something. She looks at him a beat. BITSEY Hey, Zack? ZACK Yeah. BITSEY He did it. ZACK But the murder's way too fucking clumsy. And this guy's a major intellectual. Top of his Yale class, a Rhodes gig, tenured at 27, two books. He's an academic stud. BITSEY And, empirically speaking, a psychotic. Zack picks up another file photo: Christmas shot of the Gale family: David (31), his wife (Sharon, beautiful, 29), and son (Chase, 6). ZACK Look at his wife, she's a regular Grace Kelly. Old money svelte. Father was Ambassador to Spain -- BITSEY (looking at the car's instrument panel) Shit! The light's on again. CLOSEUP - OVERHEAT LIGHT is on. BACK TO SCENE ZACK Ignore it. It's a rental. BITSEY Thanks, Zack. Do you smell anything? ZACK No. Besides the guy's a flaming liberal. Bitsey keeps looking down at the light. BITSEY A person's politics has nothing to do with their propensity to commit crime. (beat) Aren't we supposed to smell it if it's overheating? ZACK Wrong, seventy-three percent of all serial killers vote republican. BITSEY Throw the cigarette out so we can smell. Zack reaches for the car ashtray. BITSEY No! You'll stink up the car. Throw it out! ZACK I'm not gonna fucking pollute. BITSEY Zack! Zack pinches the cherry off, lets it drop out the window. He shows her the filter, animatedly puts in the ash tray. She gives him a look. They ride a beat in silence. Bitsey sniffs. BITSEY We better pull off. Shit, this is so irritating. ZACK How far to Huntsville? BITSEY Look. She points to an approaching rest area exit sign. They share a glance, then a laugh. Zack affects an evil, maniacal cackle. ZACK ('Hard Copy' announcer's voice) 'NEWS Magazine reporters Bitsy Bloom and Zack Stemmons entered the rest area with car trouble... EXT. REST AREA EXIT - NIGHT The car exits for the rest area. ZACK (V.O.) Little did they know their troubles were just beginning. Zack mimics the OPENING MUSIC to "Dark Shadows." EXT. REST AREA - NIGHT Well lit and empty. The rental car is parked with the hood up. They stand looking at the radiator. BITSEY Is it hot? He puts his hand on it. ZACK Oww! Jesus, yes. Isn't it always? Bitsey shrugs. ZACK So what do I do? BITSEY I don't know, something male. Zack animatedly adjusts his balls, spits. ZACK Now what? Bitsey's not paying attention. She's watching headlights coming toward them. BITSEY Company. ZACK I hope whoever it is never saw Deliverance. A late model pickup pulls up behind them. They shade their eyes from its headlights. The lights go off. An OLDER COWBOY (mid-60's, Stetson, lizard skin boots) steps out. OLDER COWBOY You folks need some help? BITSEY Actually yes. EXT. HUNTSVILLE MOTEL SIX - NIGHT The motel lies adjacent to Interstate 45 and a Kettle restaurant. The rental car pulls up to the reception building. EXT. HUNTSVILLE MOTEL SIX - NEXT DAY The rental car is parked in front. The morning is overcast, it's sprinkling. Bitsey emerges from one of the rooms on the second floor carrying an umbrella. INT. KETTLE RESTAURANT - DAY Bitsey enters and sees Zack in a booth, smoking and reading. The hyper-smiley TEENAGE HOSTESS approaches her. HOSTESS How are you this morning? Bitsey ignores her, takes a menu without comment. She goes and sits across from Zack; he's reading Dialogical Exhaustion by David Gale. BITSEY Little early, isn't it? ZACK The non-smoking section's over there. BITSEY I meant the book. ZACK Oh. Bitsey opens the menu; he puts the book down. BITSEY What time is it? ZACK 9:15. The waitress says the Ellis Unit is about fifteen minutes out of town, so we've got like five and half hours. I -- BITSEY Never eat where the menus have pictures of the food. ZACK I was thinking we should drive to Austin, check out the crime scene. Could be some story stuff for us. BITSEY (without looking up) First, this isn't a story. It's an interview. We come, I listen, you watch, we go home. Second, there is no 'us' in the assignment. ZACK Okay, what do I watch you do for the next five hours? BITSEY (closing the menu) Drive around looking for decent restaurant. ZACK You know, your reputation as Siberian- Female-Dog-Person doesn't do you justice. She's unsure how to interpret his comment. He smiles. BITSEY My reputation got us invited here. I play by the rules. It's called objectivity. They stare at each other. Zack picks up his book, starts to read, affects a shiver. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY Drizzle. The prison and adjacent parking lot can be seen a few hundred yards down the road. In front of the guardhouse is a sign: "TDC Ellis Unit. All visitors must report." SUPERIMPOSE: "DAY ONE" The rental car ENTERS the FRAME, brakes briefly for the empty guardhouse, and moves on toward the prison. EXT. ELLIS UNIT PARKING LOT - DAY Bitsey and Zack get out of their car. She has an umbrella. ZACK So where do we report? Three razor wire fences surround the prison. Guard towers rise at the corners. Outside the fence sits a small building with a sign: "REPORT HERE." Bitsey makes a there-you-have-it face. They move toward the building. Someone hawks. They look over. Within the fence, a skinny Hispanic inmate (50's) spits. He's hunched in the rain thirty yards away. He watches them neutrally. CAMERA TRACKS Bitsey and Zack as they walk nervously past a series of kennel-like pens that run along a long building. Inmates watch them pass: A smoking, tattooed white male (30's) stands by his door. A muscular black man (30's) with a Muslim skullcap speaks quietly to the forty-something redneck beside him. A paunchy Hispanic (20's) with a shaved head sits back against the building, making clicking sounds. A skinny white guy with his shirt off tosses a tennis ball against the building. At the closest end of the last pen, a gang-banger (20's) watches as he stands with his fingers clutching the chain-link above his head. Rain runs down his face. INT. ELLIS RECEPTION OFFICE As Bitsey and Zack enter, a clean-cut man in his forties is on the phone (DUKE GROVER). He waves them in and holds up a wait-just-a-second finger. GROVER Well, I don't rightly know one fraternity from another. But if we catch any those boys out here again, we're gonna Arrest and Prosecute... You do that, Susan... Bye now. The office has cheap wood paneling and a tired shag carpet. A portrait of GOVERNOR HARDIN (female, mid-50's) is on the wall, a large aerial photograph of the prison on the other. At a desk sits a WOMAN WITH TEXAS HAIR (40's). Grover hangs up. GROVER (to the Woman) Thank you, Margie. (turning to Bitsey and Zack) Correspondents Bloom and Stevens I presume. BITSEY Yes, hello. They shake hands. ZACK Stemmons. GROVER Stemmons. Sorry, won't happen again. I'm Duke Grover, T.D.C. community relations. Grover's demeanor suggests a successful Little League coach, his suit suggests J.C. Penny. He speaks quickly. MARGIE (WOMAN) He's usually real good with names. GROVER (to Bitsey) And these days I always like to ask, now do you prefer Miss, Mrs. or Ms.? BITSEY Bitsey. GROVER Bitsey it is. Margie, I'm stealin' your umbrella. MARGIE Okey dokey. EXT. ELLIS UNIT ENTRANCE Bitsey and Grover walk beneath their umbrellas toward the Unit gate -- Grover walks as fast as he talks. Zack follows, turns his collar up. GROVER Bitsey, you ever been in a prison? BITSEY Yes. Zack smiles to himself. GROVER On death row? BITSEY No. GROVER Well, we house 422 inmates here. Average stay with us is nine years. Some get commuted, move on, most get killed. It'll put you off your supper, but then it's supposed to. The unit fence gate parts as they enter. The older gate guard nods as they pass. GROVER (to the guard) Afternoon, Earl. (back to her) We've got three concerns here: safety, safety and safety. The visitation area is entirely secure -- we just ask you don't touch the glass. Windex gets expensive. They come to the door of the entrance area. GROVER Rules say seven days prior to execution inmates must be interviewed in a cage. The DOOR BUZZES, Grover opens it. INT. ELLIS ENTRANCE LOBBY - DAY The lobby has institutional chairs and few vending machines. To one side is a guard's counter and a walk through metal detector. They enter and make their way toward the counter. GROVER This changes for no man. You're not carryin' a weapon are you? BITSEY No. GROVER Mr. Stemmons, you packin'? ZACK No, sir. They arrive at the counter. Behind it are two GUARDS, one male, one female. GROVER (to the guards) Clarence. Karla. New York guests for Mr. Gale. CLARENCE (GUARD) May I see your purse, ma'am. GROVER (to Bitsey, indicating the metal detector) Go on and walk through. Grover keeps talking as he walks around the detector and waits for her. GROVER Now, should any kinda of unpleasantness occur in the visitation area, we ask that you stay put. Come on through, Mr. Stemmons. And please follow the instructions of these fine correctional officers should they see fit to give you any. CLARENCE (handing her the purse) Here you go, ma'am. He leads them down the hall. GROVER Anythin' you say can be overheard. And any discussion of criminal activity on your part is admissible. Not plannin' a jailbreak are you, Bitsey? INT. ELLIS VISITATION AREA - DAY The door guard gets up from his small table and opens the door for them. GROVER Here we are. The visitation hall has the linoleum-and-fluorescent feel of an empty school cafeteria. It is seamlessly intersected by curved wall of sheer glass. Across the hall a guard's booth is built into the concrete wall; the two guards inside look like they are in a sound booth. Every fifteen feet, the glass has small sound holes. On the visitors' side, chairs (with lap desks) cluster at each section. Just getting up from a chair in the hall's center is a big man wearing an expensive suit and black cowboy boots. This is David's lawyer, BENJAMIN BELYEU (late 30's). On the prisoner's side of the glass, a row of ten chairs trace the outline of its curve. Above each chair a microphone hangs from the ceiling. The center chair is in a stainless steel cage. Inside sits David Gale. GROVER (calling out to Belyeu) All yours, Mr. Belyeu. (to Bitsey and Zack) You folks have safe visit now. BITSEY Thank you. He exits as Bitsey and Zack make their way toward Belyeu and David; it's a walk of about twenty-five feet. Belyeu's voice is a thick combination of Cajun and Harvard Yard. BELYEU Miss Bloom? BITSEY Yes. Belyeu speaks as slowly as Grover did quickly. David stands up politely in his cage -- he's too tall and has to hunch. BELYEU Did that P.R. man validate your parkin'? BITSEY He said the gift shop could do it. Belyeu laughs, smiles pure Old New Orleans charm. BELYEU (to David) She's a smart one. Belyeu takes a few steps toward them, extends his hand. BELYEU Benjamin Belyeu, Mr. Gale's attorney. BITSEY This is Zack. BELYEU Pleasure. (turning) And this is the man of the hour. They move toward David. A SPEAKER-SYSTEM LOUDLY (really loudly) interrupts: GUARD (V.O.) Sit down, Gale. All wince. David sits, smiles, a bit embarrassed. DAVID Hello. BITSEY Hello. ZACK Hi. BELYEU Now, why can't they turn that thing down? DAVID (to the microphone above him) My lawyer respectfully suggests you adjust the speaker-system volume. A beat. They all look over at the guard's booth. One of the guards makes a get-on-with-your-business gesture. DAVID They're practicing being cruel and unusual. BELYEU Mrs. Bloom, I'm sure you're a bitin' at the bit. Belyeu collects papers from the chair he was using and starts to stuff them into his antique carpetbag. BELYEU Now, it is our understanding that you are to have three two-hour sessions. Today, tomorrow and Thursday, all at three in the P.M. I'm sorry we can't afford you more time, but contrary to popular rumor we have not yet begun to fight. Furthermore, it's our understanding that you will do this with no recording equipment of any kind. (to David) You have my Gregg book? DAVID I need it for Billy's appeal. BELYEU (to Bitsey) My client's got a ten pound bass on the line and he's worried about baitin' his neighbor's hook. (takes out his planner) Now, I have some papers for which I need your Jo Ann Hancock. (handing her a business card) Come by my Austin office at your earliest convenience. Thursday mornin', say. Bitsey's confused. Belyeu just smiles at her, then looks up at the microphone. She understands, nods. BELYEU Fine, till Thursday then. Belyeu picks up his bag. He and Zack start the hike to the door. Belyeu turns, walks backwards. BELYEU Good luck, Miss Bloom. (to David) I'll come by later. We can play a game of hangman, take up smokin'. David waves "get lost." Belyeu turns. BELYEU Bye, ya' all. They watch him walk away. Bitsey turns to David. He's looking at the floor, caught in a thought. BITSEY So... DAVID Sorry. Have a seat. She does so. David smiles at her, he has a beautiful smile, sincere, charming, vaguely devilish. BITSEY He's a character. DAVID Yeah, known Benny most my life. Met the summer after 4th grade, spent the day burning ants with his dad's magnifying glass. We called it playing 'Execution.' David looks at her a beat, lets the irony of this sit in the air. Uncomfortable, Bitsey starts to look in her purse. DAVID Since I grew up in foster homes, he's become the only family I have. BITSEY Where's your ex-wife? Bitsey takes a pad out of her purse, looks for a pen. DAVID We agreed minimal contact would be easier. Please don't mention her, or my son. BITSEY All right. Anything else, just clearly say, 'off the record.' I'll take it to my grave. But then you know that about me. Otherwise I wouldn't be here. David smiles, nods. BITSEY (referring to the pen) Is this recording equipment? He shrugs. DAVID How should we start? BITSEY I'd say you're a man with a story to tell, Mr. Gale. You chose the magazine, the format. You chose me. She sits with pen on paper, poised for dictation. BITSEY Go. David looks at her a long beat, then gives her the smile. DISSOLVE TO: WHITE DISSOLVE TO: TRANSITION MONTAGE CAMERA starts TO ROTATE and ROLLS THROUGHOUT until the LAST SHOT COMES TO REST UPRIGHT. A) OVERHEAD Belyeu gets in his Cadillac in the wet Ellis Unit parking lot. B) ELLIS UNIT (RAINY DAY) from the air. C) AUSTIN FROM AIR (SUNNY DAY) D) OVERHEAD SEXY FEMALE GRAD STUDENT (over-dressed in a mini-skirt and heels) moves hurriedly through the University of Texas (U.T.) campus. E) FROM BEHIND TWO GRADUATE STUDENTS attending class in an U.T. lecture hall -- they are laughing as David entertains from a mike at the podium. DISSOLVE TO: INT. U.T. LECTURE HALL - DAY Thirty animated students (circa 1992) are listening to David lecture. He's younger (31), vibrant -- looks like a grad student himself. On the white board behind him are phrases: "Lucan," "objet petit a," "Fantasy Theory." DAVID Think. What do you fantasize about? World peace? (as no one responds) Thought so. (light laughter) Money-Fame-Ferrari? (as some guys applaud loudly; others then boo them) A Pulitzer? Nobel? M.T.V. Music Award? (applause) A genius hunk -- ostensibly bad but secretly simmering with noble passions, and willing to sleep on the wet spot? As women applaud... LARGE WOMAN (yells) I'll take two! Laughter. DAVID A Victoria's Secret model -- just slumming between law school and running her family's Vastly Endowed Foundation for Tragically Sad-Eyed Children? The crowd laughs, David changes tone. DAVID Okay, good, you see Lucan's point. Fantasies must be unrealistic. The minute you get something, you don't, you can't, want it anymore. To exist, desire needs absent objects. So desire supports itself with crazy fantasies... The over-dressed Sexy Grad Student enters loudly from a side door, out-of-breath and discombobulated. The crowd laughs at the timing. David pauses. STUDENT Sorry. He animatedly gestures to the seats, waits a beat as she moves towards them. DAVID This is what Pascal means when he says the only time we're truly happy is when day-dreaming about future happiness. The Sexy Student sits, adjusts herself. DAVID Or why we say, 'The hunt is sweeter than the kill' or 'Be careful what you wish for.' A guy behind the Sexy Student taps her on the shoulder, she turns and he hands her letter from the registrar's office. It's from a girl friend two rows back. The girlfriend mouths, "It came today?" DAVID (O.S.) Not because you'll get it, but because you're doomed not to want it if you do. Think about it next time you're at a wedding. Laughter. The Sexy Student turns back around, throws the letter in a book. INT. U.T. HALLWAY - DAY Students pour out of the double doors leading from David's class. The hall is crowded. Standing waiting for him against the wall is Constance (glasses, granola clothes). She's looking at a document, holds a file. INT. U.T. LECTURE HALL - DAY The students are leaving. David is quickly erasing the white- board. The Sexy Student approaches him (her name is Berlin). BERLIN (SEXY STUDENT) Sorry about being late. There was, you know, a thing. DAVID There usually is, Berlin. BERLIN Look, I know I'm not doing well. He turns, nods, takes his books and papers from the podium. BERLIN And to torture a cliche, I'd do anything to pass. He looks at her a beat, starts to walk toward the door. BERLIN Anything, Professor Gale. He stops, turns. DAVID Anything, huh? BERLIN (suggestively) Anything. DAVID (the smile) Anything? She affects a solicitous shyness -- then goes all sex. BERLIN Any thing. He checks the room, then comes over to her, close. DAVID Tell you what, I'll give you good grade, a really good grade, if you will... (leans down to her ear, whispers sensually) ...study. He smiles, turns, walks away. As she watches, anger builds. INT. U.T. HALLWAY - DAY David comes out the room. Constance sees him, hurries to him. She's excited, and speaks now -- as always -- with absolute authority. They talk as they walk down the crowded hall. CONSTANCE David! DAVID Hey. CONSTANCE The T.A. finished transcribing the Governor's radio and TV comments. Listen: 'I hate killing, that's why I'm willing to kill to stop it.' The woman breathes in soundbites. She hands him a copy. DAVID (pretends to read a quote) 'Yes, Virginia, the people of this State have overwhelmingly affirmed the reality of Santa.' CONSTANCE You might can use some of her pre- centrist stuff. DAVID Tell me again why you aren't doing the debate. CONSTANCE Telegenics. You have a cuter butt. DAVID I hadn't noticed. CONSTANCE I know. DAVID That's not what I meant. EXT. U.T. CAMPUS - DAY David and Constance exit the building into the sun. CONSTANCE She's gonna do the whole mother thing. She empathizes with you completely, but experience has given her the courage to take the tougher road, ta- da, ta-da. Keep it rational. And flirt politely. DAVID 'Governor, you bat a lovely lash for a woman who executed thirty eight last year.' They've come to a sidewalk junction, stop. CONSTANCE And watch your ego. Don't come across as one of those I-hate-authority- because-nobody-in-charge-reads-the- New Yorker types. DAVID Anything else? CONSTANCE Yeah, don't fall into one of your brooding silences. Oh, I'm getting new federal stats from Amnesty tonight. DAVID I'm going to Greer's party. Fax them to Sharon's number at the house. She looks at him sternly over the top of her glasses. CONSTANCE If you have a hang-over tomorrow -- DAVID (hangs up, walking away) Apropos playing Mother. CONSTANCE (calling after him) Ten o'clock! (beat) Bright-eyed and bushy tailed! EXT. GALE HOME - ESTABLISHING - NIGHT The house is an immaculately restored two-story Victorian, far better than what a university professor can afford. The grounds are perfect. David's Volvo is in the driveway, his wife's new Laredo beside it. On the street out front sits a new VW Beetle. INT. KID'S ROOM - NIGHT David's son -- CHASE -- sits in bed holding a stuffed sheep in the air. David turns off the light in the adjacent bathroom, comes in holding his son's jeans and shoes. David wears a t-shirt which says "Evil-Doer & Curious Person." The room is over-decorated with boy stuff. DAVID Did you mark your calendar? CHASE (looking up at it) Yep. INSERT - KID'S CALENDAR hangs above the bed, opened to the month of March. It has a felt-tipped pen hanging from a piece of string taped to it. Ten frowny faces cover ten consecutive days, then there are three empty days before a large smiley face awaits on the fourth. The frowny faces are in a kid's hand, the smiley face in an adult's. BACK TO SCENE CHASE (counting on his fingers) Only... three more Spain days. David puts the jeans and shoes away. DAVID Only three. That's great, huh? David comes and sits beside his son. Points to an African statue (a man holding a spear) on the bedside table. DAVID What's he doing in here? CHASE Mommy said I could. Just till she gets back. (touching the spear) That's a special-duper monster laser knife. DAVID Where's your laser gun? Chase reaches under the sheets, searches, finally pulls out a laser pointer. CHASE Here. He "shoots" some toys in the corner with the red laser dot. CHASE Tussshh, tusssshh, tussshh. I never shoot them in the eyes, Daddy. DAVID That's 'cause you're a special-duper- super-quadruper boy. Who's now going to sleep. He tucks his son in. DAVID Who loves you? Chase giggles, points at his dad, then pokes his nose. DAVID Ooooh. (kissing him) Good night, son. CHASE (holding up his stuffed sheep) Do Cloud Dog. DAVID (kissing the sheep) Good night, Cloud Dog. INT. LIVING ROOM - NIGHT Obsessively cool, full of designer furniture and rough fabrics. The art is mostly contemporary and conspicuously lit -- a Damien Hirst piece sits in one corner. A few African antiquities are scattered throughout. A BABYSITTER sits on the couch reading a school textbook, holding lip gloss and absentmindedly applying it as she reads. David passes on his way to the door. DAVID Back before midnight. BABYSITTER It's cool, Mr. Gale. (calling after him) Don't do anything I wouldn't. DAVID (O.S.) Rest assured. He exits. When she hears the DOOR CLOSE, the Babysitter reaches for the TV remote. INT. DUPLEX - LIVING AREA - NIGHT The duplex is upscale, two-story with a vaulted ceiling. Scattered about are forty party-goers, mostly grad students. Some spill out onto the back patio and around the pool. Everyone has a t-shirt with a philosophic idea ("Yawnic," "Mad, Bad and Dangerous to Know," "[Philosophic t-shirt]".) LEONARD COHEN MUSIC PLAYS. FROM FRONT DOOR GREER (late 20s, Persian, "Host" t-shirt) escorts David into the living room. GREER The guy's the Immanuel Kant of the N.F.L. Consistent, accurate, effective, and boring, boring, boring. Greer leaves him at the sofa where an OLDER PROFESSOR (60s, homemade t-shirt -- "Pre-Socratic" -- over his shirt and tie) stands speaking with ROSS (late 40s, "Homosexualist" t- shirt). DAVID Meinen Herren. ROSS (has an Oxford accent) Hello, David. OLDER PROFESSOR Professor Gale. Where's your better half? DAVID Spain. OLDER PROFESSOR Again? (a beat) Well, I was just off for air. He moves to the patio. They watch him go. DAVID (under his breath) Looks like Sharon's affair is an open secret. ROSS (under his breath) Hermeneutical bias: the only fun truths are the ones someone's trying to hide. (normal tone) Have a seat. They sit on the sofa. ROSS Listen, Berlin's here -- and livid. Probations suspended her. She received the letter today, took the opportunity to throw a fit in my office. You should -- BERLIN (O.S.) Talking about me? She's standing behind them. David tilts his head back. DAVID Yep. She's tipsy, brings her face down between their heads. BERLIN (to David) He tell you I said when you were circumcised they threw away the wrong part. DAVID He mentioned it. An uncomfortable beat. She reaches over and takes Ross's drink from his hand, drinks the rest, puts it back. DAVID It's called schmuck. BERLIN What? DAVID The part of the foreskin that gets thrown away. I think it's called schmuck. BERLIN Aren't we so fucking clever. ROSS (standing, escaping) I suppose I should get us another. David? DAVID Black Bush. Ross walks to the bar. Berlin comes around and sits in his seat. Her mid-drift T-shirt reads "Sex is Power." BERLIN You were a jerk this afternoon. A beat. She's turned facing him, he looks forward. DAVID For what it's worth, I didn't know about the suspension. BERLIN Is that supposed to be an apology? DAVID More like a conciliation. ON FOOD AND DRINKS TABLE Ross has two gin-and-tonics and is finishing pouring David's Black Bush. He moves away. The table is neatly laid with snacks and bottles. The flower arrangement is perfect. SAME SCENE - LATER The table is now in mid-party chaos. Food spilled, bottles empty, the flowers in disarray. "I'M TOO SEXY" PLAYS LOUDLY in the background. Berlin takes a bottle of Red Label from the table. CAMERA TRACKS her THROUGH the living room, where a few people now dance, and out onto the patio. A crowd well on their way to being drunk gathers by the pool. They surround two patio chairs which face each other, one with David, the other with Ross. The men are playing an Irish drinking game -- the crowd has chosen favorites. ROSS (slurring a bit) All right. (clears his throat) As the poets have mournfully sung, Death takes the innocent young, The screamingly funny, The rolling in money, And those who are very well hung. Laughter, a few animated moans. David raises his glass to Ross and downs a whiskey. Someone starts to chant: "Gale! Gale! Gale!" DAVID (feeling good but very much in control) There once was a lesbian from Canjuom, Who took a young man to her room, And they argued all night, As to who had the right, To do what, how, and to whom. Laughter. Two women holding each other boo. Ross drinks. BERLIN One more. C'mon, one more. DAVID Enough. That's enough. The crowd wants more. Someone makes chicken sounds. ROSS Do you bow to the Queen? David looks at him, contemplates, then smiles. He holds his glass out for a refill. The crowd applauds. FULL SHOT OF PATIO The crowd is chanting: "Ross! Ross! Ross!" SAME SCENE - LATER The crowd has dispersed. A couple of small groups converse. Someone is being thrown into the pool. TECHNO MUSIC PLAYS. Inside the duplex a few dancers are still going at it. INT. BATHROOM David is washing his face. As he dries, the TECHNO MUSIC downstairs gets BRIEFLY LOUDER. He looks from beneath the towel into the mirror. Berlin has entered the bathroom. DAVID I'm done. She locks the door, leans back against it. She's flushed. He folds the towel. BERLIN I'm not a student anymore. DAVID Don't think I want to know what that means. David lays the towel down, leans back against the sink -- they face each other on opposite sides of the bathroom. BERLIN There once was woman named Berlin, Who liked a bit now and again. Not now and again, But Now! And Again! And Again! And Again! And Again! He laughs. BERLIN Cute, huh? DAVID Cute. BERLIN I have a secret. But I have to come over there to tell you. He makes an I'm-not-so-sure face. She moves playfully toward him. BERLIN Here I come. She comes up to him, leans into him as she puts her mouthclose to his ear. He keeps his hands back on the sink counter. BERLIN (whispering) I wasn't after the grade. She stands with her body against him, looks into his eyes. DAVID Berlin, this, this is not... She puts her fingers over his mouth, keeps them there. BERLIN Ssshhhh. With her free hand she takes one of his, rubs it against her face and lips as she speaks. BERLIN We'll just talk, analyze, contemplate. Or... you can put your mouth on my body. She moves his hand down, brushing it against her breast and to her groin. She brings her mouth toward her fingers -- which are still against his lips. BERLIN (softly, vulnerably) Don't reject me. Please. With her eyes open, she kisses the back of her own fingers, runs her tongue between them, opens them to reach his mouth. INT. HALLWAY A Hispanic woman (T-shirt: "DerriDa-Da") bee-bops to the bathroom door. Tries the handle, then dances away. INT. LIVING ROOM About eight dancers dance to the TECHNO MUSIC -- its pace increasing. A couple them are really into it. INT. BATHROOM Berlin and David are against the sink, kissing in full passion. The MUSIC from downstairs seems LOUDER. Her T shirt is off. Panting, he turns her against the sink. Pulls her skirt up, reaches for her panties. BERLIN Rip them. DAVID What? BERLIN Rip them off. He does so. INT. KITCHEN Ross sits at the kitchen table, holding his throbbing head against the POUNDING MUSIC. Greer sets a cup of coffee in front of him, sits across. A long beat. They seem like parents waiting out a teenager's party. INT. BATHROOM Berlin is back against the sink, undoing David's fly as he takes his T-shirt off. The MUSIC from downstairs seems even LOUDER. His pants and underwear fall. He starts to penetrate her. BERLIN No. From behind. She turns, faces the mirror. He positions himself behind, enters her. BERLIN Yes. He moves against her. BERLIN Do it hard. He looks at her in the mirror, then continues. She watches him. ON PATIO A guy sits alone at the far end of the pool on a lounger. The dancers can be seen in the living room behind him. INT. BATHROOM David thrusts against Berlin, her thighs pound against the edge of the sink. The MUSIC is as LOUD as it is downstairs. BERLIN Harder. He looks at her in the mirror, unsure. BERLIN Harder. He thrusts harder. BERLIN Yes. They continue in rhythm. She reaches back and pulls him into her. BERLIN Bite me. Bite my shoulder. She watches him do so in the mirror. INT. LIVING ROOM The dancers dance -- the TECHNO PACE has INCREASED even more. One dancer is a blur. INT. BATHROOM Berlin is pulling David into her. They approach a climax. She scratches him on the small of the back. Blood trickles. INT. LIVING ROOM The MUSIC and dancers are in pure FRENZY. Suddenly, the MUSIC STOPS. Greer stands by the STEREO, his hand coming back from the power button. He gestures "that's-all-folks." INT. BATHROOM David and Berlin stand still and apart, breathing heavily into the reality-inducing silence. He looks at her in the mirror, a look of shame. She gives him an odd smile. SMASH CUT TO: BLACK FADE IN: INT. CONSTANCE'S BEDROOM - NIGHT Constance wakes with a jolt, sweating. She gets up and goes into her bathroom. INT. BATHROOM - NIGHT She turns on the light, moves to the sink, opens the medicine cabinet. It's stacked with prescription medicines. Suddenly, she turns to the toilette, vomits. FADE TO: BLACK. FADE IN: INT. BARNES & NOBLE COFFEE HOUSE - DAY David and Constance sit by a window, the U.T. campus in the b.g. David's distracted, wearing a suit and a long face. She's wearing the closest thing she has to business attire. She has stacks of paper spread in front of her. CONSTANCE Okay, let's say we find an innocent on death row. Wouldn't matter. Corrections would let him go. Governor Harding would go on TV, say, 'Thanks to the good people at DeathWatch, the system works.' Yeah, if they executed an innocent, and we had absolute, undeniable, in-your-face proof, we could demand abolition. Just like happened in England. Are you okay? DAVID (coming out of it) Sorry. Yeah. He makes an effort, plays the "good listener." CONSTANCE But it hasn't happened, not since '76. And won't happen. David nods. CONSTANCE Dead men can't make a case. DAVID And 'Almost Martyrs' don't count. CONSTANCE Just keep it rational. The death penalty is expensive and ineffective. No one wants to see a murderer as a victim. DAVID Um-hum. CONSTANCE And stop that. DAVID What? CONSTANCE Active listening. I hate active listeners. Makes me feel like I'm with a Dale Carnegie grad who cares more about appearing to listen than actually listening. Did you bring the Amnesty fax? DAVID I can listen and appear to listen at the same time. Yeah, no. Damn, I left it home. CONSTANCE I have a copy. She looks through her papers, finds the copy in the stack beneath her coffee cup. She starts to hand it to him. He is looking out the window, caught in a thought. CONSTANCE You want to tell me what's up. DAVID Nothing. Everything. Something profoundly stupid happened last night. CONSTANCE (teasing) I hope you used a condom. A beat. His reaction tells her the jest hit home. CONSTANCE Jesus Christ, David. Was she one of yours? A longer beat. He holds her eyes. DAVID It was Berlin. She's stunned, then genuinely angry. CONSTANCE Oh, that's great, great. I can hear the grapevine now. They suspended her so Gale could dick her with a clear conscience. He looks at his coffee, which he hasn't touched. CONSTANCE A power differential equals coercion. Great. You are so weak. DAVID Constance, you're not my wife. Thank God. CONSTANCE I know you can tell yourself it's a position I aspire to, but believe me, I would rather... She trails off. They stare at each other a beat. Then, she starts to collect the papers. DAVID I didn't mean -- CONSTANCE Let's go. As she collects, she winces, grabs her side. DAVID Are you okay? CONSTANCE Yes, let's just go. INT. TELEVISION STUDIO - CONTROL BOOTH - DAY Two people sit in front of monitors displaying various angles on sound stage. The main monitor is playing the end of the show's signation. ASSISTANT DIRECTOR In three, two... ON SOUND STAGE A camera operator cues the host (50s, male, bow tie). The host is flanked by David and Governor Hardin. The set has an upscale regional television look. The Governor has the rare ability to look comfortable while David fidgets. HOST (to camera) Welcome back to 'Batter's Box.' Tonight we continue our very special four-part series with the Governor Hardin. Arguing capital punishment with her is DeathWatch coordinator, Professor David Gale. Governor, you're up. GOVERNOR HARDIN Alan, let me say somethin' I always say. Constance stands behind the cameras. She motions to David -- something about the papers in front of him. GOVERNOR HARDIN And I'm gonna keep on sayin.' And that is I hate killin.' That's why my administration is willing to kill to stop it. DAVID So you don't subscribe to the idea that 'a good state is one that protects its most despised members'? GOVERNOR HARDIN It's a nice liberal idea, but like most nice liberal ideas, naive. DAVID It's a quote from you, Governor, from your first state attorney campaign. Constance is biting her lip, breaks into a smile. The Governor is unsure how to react, then laughs. The host chuckles with her. GOVERNOR HARDIN You've got me, Professor. But let me, in my defense, give you a quote. Winston Churchill: 'If you're not a liberal at twenty, you've got no heart, if you're still a liberal at thirty, you've got no brain.' The host's laughter is overdone. David smiles. Constance bites her lip. DAVID So, basically you feel, to choose another quote, 'society must be cleansed of elements which represent its own death.' The Governor makes an animated thinking face. GOVERNOR HARDIN Well, yes. I would have to agree. (chuckles again) Did I say that, too? DAVID No, ma'am. That was Hitler. Constance makes a "Yes!" gesture with her hands. The Governor is surprised into silence. The host laughs and, noting her reaction, trails off. David becomes more confident, his tone more sincere. DAVID Governor, can't we examine the possibility that capital punishment isn't working. That murderers aren't deterred by the law because they have about as much forethought as lemmings. That it's expensive, inequably administered, that... David cuts his eyes briefly to Constance. DAVID ...that we may even be killing innocents. Constance rolls her eyes. The Governor is ready for this. GOVERNOR HARDIN All righty, Mr. Gale, I'll play your game. Name one. Name one innocent man Texas has put to death in my tenure. One. A beat. David doesn't respond. GOVERNOR HARDIN Name one in the last twenty years. In any state in this country. A long, miserable beat. HOST Well, Mr. Gale? DAVID Dead men can't make a case. GOVERNOR HARDIN Well, as my daddy used to say: If you can't find a problem, there probably isn't one. Constance shakes her head in irritation. BACKSTAGE - LATER The show is over. David and the Governor are shaking hands. Constance stands nearby. GOVERNOR HARDIN Well, you certainly had me on that Hitler quote. DAVID Thank you, Governor. GOVERNOR HARDIN These debates are awfully good for the state, don't you think? DAVID Of course. GOVERNOR HARDIN Well, I've got to buzz. She moves toward her handlers. GOVERNOR HARDIN You folks keep up the good work. We need that opposition. Constance's and David's polite smiles follow her. EXT. TELEVISION STATION - DAY Constance and David argue as they walk the sidewalk to the parking lot. CONSTANCE Your exact words were, 'Just tell me when my ego gets in the way of the work.' Now I'm telling you: Your ego's in the way of work. DAVID (indicating the station) Look, I wanted you to do this anyway. CONSTANCE You put up precisely two seconds of protest at the thought of a televised debate. DAVID What's that supposed to mean? CONSTANCE It means DeathWatch suffers because you're so anxious to finger authority, to publicly prove that David Gale is so much fucking smarter than the powers that be. Learn to work without an audience. Try squeezing money from the donor list. Have you ever licked one single mail-out envelope? They come to the end of the sidewalk, where two SUITS are standing -- one Hispanic, one white (30s). MAN #2 (SUIT) Mr. Gale? DAVID Look, guys, there's not much more to say -- MAN #2 Rameriz, Austin police. This is Officer Haslinger. The officers show their Ids. Constance takes one to examine it more closely. DAVID What, arguing with the Governor is a crime? The officers exchange a look. MAN #3 (SUIT) No, sir, rape is. Constance and David look at each other, stunned. OVERHEAD SHOT CAMERA QUICKLY CRANES UP and ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - OVERHEAD SHOT - DAY CAMERA CRANES DOWN and ROTATES, ENDING UPRIGHT BY Bitsey as she listens to David. GUARD (V.O.) (over the loudspeaker) Gale, time's up. The speaker, loud as ever, startles Bitsey. David nods over to the guard's booth. DAVID Berlin had my bite marks, bruises, ripped clothing. My skin was beneath her nails. It didn't look like anything but rape. Two days later she called the D.A., said she wouldn't testify, too drunk to be sure, etc. On the plane home, Sharon read about her husband's rape case being dropped. BITSEY Why'd she do it? A guard approaches. David stands up and moves to the back of his cage, puts his hands behind him and out the slot in the back to be handcuffed. DAVID (shrugs) Finger authority, show she was smarter than the powers that be. BITSEY Do you know where I can find her? DAVID First year in here I received a card postmarked San Francisco. It wasn't signed, but I suspect it was from her -- the front had the text 'Sex is Power.' Cuffed, David stands aside for the cage door to be opened. BITSEY Anything written on it? DAVID Yeah. It said, 'I'm sorrier than you can know.' (exiting the cage) See you tomorrow, Ms. Bloom. EXT. MOTEL SIX PARKING LOT - NIGHT Bitsey and Zack are walking from the Kettle to their rooms. Zack is lighting a cigarette. The rain's stopped, but the lot is wet. BITSEY Try phone records, a net search. ZACK Fucking better than watching you work. They walk a beat in silence. ZACK You think he's telling the truth? BITSEY Don't ask me that. I don't know. There is no truth, only perspectives. ZACK Can't say that. If you say 'there is no truth,' you're claiming it's true that there is no truth -- it's a logical contradiction. BITSEY Working on our philosophy merit badge, Zack? ZACK I, on the other hand, think Gale's telling the truth. They come to the stairs and start up. BITSEY This you know telepathically? ZACK It's just my perspective. In a dark corner of the parking lot sits the pickup from the rest area. The older cowboy watches Bitsey and Zack climb the stairs. On his STEREO, PUCCINI plays. Once they are in their rooms, he TURNS UP the opera, closes his eyes, feels the music. INT. RENTAL CAR - DAY The car moves through an older Austin suburb with wood framed houses (circa 1950) in varying states of repair. It's an overcast day. Zack drives, slowly, searching. Bitsey has the passenger seat fully reclined, lies with her eyes closed. SUPERIMPOSE: DAY TWO. ZACK Thirty-three o what? BITSEY Seven. (then) 'Check out the crime scene in Austin.' You made it sound so close. Shit, two and half hours and that damn lig -- ZACK Bitsey. She looks up. Zack is pointing at house 3307, which needs paint and a lawn mower. In front of the house is a homemade sign which reads, "David Gale Death House and Museum" See where it happened!" Beneath are the opening hours (12-8); someone has marked them out and scribbled "ring bell." They share a look. EXT. PORCH OF HOUSE 3307 - DAY Bitsey rings the bell. Zack stomps out a cigarette, points out a worn "Block Home" sign in the window, raises his eyebrows. As Bitsey straightens her skirt, the door is opened by a GOTH GIRL, probably not quite eighteen. She has jet-black hair, nose piercings, tattoos, a Nine Inch Nails T-shirt. METAL MUSIC comes from within. The Goth Girl just looks at them. After an uncomfortable silence, Bitsey extends her hand. BITSEY Hi. I'm Bitsey Bloom and this is Zack Stemmons. We -- GOTH GIRL You want the tour? Her voice is slacker monotone. BITSEY Uh, yes. GOTH GIRL There's a twenty-dollar mandatory donation, apiece. But you get a re- enactment photo packet. It's got five pictures. BITSEY Okay. A beat. GOTH GIRL I gotta collect first. BITSEY Oh, sure. Bitsey reaches in her bag. INT. LIVING ROOM - DAY They enter. The room is dark, messy, with an old couch and TV/VCR. A kitchen is adjacent. The walls are full of Goth bric-a-brac: London Batcave poster, one from Burton's Frankenweenie, a couple of fan-zine pictures of Siouxsie and the Banshees. In one corner is a very expensive STEREO, from which THE CURE plays. In another, a dead plant. The Goth Girl turns the MUSIC DOWN. A table near the door has numbered photos beneath a torn and curling sheet of plastic. Small packets of snapshots sit on the table along with a few hand-labelled videos and a book of clippings. There's also a guest book. GOTH GIRL You gotta sign the book. Doesn't have to be your real name, though. Bitsey signs in. GOTH GIRL First page says you're here to do research on violent crime. The state requires it for nonprofit shit. Zack signs in. GOTH GIRL Take a re-enactment photo packet. Bitsey does so. As does Zack. GOTH GIRL If you guys could share one, it would be really cool. The butt wipes where I do prints kinda jerk my chain. Zack puts his back. Bitsey is looking at a photo: the Goth Girl in her panties and bra laying on the floor with plastic wrap over her head. She's handcuffed and wearing a platinum blonde wig. The pose is half-corpse, half-pinup. GOTH GIRL That's me. My boyfriend took it. We also did a video. It's fifty bucks 'cause you can see my tits. There's a version without tits, that's thirty- five. Zack looks at a video, hand-labelled: "Constance Harraway Murder (with breasts)! Copyright 1997! Svengali Productions!" BITSEY Do many people take the tour? GOTH GIRL Not so much anymore. We thought this would be like a busy week -- Gale gettin' the prune juice and all. Prune juice is what death row dudes call the poison, 'cause it gives you the shits. Most jerks just take a photo from the street. They shot a 'Real Crimes' episode here, but the owner didn't give us dick. ZACK You don't mind living here? GOTH GIRL I'm cool with ghouls. Beats livin' with my dickwad parents. It starts over here. She takes them to the coffee table. Among her own things, a dusty Johnny Walker Black Label bottle sits beside a tumbler (an index card with the #1 leans against it). The area has been outlined on the table with white shoe polish. GOTH GIRL She let him crash here sometimes. He was like constantly wasted. Drank Black Label religiously. Bitsey and Zack exchange a look. The Goth Girl moves into the kitchen. It's cluttered and dirty except in the various areas which at one point had been outlined and indexed -- the cards are all dirty. A sliding glass door leads onto the patio. The backyard hasn't been mowed in years; roughly twenty pots with dead plants lying around. By the door, three small taped Xs are on the floor, outlined and indexed (#2). GOTH GIRL This is where the tripod was. My boyfriend borrowed the one we usually show folks. They never found a camera, photos, or videos or anything. Gale must have buried them. These serial killer dudes take photos to whack off to later. ZACK He's not exactly a serial killer. GOTH GIRL Whatever. She moves to the sink. On the linoleum, the position of Constance's body has been chalk-lined (#3). In this area are a pair of handcuffs (#4). Not far off is a roll of packing tape (#5). A pair of latex kitchen gloves are crumpled on the sink counter (#6). GOTH GIRL She was like totally naked right here. The meter man saw her through the door. Gale handcuffed her, taped her mouth, then taped a bag over her head so she couldn't breathe. My boyfriend says that's probably when he fucked her. Your muscles tense up when you die -- the sex is better. (pointing) He used those housewife gloves so he wouldn't leave prints. They found sticky stuff from the tape on them. Zack picks up the gloves. GOTH GIRL We ask folks not to touch the exhibit. ZACK Right. He puts them back. GOTH GIRL The totally sick part was where they found the key -- BITSEY We know, you can save that. ZACK What? Where was it? GOTH GIRL It was in her stomach, dude. He made her swallow it before he bagged her. A beat. Zack's shocked. GOTH GIRL That's pretty much the highlight. Got questions? INT. RENTAL CAR - DAY Bitsey drives. They are on the two-lane highway to Huntsville. Zack smokes out the window. BITSEY It was in the case file. ZACK Fuck, in her stomach? That's colder than Wisconsin. BITSEY (looking in the rearview mirror) Zack, open your vanity. ZACK What? BITSEY The vanity mirror, pull it down. He does so. BITSEY See that truck behind us? ZACK Yeah. BITSEY Isn't that the cowboy from the rest area? They look in their respective mirrors. Some distance behind them is the older cowboy in his pickup. ZACK Same truck. BITSEY Weird coincidence, huh? ZACK (turning) Coincidences are always weird, that's why they're coincidences. INT. ELLIS VISITATION AREA - DAY Bitsey sits in front of David. He's less animated than the day before, drained. He rubs his wrists. They are speaking in hushed tones. A beat. DAVID Off-the-record? BITSEY Alright, we're off. DAVID Constance was murdered with what's called the Securitat Method. You're hand-cuffed, forced to swallow the key, taped at the mouth, a bag's sealed over your head and you're left to suffocate. The Securitat did this to Romanians who wouldn't inform or confess. Sometimes the bag was ripped off at the last second, you got a second chance. If not, you die knowing the 'key' to your freedom was inside you the whole time. A cheap-but-effective metonym. Problem is I mentioned the method in an early article. The prosecution never knew. BITSEY You're telling me someone's framing you? DAVID It's more than that. DAVID There was a tripod. BITSEY Right, facing her body. Are we on? DAVID (nods agreement) Not a single print was found on it. Someone brought it, wiped it, left it. Why? It's as if they wanted me to know that somewhere there's a record of what really happened that afternoon. As if they wanted me to die knowing the key to my freedom was... out there. BITSEY Maybe you're being paranoid? DAVID Ms. Bloom. I'm an anti-death row activist on death row. Doesn't that strike you as odd? A beat. She nods. BITSEY Any ideas who 'they' are? DAVID No. A beat. DAVID But I have someone on it, someone I'm hoping will one day find an answer. BITSEY Belyeu's hired a detective? He shakes his head. DAVID A journalist. It takes Bitsey a second to understand. David smiles. DAVID (mimicking Belyeu) 'She's a smart one.' ACCELERATED ROTATING ZOOM OUT TO LONG SHOT. DISSOLVE TO: WHITE. DISSOLVE TO: INT. U.T HALLWAY - LONG SHOT - DAY ACCELERATED ROTATING ZOOM IN. David and Constance stand by the double doors. He's concentrated; she's biting her lip. They're looking onto a large parking lot. The lot is practically empty except for Sharon and Chase, who stand near their Jeep. It's packed with various household items, things not entrusted to movers. CONSTANCE I'll drop by your office after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- still carrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over his shoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boy struggles to move on to something else. A long beat as David and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you -- SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets in the driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passenger side door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his Cloud Dog without comment. He then quickly runs back around the Jeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has only forced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chair opposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE in his fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedback on the idea. The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull- geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-a- month apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down in the pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in the b.g.) At the beep. CHASE (V.O.) At the peep. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funny clothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girls sit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls -- Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to the bond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against a wall. He's in his underwear and drinking from a Black Bush bottle. The phone's beside his ear and Chase's MESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIAL TONE, and punches re- dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punches re-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'. David walks to the ball. DAVID So my chances of getting partial custody aren't good? BELYEU Roughly the same as you sinkin' that from here. David looks at him, then concentrates on the ball -- suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Go lightly: A Recovery Clinic." FADE TO: BLACK. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in the window. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The sliding door is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hug again. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. She moves from him, takes a photo from a case file on her kitchen table. CONSTANCE Jo Ann Johnson's been re-scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkins tonight, and if national will commit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'll only prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back of the yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you work when you come by? OLDER COWBOY (raising his spade in greeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behind this one. She's articul -- DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not your medium grade thinks-she's-Teddy Roosevelt's- bathrobe, but stark-raving-loose- screws-in-the-belfry insane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in a cup- container, tries to sip one without spilling the others. He's still wearing the Radio Shack shirt, seems happier. In the parking lot, a hip high schooler jumps out of his Camero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sitting in the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hit the car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floor beneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneath a desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guy gives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on the walls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch national director -- a social gathering is going on behind him. DIRECTOR (V.O.) ...and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, then animatedly licks and seals it. He then, literally, pats himself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to -- DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares at her. DIRECTOR (V.O.) These guys don't stay on the wagon for very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance number and a calling code. He waits, impatiently, looks across the street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll... I'm begging you. He's my son! Please! Please.... Please. David starts to put the receiver back, then suddenly starts smashing it against the phone's body; he smashes it long after there is anything left to destroy, long after his hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mail toward her front porch. She looks like she hasn't slept in weeks. David is sitting on the porch beneath the Block Home sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around his injured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back of the couch, holding the sheep. DAVID Know why Saint Jude is the patron saint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyer lightly blows along the floor into the living room. DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the open door. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is a stack of vending-machine coffee cups. A typical hospital INTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakes his shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we don't want to totally restrict Constance's life -- DAVID What? DOCTOR Constance's illness requires a degree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed last fall. A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't told me, she muttered, 'too busy.' I guess she figured as long as death was chasing her, she could help others escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitsey raps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitsey opens the door and gets in. ZACK Hey. BITSEY (waving her hand at the smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers. BITSEY What else? ZACK Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard is down. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles are parked in the grass. They stretch out to the two-lane highway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the only vehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of the drive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind them on the way in. The guardhouse attendant looks in, waves them through as the crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around for someone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy's pickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, papers everywhere. He walks toward a portable computer sitting on the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just above the lamp, a VHS cartridge hangs from the ceiling by fishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could have been prints. BITSEY Look. She holds up the cassette. It has a label typed from an old typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cables drag the ground behind him. He runs toward the rooms. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys are different. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room -- this one's a fucking crime scene. BITSEY Whoever got in here -- without a key in broad daylight -- was probably smart enough not to leave prints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. when someone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. ZACK You sure you want to see what's on here? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think it is. CLOSEUP - TV An image flickers in. It's a woman lying nude on the kitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed at the neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and inside out -- on the dish rack beside the sink. Near the body on the floor is a roll of duct tape. In the lower right corner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. Suddenly, the woman makes a muffled sound, seems to come to life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kick against the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against the cuffs. She desperately rubs her face along the linoleum trying to rip the plastic. Soon, her energy wanes, she jerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her body goes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at the interstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling their cups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick- fuck-Agatha Christie-wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Doesn't make sense. BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark front window. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highway to Austin. ZACK Why do they call it check-book journalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fifty yards behind them. ZACK Yep, and doing a lousy job of hiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-looking CLERK sits at a corner table counting money from the aluminum suitcase. Bitsey sits on a huge sofa. Belyeu stands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in Miss Bloom's original when that's done. (entering, to Bitsey) Don't blame you for not watching that twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's not Constance' just to get through. (a beat) Unfortunately, others may argue the same. BITSEY Yeah, but it's her kitchen, in her house. BELYEU Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity. BITSEY But it will at least get us a postponement? BELYEU I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into the suitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your own credibility may come into question. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out-of-state woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. A very professional-looking assistant enters, hands Bitsey her video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold "Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse but no umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enter the Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to the rental car parked in the loading zone. INT. RENTAL CAR - DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up, unsure what to do next. She goes back to the bookshelf, pulls books out to look behind them for more tapes, indifferent to the mess. She goes to a filing cabinet, quickly rifles it. She looks around the room, sees something. She goes to a large oak desk with an old typewriter on it. After the other drawers, she looks in the lap drawer. It's empty except for large padded envelope addressed to "Bitsey Bloom/News Magazine/40 W. 43rd St./New York, New York 10036." A beat as she stares in disbelief. She rips it open, pulls out a VHS cassette and checks the label: "Constance." The PHONE RINGS, startling her. She looks at the phone, then at the clock: 5:14. The phone doesn't ring again. A beat of absolute silence. Bitsey goes quickly to the VCR and puts in the tape -- hands shaking. After a few seconds, Constance appears standing in her kitchen by the sink, dressed in a bathrobe. She's wearing the kitchen gloves and fills a glass with water. ON VIDEO Constance turns from the sink: CONSTANCE (V.O.) (her voice weak) Ready? The response is silent, but she nods. A beat -- she bites her lower lip. In one quick movement she takes the key from the handcuffs and swallows it with the water. It goes down with difficulty; she coughs, then signals she's okay. She puts the glass in the sink. She takes the duct tape roll, rips off a long section, sticks one end to the back of her gloved hand. She tears off another small section, drops the roll on the floor. She tapes the small section over her mouth. She then takes the plastic bag from the counter, looks at it a beat. Constance turns toward camera, mouth taped, eyes watering. She nods once, and turns back. She quickly puts the bag over her head. After she has smoothed the excess air out with one hand, she takes the packing tape from the other. She seals the bag around her neck. She smoothly takes off the gloves. They're inside out and she snaps them so that the fingers extend. She drops them upside down on the dish rack. She removes her robe -- she's nude beneath -- and tosses it aside. It lands in the bottom right hand corner of the screen. She feels for the handcuffs on the counter, takes them. She sits on the floor, cuffs herself. She rolls onto her side, perfectly still, waiting. ON BITSEY Engrossed, trembling. The spell breaks as she comes to the part of the tape she's seen before. Averting her eyes, she fast-forwards past where Constance struggles to where she dies. Constance lies perfectly still. A beat. VIDEO A man wearing gloves walks into the frame: Dusty. ON BITSEY This is what she's needed. VIDEO Dusty goes to Constance, kneels and, removing a glove, checks her pulse. He looks briefly up into the camera, then stands. He picks up her robe and comes back past the tripod. A beat. We see only Constance's dead body -- then black. ON BITSEY A hand grabs her shoulder. She screams and spins around. It's Zack, breathing hard. ZACK He didn't show! Fuckin' move! Bitsey hits the eject button. EXT. WRIGHT CABIN - NIGHT Bitsey and Zack hurry out of the cabin and into the woods. The pickup is nowhere to be seen. As they disappear into the trees, Dusty can be seen standing beneath the eave at the side of the house, watching. EXT. RENTAL CAR - SUNRISE The car moves full speed through the misty dawn. The drizzle has stopped. INT. RENTAL CAR - NIGHT Bitsey drives. The overheat light is on. Zack has her purse in his lap, rips a page out of her phone book. She's almost in tears, yelling. BITSEY Everyone! Wake up New York, the warden, the Governor, the goddamn Supreme Court death clerk! How far is it? ZACK Took me 30 this afternoon. You've got 26, maybe more. BITSEY I'll make it. EXT. INTERSTATE - IN FRONT OF MOTEL SIX - SUNRISE The rental car slides to a near stop on the interstate shoulder. Zack jumps out, as Bitsey spins away again. He runs across the frontage road toward the motel in the mist. EXT. HUNTSVILLE TOWN SQUARE - SUNRISE The rental car barrels through the empty square, ignoring stop signs. EXT. TWO-LANE HIGHWAY - SUNRISE The rental car flies past a "Huntsville City Limit" sign and disappears into the fog. INT. RENTAL CAR - SUNRISE The overheat light is still on. Bitsey looks down, then turns on the RADIO. A COUNTRY AND WESTERN SONG is on. She punches scan. BITSEY (to the radio) Give me the time. Give me the goddamn time. EXT. HIGHWAY JUNCTION - SUNRISE The highway forks off to another. An arrow sign at the fork reads: "TDC Ellis Unit/8 Miles." INT. RENTAL CAR - SUNRISE Bitsey smells something. EXT. HIGHWAY TO ELLIS UNIT - SUNRISE The rental car, smoke pouring from the engine, clunks to a dead roll, stops. Bitsey jumps out, VHS cassette in hand. She doesn't close the door. Starts running. Bitsey runs down the middle of the two-lane highway. The rental car in the b.g. recedes into the mist -- visibility is no more than fifty yards. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. A car comes up quickly behind her. Its HORN BLARES. She turns, starts to wave it down. The driver SITS ON his HORN, swerves around her onto highway's shoulder and drives on. She runs. Runs past an abandoned vegetable stand. Runs past a sleepy farmhouse. She runs, and runs. She slows, out of strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. Coming toward her in the distance are small flashing lights. They rise on hill and then fall behind another. They appear again. Soon, she can make out the form of an ambulance, and its highway patrol escort. The vehicles move slowly toward her, without sirens, as deathly quiet as their cargo. She stands to the side of the road as they approach. The highway patrol vehicle and the ambulance -- marked "Texas Department of Corrections" -- pass silently in SLOW MOTION. She watches as they disappear back into the mist. In SLOW MOTION, she screams, falls to her knees wailing, but we cannot hear her. We HEAR NOTHING. INT. WRIGHT'S CABIN - SUNRISE In the b.g., Dusty walks out the front door carrying two large suitcases. On his desk in the f.g. is a radiator cap. FADE TO: BLACK. FADE IN: INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu makes his way through the departure hall carrying the aluminum suitcase. ON TV Roberts and the Court TV "breaking news" logo are on the screen. ROBERTS (V.O.) (to camera) Here's what we know so far. Last night, News Magazine posted on their web site a video obtained by reporter Bitsey Bloom... Light applause. The TV is mounted on the wall in: INT. NEWS MAGAZINE'S EDITORIAL FLOOR - DAY Bitsey watches the report with about a dozen colleagues. Kruger stands beside her. A few people congratulate her. She attempts a smile and nods, though she doesn't look away from the TV. Kruger shushes the others to hear the story. ROBERTS (V.O.) The footage appears to show Constance Harraway commit suicide. ON TV ROBERTS (V.O.) Bloom reports she received the tape Friday morning at a motel in Huntsville, where she was staying while conducting Gale's last interview. ON FLOOR Zack watches Bitsey from the other side of the room. She looks over at him, then quickly looks back at the TV. ROBERTS (V.O.) The tape apparently had been in the possession of a former DeathWatch Director... ON TV Camera pulls back to reveal that Roberts is standing in front of Wright's cabin. Other journalists and gawkers can be seen out front. Police vehicles are also visible. Suits and officers move in and out of the cabin. ROBERTS (V.O.) (reading the name off a card) ...Dustin Emil Wright. As you can see, police and officials from the State Attorney's office have been in and out of his cabin all morning, looking for clues to his whereabouts. INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu enters a men's room. INT. MEN'S ROOM - DAY Belyeu walks to a row of sinks. He sets the case on the floor and starts to wash his hands. A businessman combs his hair to Belyeu's left. Belyeu looks in the mirror and sees Dusty approach from a stall. INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY The room watches Roberts. ROBERTS (V.O.) ...a fanatic in the movement to stop the death penalty. ON TV ROBERTS (V.O.) It appears Wright withheld the tape to make an obscure political point about the potential for error in capital cases. ON BITSEY She watches, trying to contain her emotions. Zack watches her. She looks his direction. He smiles sadly, looks away. INT. DALLAS/FT. WORTH AIRPORT - MEN'S ROOM - DAY Dusty washes his hands, looks down at the case. The businessman leaves. DUSTY All there? BELYEU Passport and ticket as well. INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Governor Hardin is on the steps of the capital, journalists around her. GOVERNOR HARDIN (V.O.) Well, it's a tragedy for all of us. As to whether this will change policy, the people of Texas will have to decide. Right now, the prudent course is to put things on hold pendin' a procedural review, allow ourselves time to mourn. Kruger leans toward Bitsey. KRUGER You bet she'll review. Capital punishment approval rates dropped 17 points. Bitsey just looks at the TV, trying to make it through. INT. DALLAS/FT. WORTH AIRPORT MEN'S ROOM - DAY Dusty picks up the case. Belyeu straightens his tie. BELYEU What are you going to do? DUSTY (walking past him) Go to the opera. INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Old footage of David being led in chains from an Austin jailhouse to a waiting van. He wears the clothes he was wearing the day Constance died. ROBERTS (V.O.) Of course, the ultimate irony is that David Gale, a man who became an unwitting martyr, may achieve in death what he worked for in life. ON BITSEY She bites her lower lip in a manner reminiscent of Constance. FADE TO: BLACK. FADE IN: EXT. STREET (BARCELONA) - DAY Dusty walks along the Ramblan. He carries a duty-free bag and the aluminum suitcase. He comes to a building, checks its number against a piece of paper, enters. INT. BARCELONA APARTMENT HOUSE - DAY Dusty ascends a staircase onto hallway. He walks a few steps to door number six. An OLD SPANISH WOMAN passes him. DUSTY Senorita Gale esta viviendo aqui? OLD WOMAN Si. Si. DUSTY Gracias. The old woman moves down the stairs. Dusty puts the aluminum suitcase on the doormat. From the duty-free bag he takes out David's Yale sweatshirt, lays it over the case. He RINGS the DOORBELL, turns and walks back down the hall. He stands at the top of the stairs, waiting for someone to answer before descending. Sharon (older than we've seen her) opens the door, sees the case and sweatshirt. She looks around, but Dusty is gone. She picks them up. INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey sits at her neurotically neat desk, looking out the window. It's a sunny day in New York. For the first time, we see her wearing something besides a business suit. Framed on her cubicle wall is the latest News cover page: a picture of David with the headline "The Executed Innocent." A MAIL GUY drops a Fed Ex package on her desk. MAIL GUY This just came. It's from "Belyeu & Crane/420 Congress Ave./Austin, Texas, 78710." She opens it, pulls out Cloud Dog and a handwritten note on Belyeu & Crane stationery. INSERT - NOTE reads: "David wanted you to have this. He said it would be the key to your freedom. Regards, Benjamin Belyeu." INT. SHARON'S BARCELONA APARTMENT - DAY At the breakfast table, a Spanish yuppie male sits with a newspaper in front of him. He watches Sharon open the case. Inside: money, stacks and stacks of money. On top is an unsigned note: "I'm sorrier than you can know." INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey holds the stuffed sheep. puzzled. Looks at the note, BITSEY Key to your freedom? Key to your... Suddenly, she understands. She squeezes the sheep, shakes it, hears something. She cuts the sheep open with scissors. A Hi-8 tape is in the stuffing. It's hand labeled: "Off the record." She jumps up. TRACKING SHOT Bitsey hurries THROUGH the cubicles. She goes DOWN a hall and INTO the "MultiMedia" room. INT. NEWS - MULTIMEDIA ROOM - DAY Bitsey locks the door, puts the tape into a Hi-8 deck. ON VIDEO The tape is cued to where Dusty picks up Constance's robe and walks past the tripod out of frame. We see only Constance's body. We hear the sliding door to the patio open behind the camera. DUSTY (V.O.) (calling) It's over. A long beat. FOOTSTEPS on the patio. DUSTY (V.O.) Want me to turn this off? VOICE (V.O.) No. David walks into frame. He goes a couple of steps toward Constance's body and stops, facing her. We see him only from behind. He looks at her, runs his hands over his head. DAVID (V.O.) I couldn't watch. DUSTY (V.O.) She preferred it that way. You were right about not tellin' her the whole plan. DAVID It helped her to think her death would save me. A beat. DUSTY (V.O.) You sure you want to do this? DAVID (V.O.) Yeah. Almost martyrs don't count. A beat. DUSTY (V.O.) Better go ahead then. David goes to Constance, kneels. He reaches down and with his thumb gently strokes her face through the plastic. He stands, turns and walks back to the camera. He reaches behind the lens to turn it off. A beat. Half his face fills frame, his watery eyes looking directly at us. In the other half, we see Constance's body. Black. INT. BARCELONA OPERA HOUSE - NIGHT Dusty sits watching a performance of Puccini's Turandot. On stage is the scene where Liu martyrs herself. CLOSEUP - DUSTY He closes his eyes. FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Life of Pi.txt b/unformated_scripts/Script_Life of Pi.txt new file mode 100644 index 0000000000000000000000000000000000000000..20d9a22ea2a4475544906e37e12088eb25accd8b --- /dev/null +++ b/unformated_scripts/Script_Life of Pi.txt @@ -0,0 +1 @@ + LIFE OF PI Written by David Magee Based on the original novel by Yann Martel1 EXT. PONDICHERRY ZOO, INDIA, 1961 - DAY 1 CREDITS OVER: a magical fairy tale world in collage - images of fantastic creatures striped and spotted, hoofed and horned. Goats and warthogs mingle in an open field; a baby giraffe tries to reach leaves over a fence; rhinos roll happily in rich red mud, looking like giant muddy boulders, while nearby, black and white Malayan tapirs cool themselves in watering holes. Exotic monkeys with comical faces cling lovingly to one another, swing from trees, climb over one another, prance and screech; a probiscus monkey with a 'Jimmy Durante' nose pointing out through the plane of the screen. Flamingoes strut about in the aviary, their pink feathers reflected in the water. A sloth droops lazily from a tree branch, unfazed, while a nearby hummingbird zips manically from flower to flower like Tinkerbell... ... the Pondicherry zoo is a children's paradise nestled in a botanical garden. WRITER (V.O.) You were raised in a zoo?3 EXT. PONDICHERRY ZOO, INDIA, 1961 - DAY 3 There's a flurry of activity in the animal clinic behind a monitor lizard that wanders the main path. ZOO WORKERS gather in the doorway, talking excitedly. No one notices the lizard. ADULT PI (V.O.) Born and raised in Pondicherry, in what was the French part of India. My father owned the zoo, and I was delivered on short notice by a herpetologist who was there to check on the Bengal Monitor Lizard. The zoo owner (FATHER - late 20s) hurries down the path as quickly as his heavy leg brace will allow and hurries into the animal clinic. 2. ADULT PI (V.O.) Mother and I were both healthy... The lizard crawls away. ADULT PI (V.O.) but the poor lizard escaped and was trampled by a frightened cassowary...5 INT. PI'S HOME, KITCHEN, MONTREAL - DAY 5 A modest row house. There is a French influence to the decor, along with books and artwork that celebrate the spiritual. PI PATEL (50 - intelligent, Indo-Canadian) cooks an Indian meal. The often-skeptical WRITER (late 30s, a disheveled French Canadian), watches Pi. ADULT PI The way of karma; the way of God. WRITER I assumed your father was a mathematician - because of your name. ADULT PI Oh, far from it. I was named after a swimming pool. WRITER There's a swimming pool named 'Pi?' ADULT PI (He chuckles.) You see, my uncle, Francis, was born with too much water in his lungs. They say the doctor swung Francis around by the ankles to clear the water out and that's what gave him the huge chest and skinny legs that made him such a great swimmer. WRITER (Amused.) Is Francis actually your uncle? He said he was friends with your father. 3. PI I call him 'Mamaji,' my 'honorary uncle' - my father's best friend, my swimming guru.6 EXT. ASHRAM SWIMMING POOL, PONDICHERRY, 1966 - DAY 6 ADULT PI (V.O.) I trained with him three times a week at the ashram. His lessons would save my life in the end... A young Indian boy - PI AT AGE FIVE - surfaces from a pool, gasping. He looks up at the large chest and skinny legs of Mamaji (late 30s). Mamaji reaches down to scoop Pi out of the water. MAMAJI A mouthful of water will not harm you - but panic will. Mamaji carries Pi back over to the water's edge. MAMAJI (CONT'D) Remember to breathe. Don't hold your breath. Good boy. Mamaji unceremoniously tosses Pi back in.7 INT. PI'S HOME, KITCHEN, MONTREAL - DAY 7 ADULT PI (Regarding lunch:) I hope you don't mind vegetarian. WRITER No, not at all... And your name? ADULT PI Hmm? WRITER You - you were going to tell me how you got your name, I think. ADULT PI I got it from something Mamaji once told my father. Most travelers collect postcards or teacups on their journeys - but not Mamaji. Mamaji collects swimming pools. (MORE) 4. ADULT PI (CONT'D) He swims in every pool he comes upon...8 EXT. THE PISCINE MOLITOR, PARIS, 1959 - DAY 8 Mamaji stands admiring the Piscine Molitor, a pool of sparkling magnificence. Attractive French men and women in bathing suits, the setting a celebration of idealized beauty. ADULT PI (V.O.) One day Mamaji said to my father that of all the pools in the world, the most beautiful was a public pool in Paris. That the water there was so clear you could make your morning coffee with it, that a single swim there changed his life. Mamaji dives into the crystal clear water - and we follow, taking in the divine miracle of his underwater journey across the pool. ADULT PI (V.O.) Before I was born, he said to my father, "If you want your son to have a clean soul, you must take him one day to swim in the Piscine Molitor." I never understood why my father took this so much to heart...9 INT. PI'S HOME, MONTREAL - DAY 9 ADULT PI ... but he did, and I was named "Piscine Molitor Patel."10 EXT. PI'S PRIMARY SCHOOL, 1972 - DAY 10 PI (AGE 11) leans against the railing of a balcony, reading "L'Ile Mysterieuse (The Mysterious Island)" by Jules Verne. ADULT PI (V.O.) Imagine me trying to explain that name to my schoolmates. I barely made it to the age of eleven before... A boy (BULLY #1) calls up to him from the courtyard below. 5. BULLY #1 Hey PISCINE! Pi glances down, all the boys in the courtyard watching him. BULLY #1 (CONT'D) Are you Pissing right now? Pi freezes. The other boys laugh uncontrollably. ANOTHER BOY Look at him he's Pissing! ADULT PI (VO) With one word my name went from an elegant French swimming pool to a stinking Indian latrine. I was Pissing everywhere.11 I/E. SCHOOLYARD, 1972 - DAY 11 BOYS in school uniform kick a ball. Pi attempts to join. Bully #2 intercepts the pass. BULLY #2 No Pissing in the schoolyard!12 INT. SCIENCE CLASS, 1972 - DAY 12 ADULT PI (V.O.) Even the teachers started doing it - not deliberately, of course... SCIENCE TEACHER So then - what might occur if we release gas too quickly? Pissing? Pi is aghast. Several students splutter and howl, whispering the slip to others. Laughter ripples around the room, all eyes on Pi. BOY He said Pissing! SCIENCE TEACHER That's enough - order! ADULT PI (V.O.) When we returned the next year for our first day of school, I was prepared. 6.SC. 13 INT. INDIAN HISTORY CLASS, 1973 - DAY 13Class is held in a large open room. Roll call. BOY Present sir. HISTORY TEACHER Piscine Patel...PI - AGE 12, rises, crosses to the front. PI (AT 12) Good morning. I am Piscine Molitor Patel, known to all as... (He writes "PI" on the board.) ... "Pi," the sixteenth letter of the Greek alphabet...Pi writes , then quickly charts out a general notion of theconcept on the chalkboard. PI (CONT'D) ... which is also used in mathematics to represent the ratio of any circle's circumference to its diameter - an irrational number of infinite length, usually rounded to three digits, as... (He writes "3.14.") 3.14. PI.Pi underlines his name, faces the class. HISTORY TEACHER Very impressive, Pi. Now sit down. WRITER (V.O.) And from then on you were Pi? ADULT PI (V.O.) Well, no. Not quite ...As Pi returns to his seat, Bully #2 leans forward,whispering: BULLY #2 Nice try, Pissing. ADULT PI (V.O.) But I still had the whole day ahead of me. French Class was next... 7.14 INT. FRENCH CLASS, 1973 - DAY 14 Pi repeats his act in French, 3.14159265 on the board. PI (12) Je m'appelle Piscine Molitor Patel - dit'Pi'... ADULT PI (V.O.) Then Geography...15 EXT. GEOGRAPHY CLASS, 1973 - DAY 15 Class is held out of doors in a courtyard. Pi, at a portable chalkboard, writes and says: 3.14159265358979323846. PI (12) These are the first twenty decimal places of Pi. ADULT PI (V.O.) My last class of the day was Mathematics....16 INT. SCHOOL HALLWAY, 1973 - DAY 16 A LIBRARIAN runs down the hall, a huge book tucked under his arm, followed by dozens of students. He reaches Pi's class, pushes his way through the crowd. LIBRARIAN Slowly, Slowly! Slowly, Slowly!17 INT. MATH CLASS, 1973 - CONTINUOUS 17 Close on Pi writing digits. Pull back - the entire chalkboard is filled with numbers. All watching are stunned. The librarian compares Pi's writing to the math book. LIBRARIAN It is right... He's really doing this! Students clap and cheer - even the bullies. Several chant along with him as he writes: ALL 1! 4! 9! 3! 1! PI! PI! PI! 8. ADULT PI (VO) By the end of that day, I was Pi Patel, school legend.18 INT. PI'S KITCHEN - DAY 18 The writer laughs, then ventures onto a new topic. WRITER Mamaji tells me you're a legend among sailors, too. Out there all alone - ADULT PI I don't even know how to sail. And I wasn't alone out there. Richard Parker was with me. WRITER Richard Parker...? Mamaji didn't tell me everything. He just said I should look you up when I got back to Montreal. ADULT PI So what were you doing in Pondicherry? WRITER Writing a novel. ADULT PI By the way, I enjoyed your first book. The new one, is it set in India? WRITER No, Portugal, actually. But it's cheaper living in India. ADULT PI Ah. Well, I look forward to reading it. WRITER You can't. I threw it out. Two years trying to bring it to life, and then one day it sputtered, coughed, and died. ADULT PI I'm sorry. 9. WRITER (Shrugs, making light of it.)I was in a coffee house inPondicherry one afternoon, mourningmy loss, when this old man at thenext table struck up aconversation. ADULT PIYeah, Mamaji. He does that. WRITERWhen I told him about my abandonedbook, he said: (Imitating Mamaji:)"So... a Canadian who's come toFrench India in search of a story.Well, my friend, I know an Indianin French Canada who has the mostincredible story to tell. It mustbe fate that the two of you shouldmeet." ADULT PII haven't spoken about RichardParker in so many years... What hasMamaji already told you? WRITERHe said you had a story that wouldmake me believe in God. ADULT PI (Pi laughs.)He would say that about a nicemeal. As for God, I can only tellyou my story; you will decide foryourself what you believe. WRITERFair enough. ADULT PILet's see, then - where to begin? CUT TO: MONTAGE OF PONDICHERRY, 1954: 10.19 EXT. PONDICHERRY, SHORELINE 1954 - DAY 19 - The SHORELINE - Bicycles and pedestrians; policemen in round, flat-top French hats. ADULT PI (V.O.) Pondicherry is the "French Riviera of India." In the streets closest to the ocean, you might think you were in the South of France.20 EXT. ASHRAM STREET, 1954 - DAY 20 - Grey ASHRAM buildings, which give way to images of...21 EXT. PONDICHERRY CANAL, 1954 - DAY 21 - The CANAL, and just beyond it, INDIAN PONDI. ADULT PI (V.O.) A few blocks inland, there's a canal; just beyond that is Indian Pondicherry... SC. 22 EXT. PONDICHERRY MUSLIM QUARTER, 1954 - DAY 22 - The MUSLIM QUARTER, women in head scarves pass men baking flatbread over coals, the mosque in the background. ADULT PI (V.O.) And the Muslim Quarter is just to the West.18 INT. PI'S HOME - CONTINUED 18 ADULT PI When the French handed Pondicherry back to us in 1954, the town decided that some sort of commemoration was in order.25 EXT. ZOO ENTRANCE, 1955 - DAY 25 The sign on the gate reads: "JARDIN BOTANIQUE DE PONDICHERRY." ADULT PI (V.O.) My father, who was a clever businessman, came up with one. (MORE) 11. ADULT PI (V.O.) (CONT'D) He ran a hotel, and he got the idea to open a zoo in the local Botanical Gardens instead. Father oversees a SIGN PAINTER as the painter who adds the words 'AND ZOO' to the sign.26 EXT. THE NURSERY - CONTINUOUS 26 WOMEN WORKERS plant and dig in the Botanical Gardens nursery. As MOTHER (refined - 20's) passes by, she admonishes a worker who pulls up a sapling with too much force. ADULT PI (V.O.) As it also happened, my mother was a botanist in the Gardens. They met, married, and a year later my brother Ravi was born. I came two years after that.27 INT. PI'S HOME, OUTER ROOM, MONTREAL - DAY 27 WRITER It sounds magical, growing up in- The Writer stops, realizing that Pi's eyes are closed in prayer. The Writer watches in awkward silence, his head halfbowed. ADULT PI Amen. Let's eat. WRITER I didn't know Hindus said 'amen.' ADULT PI (As he serves food:) Catholic Hindus do. WRITER Catholic Hindus? ADULT PI We get to feel guilty before hundreds of gods instead of just one. WRITER But you're a Hindu first? 12. PI None of us knows God until someone introduces us. I was first introduced to God as a Hindu. There are 330 million gods in the Hindu religion - how can I not come to know a few of them?28 EXT. OUTSIDE THE PATEL HOME, 1966 - NIGHT 28 YOUNG PI (5) and Ravi listen to Mother quietly singing a gentle tune as she kneels before their home, using rice powder to draw a Kolam pattern - a geometric design meant to bring the home prosperity. PI (V.O.) I met Krishna first... MOTHER (V.O., IN TAMIL) Yashoda once accused baby Krishna of eating dirt: "Tut, tut, you naughty boy - you shouldn't do that..."29 INT. PI'S BEDROOM, 1966 - NIGHT 29 It is raining outside. Pan from the window; Mother lies in bed with Pi as they continue sharing this story for the thousandth time. Mother's voice plays over (Note: they speak in Tamil throughout the following dialogue): PI ...But he didn't! MOTHER That's what he told her. "I didn't eat dirt!" "No? Well, then open your mouth." So Krishna opened his mouth. Pi opens his mouth in imitation. MOTHER (TAMIL) (CONT'D) And what do you think Yashoda saw? PI (TAMIL) What? MOTHER (TAMIL) She saw in Krishna's mouth the whole entire universe. 13.30 PI AND RAVI'S BEDROOM, 1966 - NIGHT 30 Pi has made a tent of his blanket, a flashlight glowing beneath the covers. In his tent, Pi flips through the pages of a Hindu comic book, enthralled by the story of Krishna... The panels of the comic book show Krishna's mouth falling open, revealing stars and planets, the universe unfolding in wondrous detail.34 PONDI TEMPLE COURTYARD, 1966 - NIGHT 34 A tank ceremony is about to begin. The tank is a square reservoir the size of a soccer field; Pi's family sits among the crowd on the steps that lead down to the water. ADULT PI (V.O.) The gods were my superheroes growing up. Hanuman, the monkey god, lifting an entire mountain to save his friend Lakshmana. Ganesh, the elephantheaded, risking his life to defend the honor of his mother Parvati. Vishnu, the Supreme Soul, the source of all things. Vishnu sleeps, floating on the shoreless cosmic ocean and we are the stuff of his dreaming. FATHER (With quiet sincerity.) Spectacle. Don't let the stories and pretty lights fool you, boys. Religion is darkness. ADULT PI (V.O.) My dear 'Appa' believed himself part of the 'new India.' As a child, he'd had polio; he used to lie in bed, wracked with pain, wondering where God was. In the end, God didn't save him; Western medicine did. Below, Mother watches the ceremony, lost in contemplation. 14. ADULT PI (V.O.) My 'Amma' went to college and thought her family was part of the 'new India' as well - until her parents cut her off because they thought she was marrying beneath her. Her religion was the only link she had to her past.36 EXT. MUNNAR TEA FIELDS, 1973 - DAY 36 Rocky mountaintops jut up through a sea of clouds and mist. ADULT PI (V.O.) I met Christ in the mountains when I was 12. We were visiting relatives, tea growers in Munnar. It was our third day there; Ravi and I were terribly bored. Ravi walks up to Pi, coins in hand, and whispers. RAVI (14) Challenge. I'll give you two rupees. Run into that church and drink the Holy water.37 INT. CATHOLIC CHURCH, 1973 - DAY 37 Pi leans down to the font beside the door and drinks. He's about to leave again when he notices the stations of the cross depicted on plaques that encircle the church. PRIEST You must be thirsty. Here, I brought you this. Not knowing what else to do, Pi takes the glass and drinks. An awkward pause as he searches for something - anything - to say. He finally points up to one of the paintings. PI Why would a god do that? Why would he send his own son to suffer for the sins of ordinary people? The Priest smiles down upon Pi. PRIEST Because He loves us. God made Himself approachable to us - human - so we could understand Him. (MORE) 15. PRIEST (CONT'D) We can't understand God in all His perfection, but we can understand God's son and His suffering as we would a brother's.38 INT. PI'S DINING ROOM, MONTREAL - INTERCUT/CONTINUOUS 38 ADULT PI That made no sense. Sacrificing the innocent to atone for the sins of the guilty? What kind of love is that?39 EXT. PLANTATION HOME, MUNNAR, 1973 - DAY 39 Ravi and other kids play cricket. Pi sits by a stream, lost in thought. ADULT PI (V.O.) But this Son - I couldn't get Him out of my head.41 INT. CATHOLIC CHURCH, MUNNAR, 1973 - DAY 41 41 Pi stands quizzing the priest near the altar. PI If God is so perfect and we're not, why would He want to create all this? Why does He need us at all? PRIEST All you have to know is that He loves us. "God so loved the world that He gave His only Son." This Son taught us to love one another... The priest's words continue as Pi leans in, listening. ADULT PI (V.O.) The more I listened to the priest, the more I came to like this Son of God.42 INT. PI'S BEDROOM, 1973 - DAY 42 Pi kneels, smiling, in an attitude of worship. 16. PI Thank you, Vishnu, for introducing me to Christ. ADULT PI (V.O.) I came to faith through Hinduism and I found God's love through Christ, but God wasn't finished with me yet.43 EXT. MUSLIM QUARTER, 1973 - DAY 43 As Pi wanders through the Muslim Quarter, the call to prayer plays out over a loudspeaker affixed to the nearby mosque. Pi watches as people pray. ADULT PI (V.O.) God works in mysterious ways - and so it was He introduced Himself again, this time by the name of Allah. Pi crosses inquisitively up the few steps of a mosque in the Muslim quarter, looking inside, where dozens of the FAITHFUL are lined up row upon row, praying.A43 EXT. PONDICHERRY MOSQUE, 1973 - DAY A43 The speaker on top of the mosque plays the Muslim call to prayer.44 INT. PI FAMILY HOME, 1973 - DAY 44 Pi is out in front of the house kneeling on a prayer mat, repeating a prayer. Father passes by with friends. He stops to watch Pi.45 INT. FAMILY KITCHEN/DINING ROOM, 1973 - DUSK 45 Father sits at the dinner table with his family. The servant offers a dish of lamb to Father only. Father pops a bite into his mouth, savoring it. FATHER This lamb is exquisite - it's best dish on the table. You are all missing out... As he chews, Father notices Pi completing a blessing. 17. FATHER (CONT'D)You only need to convert to threemore religions, Piscine, and youwill spend your life on holiday. RAVI (Laughing:)Are you going to Mecca this year,Swami Jesus? Or to Rome, for yourcoronation as Pope Pi-us? MOTHERYou stay out of this, Ravi. Just asyou like cricket, Pi has his owninterests. FATHERNo Gita, Ravi has a point, no? Youcannot follow three differentreligions at the same time,Piscine. PIWhy not? FATHERBecause believing in everything atthe same time is the same as notbelieving in anything at all. MOTHERHe's young Santosh - he's stillfinding his way. FATHERAnd how can he find his way if hedoes not choose a path? (To Pi:)Listen: instead of leaping from onereligion to the next, why not startwith reason? In a few hundredyears, science has taken us fartherin understanding the universe thanreligion has in ten thousand. MOTHERThat is true. Your father is right.Science can teach us more aboutwhat's out there - (With a hand to her heart:)- but not what is in here. Art,music, literature - they all springfrom our faith. 18. FATHER Some eat meat, some eat vegetable. I do not expect us all to agree about everything. But I would much rather have you believe in something I don't agree with than to accept everything blindly. And that begins with thinking rationally. Do you understand? Pi nods. FATHER (CONT'D) Good. Pause. PI I would like to be baptized. Father and Mother react. Ravi stifles a laugh.46 EXT. PI'S STREET - DAY 46 Pi walks down the front steps of his row house, stretching and rubbing his belly at the end of a good meal. The writer follows. WRITER So you're a Christian and a Muslim? ADULT PI And a Hindu, of course. WRITER And a Jew, I suppose? ADULT PI Oh, well, I do teach a course on the Kabbalah at the University. And why not? Faith is a house with many rooms. WRITER But no room for doubt? ADULT PI Plenty. On every floor. Doubt is useful. It keeps faith a living thing. After all, you can't know the strength of your faith until it's been tested. 19.47 INT. THE TIGER FEEDING AREA, 1973, PART 1 - DAY 47 Pi (12) and Ravi (14) cross into a drab cement enclosure behind the tiger exhibit. A hallway with closed gates at both ends leads out to the exhibit. RAVI Where's Selvam? We shouldn't be in here without him. PI Stop worrying. I have seen him do this a thousand times. I want to meet our new tiger. He drops meat on the floor by the bars. RAVI Pi!... PI Hello! Richard Parker!48 EXT. MONTREAL STREET - DAY 48 Pi and the writer walk along a Montreal street. The Writer stares at Pi, bewildered. WRITER A tiger? Richard Parker was a tiger? ADULT PI He got his name through a clerical error. A hunter caught him drinking from a stream when he was a cub and named him Thirsty. When Thirsty got too big, the hunter sold him to our zoo - but the names got switched on the paperwork. The hunter was listed as Thirsty and tiger was called Richard Parker. We laughed about it and the name stuck.47 EXT. THE TIGER FEEDING AREA, PART TWO 1973 - DAY 47 RAVI Let's go. Before we get into trouble. PI I want to see him close up. 20. RAVI You're not a zoo keeper. Come on!An adolescent BENGAL TIGER appears at the other end of thEhall. Ravi bolts, running out of the feeding area. Pi isenchanted. PI (offering meat) That's it, Richard Parker. It's for you.Pi holds the lamb through the bars, The tiger walks slowlydown the hallway, regarding Pi with a detached curiosity, asunthreatening in his manner as a large housecat. Pi beginstrembling from sheer excitement.He doesn't hear the approach of uneven footsteps - Fatherappears, followed by Ravi. Just as Richard Parker approachesthe offering. FATHER No!!!Father yanks Pi violently away from the cage, wrenching Pi'shand through the bars. Richard Parker, startled, raises hishead, hissing. He turns and bounds back out through the gateat the other end of the hallway, disappearing into theexhibit area. Father spins Pi around and shoves him againstthe wall. FATHER (CONT'D) What are you thinking?! Are you out of your mind? Who gave you permission to come back here? You have just ignored everything I have ever taught you! PI I just wanted to say 'Hello' to him. FATHER You think that tiger is your friend. He is an animal, not a playmate! PI Animals have souls. I've seen it in their eyes.Father turns to Ravi, who stands by the gate. 21. FATHER Find Selvam!50 EXT. THE FEEDING CAGES, 1973 - A SHORT TIME LATER 50Father, Pi and Ravi watch as Selvam carries a goat into thefeeding area. SELVAM (In Tamil:) You're sure, Mr. Patel? Pi's just a kid. FATHER (In Tamil:) Do it. Go ahead.Selvam sets the goat down and ties a piece of rope around theanimal's neck. FATHER (CONT'D) (To the boys:) Animals don't think like we do; people who forget that get themselves killed. That tiger is not your friend. When you look into his eyes, you are seeing your own emotions reflected back at you - nothing else.Selvam ties the goat to the bars at the gate area where Pihad been about to feed Richard Parker. RAVI (Quietly, to Pi:) Don't be stupid! Say you're sorry.Mother arrives at the gate with a WOMAN WORKER and rushes toPi's side. MOTHER What have you done, Piscine? You know what your father said about coming back here. PI I'm sorry. I was...Mother turns to Father, quietly - referring to the goat: MOTHER What are you thinking? 22. FATHER This is between a father and his sons. (In Tamil:) Selvam, the gate. MOTHER He said he's sorry. You want to scar them for life? FATHER Scar them? That boy almost lost his arm! MOTHER But he's still a boy! FATHER He will be a man sooner than you think, and this is a lesson I do not want them ever to forget. (Turning to Selvam:) Selvam. Selvam opens the far gate. Richard Parker re-enters the hallway. He sees the goat and slinks forward, lowering his body, his ears flattening against his skull. The goat freezes. Everyone watches in silence, transfixed by the intensity of the tiger. Pi watches the animal spirit glowing up within Richard Parker's eyes as instinct takes over. In a sudden, single burst, Richard Parker bolts the length of the hallway, claws reaching out through the bars of the cage toward the goat. We don't see what happens next - but the family does. ON THE CAGE: Only a few seconds have passed, but Richard Parker has already turned to go back into his enclosure, the lifeless goat in his mouth. The family watches - Father is impassive, Ravi traumatized; mother wraps her arms around Pi.52 INT. PI AND RAVI'S BEDROOM, 1976 - MORNING 52 A rainy early morning in monsoon season. Pi (now 16) lies in bed, reading "Notes from the Underground." Ravi is still asleep. The radio plays in the other room. NEWS ANNOUNCER (ON RADIO) ... and so has placed the country in a State of Emergency. (MORE) 23. NEWS ANNOUNCER (ON RADIO) (CONT'D) Under the directive, the states of Gujarat and Tamil Nadu will be placed under the direct authority of the central government. Police will be granted powers to arrest and indefinitely detain citizens responsible for the uprising. Unauthorized... Ravi's alarm goes off. Ravi reaches to shut it off.55 55 EXT. PI'S SCHOOL, PONDICHERRY, 1977 - DAY 55 55 End of the school day. Pi, in raincoat, walks out to the street, where student bicycles are lined up by the hundreds. He gets his bike. ADULT PI (V.O.) Things changed after the day of Appa's lesson. The world had lost some of its enchantment. School was a bore - nothing but facts, fractions and French. Words and patterns that went on and on. I grew restless, searching for something that would bring meaning into my life. And then I met Anandi...59 I/E. DANCE STUDIO, PONDICHERRY, 1977 - DAY 59 CLOSE ON ANANDI (15) radiant, graceful, eyes aglow, dancing with passionate intensity. ADULT PI (V.O.) Mother made me study music, and one day my teacher came down with the flu; he asked if I could take his place one afternoon playing rhythms for a dance class. Pi watches her, hopelessly in love, absent-mindedly drumming along. He is drumming for a class of a dozen female students; a DANCE MASTER (female) accompanies the beat vocally - "Tumtikita..." etc. The dance master claps her hands, interrupting to teach. DANCE MASTER No. If you do not concentrate, you cannot express your love of God through dance. Feel the ground beneath your feet; (MORE) 24. DANCE MASTER (CONT'D) open your gaze out onto the horizon, let that spiritual energy pulse through you and out into the world through abinea. Anandi, come to the front; lead them. Anandi obeys; Pi watches her, lost in admiration, until the teacher taps a wood block to get his attention. The girls in the class giggle - Pi blushes, embarrassed.60 I/E. THE TOWN MARKET/THE BANYAN TREE, 1977 - DAY 60 Anandi walks with two of her FRIENDS through the town market.ACROSS THE MARKET, Pi hides behind a flower seller's stall. Gathering his courage, he peers out, searching for Anandi. She is nowhere to be seen. He walks into an open area of the market that surrounds a banyan tree. Suddenly, he hears a voice behind him. ANANDI Why are you following me? Pi turns - Anandi stands before him, her friends a short distance behind her, eavesdropping. PI What? ANANDI You were following me. PI (After a beat, to cover his evident guilt:) What does this mean? Pi vaguely imitates the hand gesture - pinching the tips of his fingers together - that he saw Anandi use in the dance rehearsal. Anandi stares at him, bewildered. PI (CONT'D) In the dance, you went from Pataka, which means the forest, and then you did-then you did Samputa, which means something that is hidden, and after that you did this... and then you did Chatura. Pi demonstrates her dancing. Anandi smiles, while her friends giggle at his performance. 25. PI (CONT'D) But at the very end you did this... (Repeating the gesture:) None of the other dancers did that. What did you mean? The God of love is hiding in the forest? ANANDI No - that also means the lotus flower. PI The lotus flower is hiding in the forest? Why would a lotus flower hide in the forest? Anandi blushes. She has no answer.62 EXT. THE ZOO EXHIBITS, 1977 - DAY 62 Pi and Anandi stand at the Bengal Tiger cage, Pi proudly introducing Anandi to the zoo's finest exhibit. PI And this is Richard Parker. He's the most magnificent creature we've ever had here. (Beat.) Look at the way he's turning his head. Showing off - like a dancer. ANANDI No, he heard something - he's listening. You see? Pi beams.64 INT. PATEL DINING ROOM, 1977 - DUSK 64 Pi sits at dinner with the family, a half-smile on his face, obviously lost in thoughts about Anandi. Father's voice gradually breaks through into Pi's consciousness. FATHER So...you see? We have talked about it for some time... Do you understand what I'm saying? Pi? Pi glances over. PI Sorry. You've been... 26. FATHER Worried. For my family. Our animals are worth far more abroad than here in India, and if the town council stops supporting us, I don't know where we'll be. So... it is what we have to do. Do you understand? PI I'm sorry... what are we talking about? RAVI We are leaving India. PI What?? MOTHER We are selling the zoo. FATHER The zoo itself was never ours to sell - the land belongs to the town. But the animals are ours, and if we sell them, we will have enough to start a new life. PI But where would we go? Our life is here Appa! FATHER Canada. I have some opportunities for work in Winnipeg. I'll be shipping most of the animals for sale in North America; we can get freighter passage for the whole family. So, it is settled. We will sail like Columbus! PI But Columbus was looking for India!EXT. PONDICHERRY, BENEATH THE PIER, 1977 - DAYPi and Anandi sit together on the crossbeams beneath thedock. Anandi takes a length of colored silken threads, tyingthem around Pi's wrist to serve as 'Rakhi' - a sisterlyblessing for protection on his journey. 27. ADULT PI (V.O.) It takes a lot of work to sell a zoo; before we left Anandi and I had time enough to break each other's hearts. Of course, I promised I'd come back one day... It's funny... I remember everything else about our last day, but I don't remember saying goodbye... As she finishes, Pi reaches out impulsively to hold her hand.67 EXT. CARGO SHIP DECK, 1977 - DUSK 67 Sunset. Pi stands at the railing of the cargo ship, staring out at the Chennai shoreline. Mother approaches. MOTHER Pi, they're serving dinner below. (Beat.) Pi doesn't respond. Mother approaches and stands beside him. MOTHER (CONT'D) (After a beat.) Piscine, You have a whole life ahead of you. We're doing this for you and Ravi. Come inside and have some dinner.68 INT. THE TSIMTSUM, MESS HALL, 1977 - DAY 68 The family stands in the mess hall line along with the CREW. The FRENCH COOK, a grizzled and thoroughly unpleasant man, loads a plate and slides it over the counter to Mother. The meal consists of liver and onions, sausages, and rice soaked in gravy. Mother points at her rice. MOTHER My sons and I are vegetarians. Do you have anything - ? The French Cook ladles ore gravy over her rice. MOTHER (CONT'D) No - no! Not more gravy. FRENCH COOK (Thick French accent:) You don't want gravy? 28. MOTHER (Quickly switching to French:) No, I want something vegetarian. I-The cook takes her plate, sets it on the counter in front ofFather. The following takes place in French (subtitled). FRENCH COOK There. No problems. FATHER She asked if you have something vegetarian. FRENCH COOK Vegetarian - the cow that produced this liver was vegetarian, the pigs that went into these sausages were vegetarian. FATHER Very funny. But she doesn't eat liver. FRENCH COOK (Getting irritated:) Then she can eat the sausages, the rice, the gravy. (To Mother:) Or you can go cook your own food. FATHER How dare you talk to my wife like that?The cook shoves a plate of plain rice over the counter. FRENCH COOK Here's your rice. I cook for sailors, not curry eaters.Father grabs the cook's forearms, yanking him halfway overthe high counter. FATHER What did you call us?? FRENCH COOK Let go of me! FATHER Who do you think you are? You're nothing but a servant! 29. FRENCH COOK I feed people! You feed monkeys! FATHER I'll teach you respect! Sailors descend on the two, pulling them apart. A SHORT TIME LATER -69 INT. THE TSIMTSUM MESS HALL, 1977 - DAY 69 The family sits eating silently in the aftermath of the scuffle. A TAIWANESE SAILOR comes alongside Pi carrying a plate of rice with gravy. He speaks with a Taiwanese accent and a gentle smile. TAIWANESE SAILOR Hello, I am happy Buddhist, so I eat rice next to gravy. On ship, gravy is not meat. Is taste. Okay? You try? Pi smiles in gratitude, but the gravy looks anything but appetizing.70 INT. TSIMTSUM CARGO HOLD, 1977 - DAY 70 Pi eats a banana from the food set aside for the animals in the cargo hold. He sits next to the transport cage of ORANGE JUICE, a female orangutan with a baby orang in her arms. Animal crates and cages surround Pi, the air filled with screeches and growls. Father enters the hold, carrying food for the animals. FATHER (Noting Pi's banana:) Don't worry - we will have plenty of fresh supplies after we stop in Manila. Father mixes tranquilizer pills into food for the orangs. PI Why give O.J. a tranquilizer? She's not going to cause any trouble. FATHER The stress of traveling is not good for the animals. (MORE) 30. FATHER (CONT'D) And it helps with the seasickness. We don't want to be cleaning up after a seasick orangutan, do we? Pi looks up, notices Father watching him. Father tries to smile along with his little attempt at humor, but his manner is stiff, his eyes furtive and uneasy. ADULT PI (V.O.) My father was a businessman - he had never handled the animals himself. I realized that leaving India must have been harder for him than it was for me.71 EXT. MONTREAL GARDENS - DAY 71 Adult Pi and the Writer sit on a bench in the gardens. Pi has fallen silent, reflective. WRITER ... So... ADULT PI Have I forgotten anything? WRITER I think you've set the stage. So far we have an Indian boy named after a French swimming pool on a Japanese ship full of animals heading to Canada. ADULT PI Yes. Now we have to send our boy into the middle of the Pacific, and - WRITER And make me believe in God. ADULT PI Yes. We'll get there.72 EXT. A TOPOGRAPHICAL MAP OF THE PACIFIC, 1977 - DUSK 72 Moving in on the Mariana Trench, an ominous gash of darkest blue... 31. ADULT PI (V.O.) It was four days out of Manila - above the Mariana Trench, the deepest spot on earth... Zoom closer until the blue fills the screen... ADULT PI (V.O.) Our ship, the Tsimtsum, pushed on, bullishly indifferent to its surroundings. It moved with the slow, massive confidence of a continent. DISSOLVE TO:73 EXT. THE TSIMTSUM - NIGHT 73 Lightning and thunder. The freighter sailing in ominous weather, the name Tsimtsum emblazoned on its hull. Choppy seas, rains, a storm.74 INT. CARGO SHIP, THE FAMILY CABIN - NIGHT 74 Darkness - the faint glow of a nightlight. Close on Pi's sleeping face, the cabin swaying in the storm. BANG. A loud, deep rumble breaks into his consciousness. The ship shakes. Pi's eyes open. He looks around, listens. Nothing. He leans over the side of his bunk and wakes Ravi. PI Ravi? Did you hear that? (Pause) Ravi? RAVI ... I'm sleeping. PI It's a thunderstorm! Let's go watch! RAVI Are you crazy? We'll get hit by lightning. PI No, we won't. It'll hit the bridge first. 32. RAVI Don't tempt a storm, Pi. On the other side of the narrow room, Mother shifts uncomfortably on the double bed she shares with Father.75 INT. SHIP HALLWAY - CONTINUOUS 75 Pi heads upstairs to the deck.76 EXT. THE CARGO DECK - CONTINUOUS 76 The deck of the ship is dark. Pi steps out into a bracing rain and walks to the rail, wind whipping his hair. He laughs, exhilarated, as rain splashes over his face. Throwing arms wide, Pi dances in imitation of Anandi's dance, slipping more than once on the rain-soaked deck, shouting in giddy adolescent triumph. PI More rain, lord of storms! Let it rage! He finishes, laughing as he falls against the railing. The deck lights suddenly all come on at once; a warning alarm sounds over the loudspeakers. Pi slips to the front of the deck and stands up, watching in horror as a wave washes over the bow, carrying several sailors overboard. He pushes himself away from the railing and runs back down below. INT. THE STAIRS TO THE CABINS/LOWER LEVEL - CONTINUOUS Pi stumbles down the tilted staircase. PI AMMA! APPA! RAVI! GET OUT, GET OUT! Halfway down, Pi hits water. He dives, searching for his family. The hall lights flicker - the passage falls dark an instant before the emergency lights come on in the water below, which nearly reaches the ceiling. Pi dives, trying to swim against the flowing current; he's astonished to find a ZEBRA swimming toward him, passing overhead. He tries to swim further, but the enormous force of rushing water and air is too great; he scrambles backward, groping toward the stairwell. 33.EXT. THE CARGO DECK - CONTINUOUSPi bursts on deck, coughing and gagging for air. PI HELP!! SOMEBODY HELP ME!!Pi sees movement - animals running. He scrambles toward them,the ship groaning as it lists sideways.Oxen and deer are visible on the far side of the deck,backlit by emergency lights; Pi hears monkeys screeching, theclatter of hoofs pounding. In the distance, Sailors shoutorders in panicked voices.Pi comes onto the lower deck, where he sees three men - theBuddhist (Taiwanese Sailor) from the dining hall; theJAPANESE CAPTAIN, and SAILOR #1 - arguing with the Frenchcook, who has climbed into the stern of one of the lifeboatsthat hangs off the side of the ship. Pi runs to the Captain. PI (CONT'D) Please save my family! JAPANESE CAPTAIN Don't scare. Okay? Wait stay here.He grabs a life vest and starts to put it on Pi. JAPANESE CAPTAIN (CONT'D) Here, put this on! PI You have to help them, please! Oh no my family, please. You have to help them, my family is back there. JAPANESE CAPTAIN We don't have time.The Taiwanese Sailor jumps onto the ship. TAIWANESE SAILOR We help. You must go. PI Who let all the animals out?They shove a life vest over Pi's head. SAILOR #1 You have to go now. 34. PI No wait! My father - he can't swim - JAPANESE CAPTAIN This is your last chance--just go! PI No please!They guide Pi to the side, where a section of the ship'srailing has been removed to give access to the lifeboat. Theypush Pi over the edge; Pi falls onto the lifeboat, bouncingon the protective tarp that is still stretched taut acrossthe bow. He grabs at the rope holding the bow, trying not toslip off. The sailors are shouting at the French cook, whostands at the stern. SAILOR #1 Hey! You! What are you doing?! FRENCH COOK Loosen the lines! Bring it down! SAILOR #1 Tie it down! Tie it down! FRENCH COOK (to the sailors:) Jump! Jump!The sailors look towards the upper deck. Pi follows theirlooks and watches in horror as a zebra launches itself overthe side of the ship, careening through the air toward thesafety of the lifeboat. The French cook staggers backward andjumps out of the way, falling to the water below. Pi throwsup his arms as the life boat starts to drop. The zebra arcsthrough the air, missing the tarp, landing on the exposedstern with a sickening thud, shattering the rear bench. Theforce sends the rig lines spinning.The lifeboat plummets to the water below. The impact spins itaround, nearly washing Pi overboard. He is left clinging tothe back of the tarp, the zebra on the floor of the lifeboatbefore him. As the lifeboat drops down the side of the swell,Pi slides to the front of the tarp. The Tsimtsum's propellerrises behind him.As Pi steadies himself, a swell lifts the lifeboat, crashingit onto the deck of the Tsimtsum. It drops back into the sea,rolling over completely. The vessel instantly rights itself -the lifeboat is designed to be virtually unsinkable. Pi landson the lifeboat's floorboards, next to the zebra. 35. Pi sees the Tsimtsum at an angle, it's bow dipping below the water. As he tries to get up, Pi notices the orange emergency whistle that dangles from the vest. He grabs it and blows, shouting between blasts. PI HELP! HELP! SOMEBODY, HELP ME! The deck lights of the freighter glow with a cheery, unnatural brilliance. By the light of the ship, Pi can just make out a distant figure in the water. PI (CONT'D) HEY! OVER HERE! Pi spies a lifebuoy tied to a rope. He grabs it and heaves it as far as he can across the water. OUT IN THE WATER, the lifebuoy splashes a few yards away from the shadowy figure. The moment Pi feels the tug on the line, he jumps into the uncovered part of the boat, lies back and begins hauling the rope in. Nearly finished, he lifts his head to peer over the side and sees who he's rescued. PI (CONT'D) Richard Parker? A beat - and then Pi realizes what he's done. He scrambles backward in horror, trying to throw the rope overboard. PI (CONT'D) NO! GO AWAY! Richard Parker paddles toward the boat. Pi grabs an oar, wielding it against the approaching tiger. Richard Parker tries to grab the oar. Pi yanks the oar away, falling onto his back. He listens as Richard Parker claws his way up the side of the swaying boat, coughing and gagging water. Pi scrambles backward, oar still in hand. He rises and jumps overboard.79 EXT. THE OCEAN - CONTINUOUS 79 Pi plunges into the roiling water. An enormous wave rolls toward Pi - filling his lungs with air, Pi dives under, away from the assault of the raging storm.80 EXT. BENEATH THE WATER - CONTINUOUS 80 Silence as Pi hangs below the surface, arms wide, groping for focus and calm. 36. Lightning casts a blazing white veil over the surface of the water above him, backlighting fish and animals, waves frozen in time like wrinkled bedsheets, their motionless texture pocked and dimpled with raindrops. As the sky explodes in white flashes, the scene is caught in surreal still shots. A hippo swims past, it's heavy form moving gracefully. Pi swims toward the camera - then freezes, reacting in horror as... A shark swoops past him and up toward the struggling animals near the surface. Pi dives defensively - the camera follows. Ahead, the Tsimtsum is visible, fifty feet beyond Pi, its deck lights dipping below the surface, casting an eerie underwater glow, bubbles flowing up to the surface; nearby, Pi can make out the floating oar.81 EXT. THE OCEAN/THE BOAT - CONTINUOUS 81 Pi bursts above water in total panic, throwing his arms around the oar, coughing up sea water and bile. The lifebuoy floats a dozen feet off; he swims toward it. He grabs the oar moments before a huge wave sweeps him up and over the lifeboat. He lands on the other side, the oar lost, and drags himself onto the stern. He jumps over the kicking zebra and scrambles onto the boat tarp. An oar sticks out from under the boat cover, hanging out over the front of the lifeboat. Pi climbs out on the oar, keeping himself a safe distance from the tiger he assumes is beneath the tarp. The air vibrates with a tremendous belching groan; Pi looks over to the cargo ship, watching, astounded... PI Amma! Appa! Ravi! I'm sorry! I'm sorry...! WIDE SHOT - from top, looking down into the water: the Tsimtsum abruptly keels and sinks beneath the surface. Pi watches in horror as the Tsimtsum plummets into the depths of the Mariana Trench, it's deck lights gradually fading. Pi bursts into tears as waves from the sinking vessel buffet his lifeboat. Pi weeps uncontrollably. EXT. THE LIFEBOAT - DAWN The storm has passed, but the skies are still heavy with disgusting grey clouds. Pi has hung the lifebuoy on the oar and now sits on it, slumped in exhaustion and shivering. 37.With what energy he still has, he weeps - his face is puffyand swollen from a night of tears.Pi watches a shark fin knife through the waves. His feet havebeen trailing in the water; he quickly lifts them out. Heraises his head, looking at his new surroundings - water andair, clouds and sky. Nothing on the horizon.Pi creeps forward on the oar, pulling himself onto thegunnels - the side of the boat. No sign of Richard Parker.The zebra comes into view in the stern of the lifeboat,injured legs folded beneath it, staring indifferently intospace. CUT TO:EXT. THE LIFEBOAT - DAYPi stands a few feet away from the zebra, using an emergencybucket to bail water out of the bottom of the boat, exhaustedfrom the effort. He pauses to catch his breath, then becomesaware of a slight movement at one side of the tarp.A SPOTTED HYENA lurches furtively into view from beneath thetarp, then disappears again. Pi freezes, dumbfounded. PI Hari?Hari, the hyena, with a sloping, bear-like forehead and thenervous manner of a beaten dog, reappears. Pi instantly divesacross the tarp, scrambling for safety on the oar. The hyenastaggers and stumbles listlessly. Pi turns to face thecreature, struggling for calm. PI (CONT'D) Looks as though your drugs haven't worn off yet.The screech of a terrified animal echoes across the water -the hyena looks out to port, the hair rising on its back,then staggers beneath the tarp.Pi squints into the rising sun. An enormous bundle of bananasbobs into view. The bundle twists and rolls - and OrangeJuice, the orangutan tries desperately to stay on top. PI (CONT'D) Orange Juice!! This way! 38. Within moments, the bundle is within reach of the lifeboat; Pi catches the oar handle in the netting that binds the bananas together and pulls it against the side of the boat. O.J. falls onboard in a stuporous fog. PI (CONT'D) Welcome to Pi's ark! The netting, wrapped around the handle of the oar, pulls loose from the bananas, which tumble out of reach. As Pi reels the netting in, O.J. moans in distress. Pi throws a banana to O.J. but she is too sick to react. PI (CONT'D) (A sudden realization) Where is your boy, Orange Juice? (Pause) I'll bet Mother and Father found him. They'll all be here soon. O.J. turns to look at Pi, a look of inconsolable sadness in her eyes - as though she knows better what lies ahead.84 EXT. THE LIFEBOAT - DAY 84 High noon. Intolerable heat. Flies circle the zebra, landing on Pi's face and arms. He's too exhausted to brush them away. The only sound is the incessant lapping of water against the hull. Pi stares out across the ocean - no rescue in sight. He pushes himself upright, calling over the waves. PI HELLO...! HELLO...! ANYBODY? Pi kneels and bangs his bailing bucket against the hull. The hyena emergees, shaking its head violently in an attempt to clear its thoughts. It screams in frustration and begins yipping. Pi picks up the oar and pokes the hyena to fend it off. He watches with increasing alarm as the hyena paces in frantic circles - whatever tranquilizers this animal received are wearing off. The boy wraps his grip around the paddle, prepared to defend himself. The hyena abruptly stops pacing, coughing and retching - then lies down, shaking from emotional and physical distress. It sets its head on the edge of the tarp, predator eyes fastened on Pi.85 EXT. THE LIFEBOAT - DUSK 85 A boy, a hyena, a zebra and an orangutan silhouetted against the last fading light of day. 39. Pi has hung the paddle and lifebuoy off the end of the boat and perches on the bow. The hyena's eyes seem to glow in the last light, fixed on Pi. Pi stares back. Pi fights fatigue as waves splash interminably against the hull. He winces at each creak of the lifeboat; his eyes glaze over as he stares out at the endless, dusky seascape. Pi sees movement in the shadows. The hyena attacks the zebra; the zebra barks and squeals. O.J. reacts to the violence, crying out. PI No! Stop it! Stop it! No! Stop it! Stop it! NO!!! NO!!! NO!!!86 EXT. THE LIFEBOAT - DAWN 86 Silence. Morning. Hazy. Pi slumps over the oar, eyes half open, glazed. He has stayed up a second night for fear of being attacked, and now he slowly nods sideways, giving in to exhaustion despite himself, and tumbles into the water. Pi gasps in shock as the water slaps him into full consciousness. He climbs back onto the life ring - coughing, tired, wet, sad and fearful. The lifeboat rolls and growls beneath Pi's feet as he stares - and then he notices O.J. The poor orang is sitting on a side bench half-hidden by the tarp, and horribly seasick. Her tongue lolls out of her mouth and she's visibly panting. PI I'm sorry, O.J.; I don't have any seasickness medicine for you - And then it strikes him. PI (CONT'D) Supplies! Ah, supplies! Pi pulls up the edge of the tarp nearest the bow. A row of benches with hinged lids curve around the bow. Pi opens the rearmost bench and finds a "LIFEBOAT MANUAL AND NAVIGATIONAL GUIDE" in a plastic bag along with a pencil lying on top of bags of supplies. He pulls out the manual and flips through it - an illustration shows that the boat is lined with compartments. He opens the next bench - it's stuffed with life jackets. He tosses one of the life jackets to O.J., who has no idea what to make of it. O.J. turns to watch him, utterly bewildered. 40.88 EXT. THE OCEAN, BEHIND THE LIFEBOAT/THE LIFEBOAT - DAY 88 An hour later. Pi finishes tying a knot in a piece of rope that joins oars to the lifebuoy. Pull back to reveal that Pi has built a makeshift raft, tying three oars into a triangle around the lifebuoy and using the banana net to gather the life vests into a bunch beneath. Pi sits back, mopping his brow, then begins pushing and dragging his raft over to the edge of the lifeboat to launch it. The hyena comes out from under the tarp to see what all the noise is. As it paces, it gets too close to O.J., who suddenly comes to life, rising up to her full height, pulling back her lips and roaring. The hair on the hyena's neck and shoulders stands up - suddenly, it launches an attack. Pi cries out, flinching - but O.J. uses one of her long arms to thump the beast on top of the head. Pi cheers the blow - PI YES! But the hyena gets up in an instant - it attacks again, this time going for O.J.'s throat. PI (CONT'D) NO!! NO!! NO!! NO!! O.J. gets pulled down to the floor of the boat, the battle continuing out of view. Pi searches through the piles of rope, finding a knife. He rises and dashes forward. Pi reaches the end of the tarp. The hyena retreats. O.J. lies in the stern, dead. Pi, enraged, confronts the hyena. PI (CONT'D) Come on! Come on!! COME ON...!!! Pi feels the tarp move under his feet... suddenly, Richard Parker launches like a blur from under the canvas, going straight after the hyena. Pi falls backward on the tarp, stunned. As the tiger clamps his jaws around the hyena, finishing it off, Pi leaps back to the bow, shoving his makeshift raft into the water. The raft splashes in the water and the tiger turns; Pi looks back and comes face-to-face with Richard Parker. 41. The tiger stands with front feet on the crossbench, sniffing the sea air, examining his surroundings for the first time, agitated by this open air environment. As he turns to go back under the tarp, his gaze falls on Pi. Richard Parker's ears swivel, and his lip twitches, revealing a canine as long as a finger. Pi, terrified, grabs an oar and holds it out, trying to prevent an attack. Unfortunately, he also blocks Richard Parker's path back under the tarp. The tiger tries to go around the oar, and when Pi blocks his way, the tiger swings a paw, knocking the oar into the ocean with such force that Pi is spun completely around with his back to the tiger. He falls into a crouch, cowering, prepared to die. Richard Parker's predator instinct takes over. He snarls and pounces on the tarp, menacingly close to Pi - then hesitates, unsettled by the softness of the tarp beneath his feet. The tiger retreats, examining his surroundings. Pi jumps toward the raft. He belly flops into the ocean and rises in a panic, trying to scramble up onto the raft, only to have it flip completely over his head.A88 EXT THE RAFT - DAY A88 Grey, lifeless skies above the vastness of the ocean. Pi shivers, his eyes glassy, his lips chapped and skin waxen from hours of exposure. He tries various ways to re-shape the raft. A shark slips up alongside Pi and bumps him, sending Pi scrambling back to the safety of the raft.91 EXT. THE LIFEBOAT - DAY 91 Pi pulls the raft to the back of the lifeboat, tying the rope line on one of the tarp hooks. Hands appear on the gunnels. Pi lifts his head over the bow. The tiger is nowhere in sight. Pi quietly climbs aboard. He tries in vain to control his chattering teeth and shaking limbs as he opens the starboard bow storage bench. He sees a duffel bag, zips it open and rifles through the contents. It contains an array of survival supplies - as he lifts it out, his eye falls upon a stack of cans marked "Water." He pops a hole in a water can with the can opener and drinks one, tilting his head back and closing his eyes in ecstasy. He throws a few on the raft. He grabs a couple of boxes marked "Baked Wheat Biscuits." Pi tears open a box and stuffs a biscuit into his mouth. 42.The biscuits are so dry that he is barely able to chew them -crumbs fall from his lips into the supply hatch.A rat skitters out from under the tarp, grabbing biscuitcrumbs, then retreating.A low growl. Richard Parker charges out from his den andbounds onto the tarp. Pi staggers in terror and fallshelplessly into the storage bench, with only his head pokingout above the tarp.The tiger steps toward Pi, then hesitates - again, thesoftness of the tarp unnerves him. He steps back off the tarpand paces the stern.Pi creeps out of the storage bench - then watches in horroras Richard Parker swivels and charges him again, this timebeneath the tarp. The rat scurries back out of hiding andRichard Parker's head follows, looming up out from the gapbetween the tarp and the storage bench. Pi jumps onto thetarp, out of the tiger's reach.Richard Parker scrambles backward and reappears at the farend of the tarp, roaring, prepared to attack from above -then halts, watching in astonishment as the rat hops aroundthe lifeboat, finally running up Pi's shirt and landing onPi's head.Pi grabs the rat by the tail and throws it. The rat sails,paws and tail stretched wide, across the boat. Richard Parkeropens his mouth and the rat flies in, its tail disappearingbetween the tiger's lips like a spaghetti noodle.As Richard Parker enjoys his treat, Pi climbs backward overthe bow, unhooking the rope, grabbing the water cans and thebiscuits and slipping over the side, falling into the water.He drops onto the raft and pushes himself back with his feet.The raft floats back and hits the end of the ropeline with ajerk. Pi remembers the rope and goes back to untie it.Suddenly Richard Parker appears at the bow and lunges at him,almost falling off the front of the lifeboat onto Pi. Thetiger scrambles back onto the boat and off the tarp, while Pipaddles the raft away.When he is finally at a safe distance, fear and stressoverwhelm Pi - he throws up what little food and water he hastaken. 43.92 EXT. THE RAFT, BEHIND THE LIFEBOAT - NIGHT 92 A full moon, backlit clouds rolling through the skies, reflected in the water below. Pi floats behind the lifeboat, weeping, surrounded by nothing but terror and the abyss. A thick range of clouds moves in, threatening to cut off the light from the moon and stars. Pi watches Richard Parker on the lifeboat, a shadowy silhouette on the bow ahead. The tiger takes the zebra carcass under the tarp. The clouds blot out the sky. Darkness envelops them.93 EXT. ABOVE THE RAFT - EARLY MORNING 93 Angle on Pi, the raft and boat from above, lost on an endless ocean, the bright colors of morning light dancing on the surface of the water. Pi has taken out his pencil and now writes on the back page of his survival manual, his voice heard over: PI (WRITING V.O.) "My name is Pi Patel. I have been in a shipwreck. I am on a lifeboat alone - with a tiger. Please send help." He tears the page out and stuffs it into an empty water can, sealing the opening with a plastic lid. He tosses it as far as possible; the can splashes down, rippling the water, then bobs, going nowhere. Pi stares at the bobbing can, crushed as he sees the futility of this plan. A defeated pause, and then Pi looks up and sees the majesty of his surroundings. The cloud cover breaks; dawn light glows down on Pi. A grunt from the lifeboat. Pi turns, surprised. He grabs the tow line and reels into the lifeboat. He lifts the tarp; Richard Parker's eyes glow out at him from the shadows, greeting Pi with a low snarl. Pi gingerly lowers the tarp and casts the raft back from the bow. He looks up. PI (CONT'D) (In awe, shuddering:) God... I give myself to you. I am your vessel. Whatever comes... I want to know. Show me. FADE TO: 44. EXT. THE RAFT - DAY Pi sits on his makeshift raft, flipping through his manual. The foldout map of the manual shows the ocean's currents, longitudes, latitudes, and depths. Pi stares at the chart, bewildered by it all. He rises up on his knees, looking out at the ocean around him, then sits back, hand to forehead. PI There are no lines! 95 EXT. THE RAFT - DAY - MONTAGE 95 Montage - Pi struggling with discomfort on his raft. PI (READING - V.O.) "Set your house in order and dig in for the battle to survive. Establish a strict schedule for eating, keeping watch and getting rest. Do not drink urine or sea water. Keep busy, but avoid unnecessary exertion. The mind can be kept occupied by playing card games, Twenty Questions, or I Spy. Community singing is another sure- fire way to lift the spirits. Telling stories is highly recommended. Above all, don't lose hope." - Pi scratches marks into the side of the boat to indicate the passage of time - it is his 11th day at sea.A96 EXT. THE RAFT - A SHORT TIME LATER A96 Pi is still reading his survival manual. The waves pick up. The lifeboat rocks. Somewhere beneath the tarp, the tiger lets out a faint groan of discomfort. On Pi as he contemplates this... PI (READING V.O.:) "Few things can sap the spirit faster than seasickness. Waves are more strongly felt when a boat turns sideways to the current. A sea anchor is used as a drag to keep the boat's head to the wind. (MORE) 45. PI (READING V.O.:) (CONT'D) Proper use of them can increase control and reduce seasickness during rough seas... Pi takes a sea anchor from inside his life ring and tosses it overboard. As soon as the sea anchor has been deployed, the raft slows down and the anchor lines go taut.97 EXT. RAFT - DAY 97 Pi has rigged an additional line between the open end of the lifeboat and his raft. PI (READING V.O.) For castaways who must share their lifeboats with large dangerous carnivores it's advisable to establish a territory as your own. The following course of action is recommended. Step one: choose a day when waves are moderate but regular. Step two: with the lifeboat facing into the waves, making the ride as comfortable as possible, blow your whistle soothingly. Step three: turn the lifeboat sideways to the waves, accompanied by harsh aggressive use of the whistle. With sufficient repetition, the animal will associate the sound of the whistle with the discomfort of seasickness. Similar methods have long been used by circus trainers, though they generally lack access to rough seas. He reels in this line, turning the boat sideways to the waves. The rocking increases. Pi blows the whistle several times harshly ("warning" signal) as the rocking increases. From within the boat, he hears the tiger groan. He grabs the original lifeline that connects the raft to the boat and hauls himself in. Pi grins, spits out the whistle. PI (CONT'D) (A ringmaster's call:) Let the trumpets blare, let the drum rolls begin! Prepare to be amazed! Here it is, for your enjoyment and instruction, the show you've been waiting for all your life will soon begin! (MORE) 46. PI (CONT'D) Are you ready for the miracle of it? Well, then - I give to you... Pi lets go of the second line, raising his hand with a flourish. PI (CONT'D) ... the ASTOUNDING BENGAL TIGER! He pulls the raft next to the tarp end of the lifeboat. The tiger crawls out from under the tarp, violently ill. PI (CONT'D) (Rocking the boat:) Hello, Richard Parker. Sorry about the choppy ride. Pi pulls himself onto the bow. Richard Parker tries to lift his head, then groans, giving it up. Pi lifts the whistle to his mouth and blows it repeatedly as he advances to the front edge of the tarp, opens his fly and pisses in a straight line across the midpoint of the boat. PI (CONT'D) (Pointing:) MINE! YOU UNDERSTAND? YOURS - MINE! (He blows his whistle) You understand? He steps back to observe the effect of this provocation on the seasick tiger. Richard Parker staggers to the edge of the tarp. He takes a deep sniff and winces, groaning, his tongue hanging out in distaste. The tiger turns away from Pi, facing the stern. Pi thinks the battle is won - until the tiger lifts his tail and sprays him with a tremendous burst of urine. PI (READING V.O.) (CONT'D) Step four: disregard steps one through three.A97 EXT. THE RAFT - AFTERNOON A97 Pi pulls in the solar still. Pi bends down to suck fresh water from the straw that protrudes from a water still, delighted to discover that it works. He carefully pours some of the water into a can for himself, then pours the rest into a bucket. 47.B97 EXT. THE RAFT/THE LIFEBOAT - A SHORT TIME LATER B97 Pi pulls himself up to the bow of the lifeboat, sets a bucket of water in the boat and blows his whistle. Richard Parker sticks his head out from under the tarp. PI Here, Richard Parker. I've got some water for you. Pi blows the whistle once more, casting the raft adrift again. Richard Parker sniffs, then begins lapping greedily at the water.103 EXT. RAFT - INSERT 103 INSERT of Pi writing in manual - text on page reflects Pi's accompanying V.O. PI (VO) In the zoo, we fed our tigers an average of five kilos of meat a day. Richard Parker will be getting hungry soon.104 EXT. RAFT - CONTINUOUS 104 Pi chews for a moment, then spits out a blob of biscuit and presses the food ball onto his hook, savoring the crumbs that remain in his mouth. He tosses the hook and biscuit onto the water - the hook sinks, leaving the crumble of biscuit floating uselessly on the surface. Pi watches helplessly as fish rise to the surface to nibble at the soggy crumbs. PI (V.O.) Tigers are powerful swimmers, and, if he gets hungry enough, I'm afraid the little bit of water between us won't be any protection. I need to find a way to feed him. God made tigers carnivores, so I must learn to catch fish. If I don't, I'm afraid his last meal will be a skinny vegetarian boy. Pi thinks a moment. He takes off one of his shoes, using the knife to cut a sliver of leather off the side. He presses the hook through the leather and tosses it in the water. Pi pulls in his fishing line - the leather is gone. A SHORT TIME LATER - 48.105 EXT. RAFT - DAY 105 Pi has cut his shoe into a dozen bits of leather and tried fishing several times - Always with the same result. Richard Parker, watching, mops at his jaw to wipe away drool - he's clearly getting hungry. PI Patience! EXT. THE LIFEBOAT/THE RAFT - DUSK Pi still fishes with no success. Richard Parker stares in the water at the dorado. He leans over the side of the boat, pawing hungrily at the surface as fish streak past - but the fish elude him. Richard Parker leans out further, striking with both paws - and finally jumps in altogether. Richard Parker strikes and splashes as fish streak past. Pi grins at the tiger's predicament - but the moment Richard Parker realizes he can't climb back aboard, he begins swimming toward the raft. Pi snaps to, recognizing the danger he's in. He reels the raft over to the lifeboat, practically leaping onto the bow. As he hauls the raft aboard, Richard Parker manages to catch the netting on the raft with one paw. Pi leans back against an oar with all his weight, trying to lever the raft aboard; the weight of the tiger tips the entire bow lower in the water. Pi is about to lose the struggle when the tiger's claw rips through the netting, and the lifeboat springs back up in the water; the momentum flips the raft up onto the boat. Pi turns, watching as Richard Parker swims up behind him alongside the bow. He digs into the supply box and rises with a hatchet in his hand, crossing to stand over the tiger and blowing the whistle threateningly. Standoff. Pi pumps the axe a few times, but cannot bring himself to kill the tiger. Richard Parker stares up at Pi a long moment, then paddles to the stern, trying once again to pull himself aboard at the other end of the boat. PI What am I doing? Pi kicks at the side of the boat in frustration, and is surprised to hear a metal clunk. He finds a rectangular aluminum air box used for bouyancy: Pi then pulls the tarp back fully for the first time and examines the contents below. 49. As he removes one of the floorboard panels, imagining new uses for the wooden slats, he hears Richard Parker scratching at the hull of the boat. PI (CONT'D) Wait - I'm thinking.107 EXT. THE LIFEBOAT - NIGHT 107 Pi has tied a bunch of the flotation boxes to his raft and loaded it with all the provisions from the lifeboat. He points a flashlight beam over the side at the exhausted Richard Parker, the tiger's face and whiskers just above the surface of the water, scratching at the side of the boat. Pi backs to the other end of the boat, pushing his raft into the water with one hand as he rocks the boat to help Richard Parker climb in. The moment the tiger is aboard, Pi climbs onto the raft and pushes off, retreating to safety, blowing the whistle to remind Richard Parker who's in command. As he floats away, Pi collapses, exhausted, on the raft.A107 EXT. THE RAFT - DAY A107 Pi goes through the supplies listed in his survival guide, matching supplies to the pile of booty he's just retrieved from the lifeboat. PI (WRITING - V.O.) 93 cans of water...B107 EXT. THE RAFT - DAY B107 Pi removes all of the lifejackets from under the life ring, stacking them onto his latest raft structure. The empty banana netting now drapes beneath the raft; Pi notices that dorado are attracted to the net and gets an idea. One of the dorados gets very close to the net - Pi realizes his opportunity. He hauls in the netting and wrestles the dorado onto the raft, flailing against the creature's strength and throwing his full weight onto the creature to keep it from sliding back into the ocean, riding it like a bucking bronco. Pi grabs a hatchet from the raft and strikes the fish over and over again. As the fish begins to die, it flashes all kinds of colors in rapid succession - blue, green, red, gold and violet flicker and shimmer neon-like on its surface. Pi starts back, watching this colorful display in terrified wonder. Finally, the fish ebbs to grey, lifeless. 50. PI I'm sorry. I'm sorry. Pi is devastated. He weeps, bringing his hands together, pressing them against his forehead, murmuring a prayer to himself and bowing over the dead fish in abject grief. PI (CONT'D) Thank you, Lord Vishnu. Thank you for coming in the form of a fish and saving our lives. Thank you...108 EXT. THE RAFT/THE LIFEBOAT - A SHORT TIME LATER 108 Pi reels himself over to the lifeboat. He moves around to the side of the boat, grabs the dorado by the tail and throws the entire fish over the side and into the stern. It lands with a thud, and from somewhere inside the boat, Richard Parker lets out a grunt of surprise. After a moment, Pi hears the wet mashing noises of the tiger devouring the fish. As Pi pushes away from the lifeboat, he puts the whistle in his mouth, blowing a few sharp blasts to remind Richard Parker who's in charge.112A EXT. THE RAFT - NIGHT 112A A full moon. All around the raft, the green surface of the water glows with millions of flecks of glowing plankton - and beneath the surface, fish swim past at multiple depths and in multiple directions. Pi brushes his fingers over the surface of the water. The surface ripples where he touched it, the plankton glowing more brightly, the effect moving outward and downward through the water, an ever-expanding ring. Pi hears a faint, rapid succession of blows. He peers into the encroaching darkness but can see nothing. Richard Parker is nowhere to be seen. The blows stop and Pi returns his attention to the light show below. Pi senses movement deep within the water, a cone of rushing energy pressing up toward the luminescent surface. Suddenly, the glowing silhouette of a huge creature wrapped in phosphorescent plankton - a HUMPBACK WHALE - streaks to the surface nearby, its mouth gaping. Fifty feet in length, it thrusts itself up into the air. Pi barely has time to react, gripping the raft and holding on for his life as the whale comes crashing back down into the water. 51. The animal slips back into the ocean, creating a wave that sends the raft swirling across the water's surface, submerging for a moment, then bouncing off the side of the lifeboat. Pi's neatly-stacked water cans and biscuits tumble over the side of the raft and into the ocean. The whale disappears into the night, leaving Pi open-mouthed and shaken. PI (V.O.) Of course, I brought all the biscuits and water on the raft with me to keep them safe. Idiot.116 EXT. THE RAFT/LIFEBOAT - LATE AFTERNOON 116 A calm day; gentle waves. Afternoon, the sun beating down. Pi wears his shirt wrapped around his head to hold off the heat. PI (V.O. - CONT'D) Hunger can change everything you ever thought you knew about yourself. Pi uses his knife to cut another scratch into the hull. There are 38 scratches on the side of the lifeboat. He glances down, staring longingly at the fish that swim just beneath the raft, then looks across the lifeboat, where the gaff lies hooked in the tarp close to the tiger's end of the boat. Richard Parker is nowhere to be seen. Pi reaches out with the boat hook to try to snag the gaff, but it is hooked deeply into the tarp. He lays the boat hook on the tarp and climbs aboard, crawling forward to free the gaff. As he wiggles the hook free, Richard Parker's head pops out from beneath the tarp only a few feet away. Pi's winces, prepared for an attack. In an instant, he's struck hard across the face - a stunning blow that sends him backward onto the tarp. Pause. Pi opens one eye. Richard Parker hasn't moved. Pi looks down - a slender grey-blue fish with wings is flopping about on the tarp. Pi has been hit by a flying fish. Richard Parker has seen the flying fish as well. He rises to his haunches. Pi grabs the flying fish and tosses it to Richard Parker. PI (CONT'D) Here, it's yours. 52.The tiger stands, jaws opening in anticipation...And then the fish extends its wings, veering at the lastsecond and dropping into the water. Richard Parker tries tobat the fish down, but it's too quick for him. The tigerturns back toward Pi with a questioning glare.The air around the boat whirs to life as they are struck fromall directions by a school of flying fish that descends uponthem like a swarm of locusts. Some sail clear over the boat;a number crash into the side. Other, less fortunate fish landin the boat, where they start a racket of flapping andflailing. Pi yelps in anguish as he is struck repeatedly.The school of fish is being pursued through the ocean bytuna. It is a feeding frenzy - the ocean boils with jumpingfish and snapping jaws.Richard Parker becomes totally absorbed in the kill, leaping,blocking, and batting down as many of the fish as he can.A fat, three-foot long yellowfin tuna lands onboard, crackinghard against the center bench and falling, stunned andtwitching, into the boat.Pi sees Richard Parker's head swivel in his direction. In amoment of insanity brought on by hunger, Pi reaches back andgrabs the boat hook from the tarp, shoving it aggressivelyinto the tiger's face just as Richard Parker launchesforward.The boat hook catches Richard Parker square in the mouth; thetiger staggers back in shock and growls in outrage. Pi risesup to his full height, staring directly into the tiger's eyesand shouting in fury, his gaze wide, his posture defiant. PI (CONT'D) MINE!!!! MINE!!! AHHH!! AAAAHHHH!!!!Boy and tiger face off for several seconds, both panting,neither blinking nor showing fear, as the rain of fishgradually slows around them.Richard Parker turns his focus from Pi and takes in thesituation around him. Realizing that he stands up to hisknees in a pile of flying fish, he turns his attention to amore convenient meal.Pi uses the gaff to snag the tuna, shoving it to the farthestedge of the bow. As he rises, late afternoon light castsgolden flames across the surface of the water, throwing Piinto backlight. 53. Pi picks up the boat hook and turns to face Richard Parker. EXT. THE RAFT - SUNSET Pi takes a small piece of tuna and gingerly raises it to his lips, tasting flesh for the first time. A pause as he savors the taste, considering... and then hunger takes him over. He grabs at the tuna, stuffing pieces into his mouth, devouring it.A132 EXT. THE LIFEBOAT - DAY A132 Pi uses a bandage from the first aid kit to wrap a cut on his leg. As he works, he glances back toward the boat, deep in contemplation. PI (V.O.) I can't risk my life every time I have to climb onto the boat for supplies. It's time to settle this. If we're going to live together, we have to learn to communicate.B132 EXT. THE RAFT - DAY B132 Pi reaches into the stern, prying loose a seven-foot strip of wooden molding that lines the front edge of the seats. PI (V.O.) Maybe Richard Parker cannot be tamed, but with God's will, he can be trained. Pi works intently with his knife, whittling the strip of molding into a long tapered wand with a handgrip on one end.133 EXT. THE LIFEBOAT - DAY 133 Pi crosses the tarp, approaching Richard Parker with his new training stick. The tiger backs off as Pi approaches - curious and annoyed. Pi uses the stick to probe into the tiger's territory, testing his limits; Richard Parker gets angry, batting at the stick. Pi looks away, tries again, then turns to face Richard Parker, who growls, angry and begins batting at the stick. PI NO! 54. Pi gives the tiger a stern glare. RP stops, stares back, then backs off. PI (CONT'D) Good. Pi reaches into a pouch behind his back, taking out a piece of fish. He places it on the end of the stick and reaches out, offering it to Richard Parker, who sniffs the air. Pi puts the fish on the bench. Richard Parker eats the fish, then backs up, growing calmer. Pi takes out another fish, reaches out to tap the bench, then tosses the fish on the bench. Richard Parker takes the fish, eats. Pi tosses the next piece near the edge of the tarp and taps, encouraging Richard Parker to follow his direction. PI (CONT'D) Go Richard Parker. Go. Go on home; I'll leave you alone. I'll respect that. I promise. Go, c'mon. Richard Parker stares at Pi. Pi raises his arms and yells, chasing Richard Parker around the bench and under the tarp. PI (CONT'D) Yes! Pi sits, the battle over.137 EXT. THE LIFEBOAT/THE RAFT - DAY 137 The sun is high. Pi raises the adjustable canopy he has rigged on his raft and sits beneath it. He feels the wind on his face and watches Richard Parker lounge in the stern of the lifeboat. Pi smiles, for a moment genuinely happy. He uses his knife to carefully sharpen his pencil, then begins writing in the margins of his survival manual, which are covered with journal entries... `LIFE IS GOOD' MONTAGE - Pi's raft has transformed again. Fish strips dry on lines; he has fashioned new tools, rigged an elaborate water collection system out of turtle shells, and a collapsible shade umbrella. - Pi trims his fingernails, a fish bone toothpick in his mouth. 55. PI (WRITING - V.O.) I never thought a small piece of shade could bring me so much happiness. That a pile of tools - a bucket, a knife, a pencil- might become my greatest treasures. Or that knowing Richard Parker was here might ever bring me peace. In times like these, I remember that he has as little experience of the real world as I do. We were both raised in a zoo by the same master. Now we've been orphaned, left to face our ultimate master together. Without Richard Parker, I would have died by now. My fear of him keeps me alert. Tending to his needs gives my life purpose.138 EXT. RAFT - DAY 138 A school of dolphins, hundreds of them, pass in the distance, the blue sea roiling. PI Dolphins, Richard Parker! Just beyond the school of dolphin, something else catches Pi's attention on the horizon - a freighter, much like the Tsimtsum, is within a few miles of their position. PI (CONT'D) Hey! HEY!! WE'RE HERE!! OVER HERE!! Pi scrambles to the storage locker, pulling out the flare gun. He loads and fires - the flare arcs high up into the air, a miniature white star leaving a bright trail of fire and smoke as it falls to the earth. LATER -139 EXT. RAFT - SUNSET 139 It's grown noticeably darker. The freighter is far off now.140 EXT. THE LIFEBOAT - NIGHT 140 It is late now. Pi loads the last flare into his gun and raises it into the air - then stops. The freighter, now a fleck on the horizon, hasn't seen them. Pi watches as the dark form of the boat sinks from view. 56. Pi fires one last time, staring up at the archways of smoke and the darkening sky. Pi lowers the flare gun. Richard Parker yawns and turns away. PI (WRITING - V.O.) Above all, don't lose hope... The flare burns a hole into the night.141 EXT. THE LIFEBOAT, MONTHS LATER - DAY 141 HIGH ANGLE ("book cover" shot) - looking down on the boat, adrift in the middle of the ocean. Pi lies curled on the tarp in the bow; Richard Parker lies in the stern. Beneath the boat, the ocean swirls with traffic, including an enormous whale shark. It passes beneath the boat, the creature's form blotting out the depths.A141 ONBOARD - A141 A series of shots to show that Pi has grown gaunt, his eyes wild from exhaustion and endless solitude. The tarp has faded; the paint on the boat has become sun-bleached and weather- beaten. Pi's hair has grown long; his skin has darkened from olive-caramel to cocoa. The shirt has begun to take on a look of thread-worn transparency. He taps on the aluminum hull of the boat with his thumb in time with his recitation: PI ...645682948602814931815602496... EXT. THE LIFEBOAT - NIGHT Richard Parker gazes into the distance; Pi stares intently at the tiger. PI What are you looking at...? Tell me. What do you see? The tiger turns and looks over the side of the boat into the water; Pi rises and looks over the side as well, staring into the depths... 57. RP'S POV - starting on his own reflection in the water and traveling downward, through schools of darting tuna, squid and lantern fish, past fleeting memories of a storm and zoo animals struggling to survive in churning waters and into the darkest recesses of the sea, Pi finding a broken ship and memories of a former life lying dormant on the ocean floor... OUT OF POV - Richard Parker looks over at Pi as he gazes into the water. Cut to an extremely wide shot of the boat floating in a sea of stars. PI (WRITING - V.O.) (CONT'D) Words are all I have left to hang onto...147 EXT. LIFEBOAT - DAY 147 Pi's fingers tremble as he writes in his manual, the tiny cramped letters barely legible, every white surface of the page covered. PI (WRITING - V.O.) Everything mixed up, fragmented. Can't tell daydreams, night dreams from reality anym -- The lead in his tiny stub of a pencil runs out, worn to a nub of wood. Pi slowly puts down his pencil, brooding.148 EXT. THE LIFEBOAT - DAY 148 Pi lies on the tarp, his position nearly unchanged, beating a drum rhythm on the hull, a wreck of conflicted thoughts and frayed nerves. We hear a distant rumble of thunder. Pi raises his head. Dark thunderclouds rise up over the horizon blackening the heavens. Another rumble of thunder, this one closer. PI Storm! Storm, Richard Parker!149 EXT. LIFEBOAT - DAY 149 Pi takes down the canopy on the raft. Pi begins quickly stowing his gear in the storage bench, beneath the tarp. Richard Parker flees to the safety of his den under the tarp. As Pi stows gear, he remembers his manual and takes it out from his waistband. 58. The storm front sweeps across the ocean in a squall line, high winds and rain striking Pi and the lifeboat with tremendous force. The manual slips from his hands and Pi is knocked off his feet and into the water. He lifts his head out of the water in time to watch the manual flying off into the storm. PI No! The manual is gone. Pi ties himself to the lifeboat with a rope from the raft.150 EXT. LIFEBOAT - DAY 150 a stunning display of clouds and lightning fills the sky, as Pi looks on in awe. The sky lights up, a vivid white splinter of lightning crashing down from the sky, puncturing the water near the lifeboat. The water is shot through with what looks like the white roots of an enormous celestial tree; the clap of thunder is tremendous. PI Praise be to God, Lord of All Worlds, the Compassionate, the Merciful! A wave washes Pi off of the tarp and onto the floor of the boat. Pi climbs onto the bench. He looks up in wonder at the sky, overwhelmed by the magnificence of the roiling clouds. PI (CONT'D) It's beautiful... Where are you, Richard Parker? You have to see this! Another angle: he begins unbuttoning the tarp, calling excitedly to Richard Parker. PI (CONT'D) Come out Richard Parker! Come see the hand of God! Pi continues to unfasten the tarp. PI (CONT'D) Don't hide yourself! He's come to us! It's a miracle! A huge wave envelopes the lifeboat, submerging the craft completely - and then the boat pops to the surface like a cork. Pi resumes opening the tarp. He tears it aside, exposing the terrified animal to the storm. 59. PI (CONT'D) COME OUT AND SEE GOD RICHARD PARKER! The sky lights up all around them. The tiger begins roaring, pawing at the air, eyes wide, crazed with fear. Pi turns to face the storm. PI (CONT'D) WHY ARE YOU SCARING HIM! I'VE LOST MY FAMILY - I'VE LOST EVERYTHING! I SURRENDER! WHAT MORE DO YOU WANT? A wave washes Pi overboard, and the raft comes crashing down on top of the lifeboat, then slides away. Pi climbs back on board. He lies on the bench, coming to his senses, realizing the extent of the danger they face. He sees Richard Parker cowering miserably at the stern. PI (CONT'D) I'm sorry Richard Parker! Pi crawls to the bow in time to see the raft, no longer tied to the lifeboat, drifting away. Pounded by rain and surf, he works his way around the edge of the boat, re-hooking the tarp to tarp hooks. With only four left unfastened along one side, he pulls himself under the tarp.151 INT. THE LIFEBOAT, UNDER THE TARP - CONTINUOUS 151 Thunder, rain and surf hammer the tarp from above; Pi pulls himself under the tarp. Richard Parker's grunts and labored breathing can be heard, but man and beast are only fully visible when lightning strikes, Pi trying to stay as far away from the tiger as he can manage. Before long the boat is tossing Pi and the tiger as though in a washing machine, the two helplessly colliding with one another, Pi choking as water splashes in.152 EXT. THE LIFEBOAT - DAY 152 Pi wakes in the sloshing water under the tarp. Sunlight filters in from above. The storm has passed. Richard Parker lies listlessly in the side bench. Pi climbs out of the waterlogged hull. A double rainbow pierces majestic clouds, the sun breaking through.153 EXT. THE LIFEBOAT - DAY 153 The gentle sound of water lapping at the side of the lifeboat; the breeze rattling the tarp. Time has passed; 60. life on the boat has grown tougher for Pi, his supplies more meager, since the raft was lost. Pi lies in the bow, exhausted, delirious. He pulls himself upright, takes a drink of water and looks around, confused. Richard Parker lies in the stern of the boat, severely emaciated, his coat dull, his eyes clouded. Shivering, Pi uses the last of his strength to drag himself over to the tiger. The animal's body is curled, his tail flat. Some of his fur has fallen away from his shoulders and haunches. He's a skeleton in an oversized bag of fur. Pi reaches out to place a hand on the tiger. He gently touches him on one spot. PI We're dying, Richard Parker. I'm sorry. Pi sits and places the tiger's head on his lap. PI (CONT'D) Amma, Appa, Ravi - I'm happy I'm going to see you soon. (Pause) Can you feel the rain? Richard Parker raises his head slightly; his tail twitches. PI (CONT'D) God, thank you for giving me my life. I'm ready now.158 EXT. THE LIFEBOAT/THE ISLAND - DAY 158 Pi lies, unconscious, in the bow of the lifeboat. Waves lap at the sides of the boat, which presses against the shore of an island. A gust of wind blows across Pi's face, tousling his hair. Pi gradually opens his eyes. A beat. He tips his head back. Pi's POV - above and behind him, the tops of trees. Pi turns, looking at the island, amazed. The trees have a pale bark with an amazing profusion of leaves, their color burning with a neon-like intensity. There is no sand; instead the ground is an intricate, tightly webbed mass of tube- shaped seaweed, about two fingers in diameter. Pi turns to look back to the stern; he calls under the tarp. PI Richard Parker? 61. Pi rises, stepping out of the boat. The seaweed is rubbery - uncertain ground. His legs are wobbly. He hooks the gaff on a root and falls to the ground. Pi tears up a piece of the seaweed and examines it. He takes an experimental bite. Soon he's grabbing handfuls of the seaweed, eating as fast as he can. Pi climbs the ridge on unsteady legs. A forest comes into view with nearly symmetrical ponds dotting the island here and there, many of them reaching 40 feet in diameter. Half the island seems to be covered with meerkats - thousands of them standing together in groups all over the island. The moment the first of the meerkats notices Pi, it turns and stands on its hind legs - and the others immediately follow suit. EXT. THE ISLAND - DAY Pi walks slowly forward, taking in the meerkats and the island. Gradually, the meerkats return to all fours - their squeaking and barking noises coming and going in waves throughout the herd. They pay him so little attention that Pi has to shove them aside with his legs in order to walk. PI Excuse me... Go on, move! Pi walks beyond the throng of meerkats toward a pond, pausing to examine the fish bones that litter the edge of one of the ponds. The edge is steep; he gets too close, slips down the side and into the water. Pi tastes the water. He begins a gentle, blissful breaststroke across the pond. Pi hears a commotion. He lifts himself up to peer over at the meerkats. In the distance, Richard Parker blazes a trail through the meerkats, catching, pinning and eating as many as he can. Pi smiles, watching the tiger. LATER:164 EXT. THE TREE - SUNSET 164 Pi sits cradled in a nest of branches, rigging a hammock. As the last rays of the sun disappear, he hears a commotion below on the island and pushes aside branches to see better. The meerkats are abandoning the ponds, scurrying up onto land and running for the forest, their collective stampede noisier than a herd of elephants. Richard Parker, in the meantime, runs for the shoreline, scrambling down the ridge as fast as possible and leaping into the lifeboat. 62. The trunk beneath Pi is swarmed as meerkats settle upon all the branches in the tree. Several invade Pi's hammock, sitting on him, climbing over him, making themselves comfortable at his expense. PI Hey! Hey! Hey c'mon. Hey! Hey-get away. This is my bed! Pi shoves them off as best he can and settles in for the night.165 EXT. UP IN THE TREE - NIGHT 165 Pi sleeps, nestled in the branches of the tree. Meerkats snore - at least one of them in the branches beneath Pi does. Pi wakes up, staring grumpily into the darkness at the noisy offender. He is amazed to discover that what he can see of the island from his perch is bioluminescent. The leaves of the tree around him and the seaweed below all glow in gentle greens, while the ponds beneath seem to shimmer like liquid silver - it is a scene at once beautiful and threatening. Pi hears a burbling noise coming from the pond at the center of the tree. He looks down; fish bubble to the surface. One of the larger fish writhes in agony at the surface before falling still along with the others. Pi watches as the water below begins churning with the bodies of the dead fish, the surface of the water aswirl with the flash of fins - then gradually the fish begin to disappear, as though slowly dissolving in the water. Pi stares at the mysterious pool, then looks out over the island to where the lifeboat is anchored along shore - Richard Parker is visible, sitting in the boat, staring up at the island.166 EXT. THE LIFEBOAT - NIGHT 166 CLOSE ON RICHARD PARKER staring into the night.168 EXT. LIFEBOAT - NIGHT 168 WIDE ANGLE - looking over the tiger's shoulder, taking in the entire island. From this distance, it looks - and sounds - as though the island is gently expanding and contracting with the tides... as though it is breathing. 63.169 EXT. UP IN THE TREE - NIGHT 169 Pi notices fruit growing on one of the branches above his head. He looks around at the rest of the tree, but the fruit only seems to grow along the one branch. Pi plucks one of the fruits and examines it. Each stem that he pulls causes a leaf to peel off. He reaches the center of the ball, peeling back the last of the leaves, to reveal a tooth. FLASH FORWARD TO:170 INT. PI'S HOME, MONTREAL - LATE AFTERNOON 170 WRITER It was human tooth? ADULT PI Don't you see, the island was carnivorous. WRITER Carnivorous? Like... a Venus flytrap? ADULT PI Yes, the whole island - the plants, the water in those pools, the very ground itself. During the day, those pools held fresh water, but at night, some chemical process turned the water in those pools into acid - acid that dissolved those fish, that sent the meerkats scurrying into the trees and Richard Parker running to the boat. WRITER But where did the tooth come from? ADULT PI Years ago, some poor fellow just like me must have found himself stranded on that island.... And like me he thought he might stay there forever. But all that the island gave him by day, it took away again by night. To think - how many hours spent with only meerkats for company? How much loneliness taken on? (MORE) 64. ADULT PI (CONT'D) All I know is that eventually he died, and the island digested him, leaving behind only his teeth. I saw how my life would end if I stayed on that island. Alone and forgotten. I had to go back to the world, or die trying.171 EXT. ISLAND/LIFEBOAT - DAY 171 Pi loads the boat with water and meerkats; the tarp is piled high with roots and seaweed. ADULT PI (V.O.) I spent the next day preparing the boat. I filled my stores with fresh water, ate seaweed until my stomach could take no more, and brought as many meerkats as I could fit into the storage locker for Richard Parker. I couldn't leave without him, of course - it would mean killing him. And so I waited for his return. I knew he wouldn't be late. He blows his whistle, calling: PI RICHARD PARKER!172 EXT. THE ISLAND/LIFEBOAT - SUNSET 172 Richard Parker runs down the ridge and jumps into the stern. Pi climbs aboard and shoves off. CUT TO:173 EXT. OCEAN NEAR ISLAND - LIFEBOAT - SUNSET 173 Pi and the tiger watch as the island recedes into the distance, lit by the late afternoon sun. PI (V.O) No one has ever seen that floating island since; you won't read about those trees in any nature book. And yet if I hadn't found those shores, I would have died. And if I hadn't discovered that tooth, I would have been lost, alone forever. (MORE) 65. PI (V.O) (CONT'D) Even when God seemed to have abandoned me, He was watching. Even when He seemed indifferent to my suffering, He was watching. And when I was beyond all hope of saving, He gave me rest, then gave me a sign to continue my journey.177 EXT. THE MEXICAN COAST/THE JUNGLE - DAY 177 Pi leans over the side of the lifeboat. He falls overboard. We follow him underwater, his feet - hit a sandy bottom. ADULT PI (V.O.) By the time we reached the Mexican shore, I was afraid to let go of the boat. My strength was gone. I was so weak. I was afraid that in two feet of water, so close to deliverance, I would drown. I struggled to shore and fell upon the sand. It was warm and soft, like pressing my face against the cheek of God. And somewhere two eyes were smiling at having me there. An empty coastline, nothing but sand, rocks and jungle. Pi struggles to bring the lifeboat ashore. Richard Parker is hiding under the tarp, nowhere to be seen. Pi pulls the painter line until the boat is on the beach, then collapses on the sand.177 EXT. THE MEXICAN COAST/THE JUNGLE - DAY 177 Pi collapses on the beach. He hears Richard Parker coming a moment before he sees him; Pi turns, looking up as the tiger jumps over the boy, stretching in the air above him and landing in the water ahead of him. ADULT PI (V.O.) I was so spent I couldn't move. And so Richard Parker went ahead of me. Richard Parker walks along the beach, his gait clumsy and uncoordinated from so much time spent at sea. ADULT PI (V.O.) He stretched his legs and walked along the shore. 66. Richard Parker stops, staring ahead into the forest, his back to the boy. Pi watches the tiger from behind, Richard Parker's ribs gently rising and falling as he smells the jungle air. ADULT PI (V.O.) At the edge of the jungle, he stopped. I was certain he was going to look back at me, flatten his ears to his head, growl - that he'd bring our relationship to an end in some way. But he just stared ahead into the jungle.178 INT. PI'S HOME, DINING ROOM, MONTREAL - SUNSET 178 On Adult Pi alone: ADULT PI And then Richard Parker, my fierce companion, the terrible one who kept me alive, disappeared forever from my life.181 EXT. THE MEXICAN COAST/THE JUNGLE - DAY 181 Pi lies on the sand a few yards from the water. A group of six MEXICAN LOCALS hurry down the beach to him. ADULT PI After a few hours, a member of my own species found me. He left and returned with a group who carried me away. Pi sobs uncontrollably as they carry him to safety. ADULT PI (V.O.) (CONT'D) I wept like a child, not because I was overwhelmed at having survived, although I was. I was weeping because Richard Parker left me so... unceremoniously. It broke my heart.174 INT. PI'S HOME - DINING ROOM - MONTREAL - NEAR SUNSET 174 It is near sunset, the light from the windows casting theroom in a golden hue - the same lighting we have just seen as Pi was leaving the island. 67. ADULT PI You know, my father was right. Richard Parker never saw me as his friend. After all we'd been through, he didn't even look back. But I have to believe that there was more in his eyes than my own reflection staring back at me. I know I felt it - even if I can't prove it. I just wish... (Beat. He sighs.) You know, I've left so much behind. My family, the zoo, Anandi, India - I suppose in the end the whole of life becomes an act of letting go. But what always hurts the most is not taking the moment to say goodbye. I was never able to thank my father for all I learned from him, to tell him that without his lessons I would never have survived... And I know he's a tiger, but I wish I'd said: 'It's over. We've survived. Thank you for saving my life. I love you, Richard Parker. You will always be with me. May God be with you.'The Writer shakes his head, astonished. WRITER I don't know what to say. ADULT PI Hard to believe, isn't it?A pause as the writer decides how to respond. WRITER It is a lot to take in, to figure out what it all means. ADULT PI If it happened, it happened. Why should it have to mean anything? WRITER Well, some of it is pretty incredible.Pi nods - a half-smile - then rises, crossing to thebookshelf. 68. ADULT PI I was the only one who survived the shipwreck, so the Japanese shipping company sent two men to talk to me in the Mexican hospital where I was recovering. I still have a copy of their report. Pi takes a tattered notebook out of the bookcase. ADULT PI (CONT'D) They had insurance claims to settle, and they wanted to find out why the ship sank. They didn't believe me either. Pi hands the notebook to the Writer. On top, there is a newspaper article with the headline "BOY RESCUED: 227 DAYS IN THE PACIFIC." The Writer unclips the article, revealing the insurance report beneath. We hear Okamoto's first line over the report.A175 INT. INFIRMARY - MEXICO, 1978 - DAY A175 OKAMOTO Thousands of meerkats? On a floating carnivorous island? And no one has ever seen it? YOUNG PI Yes. Just like I told you. CHIBA Bananas don't float. OKAMOTO (In Japanese:) Why are you talking about bananas? CHIBA You said the orangutan floated to you on a bundle of bananas. But bananas don't float. OKAMOTO (In Japanese:) Are you sure about that? YOUNG PI Of course they do. Try it for yourself. 69. OKAMOTO In any case, we are not here to talk about bananas or meerkats. YOUNG PI I've just told you a long story. I'm very tired. OKAMOTO We're here because a Japanese cargo ship sank in the Pacific. YOUNG PI Something I never forget. I lost my whole family.Pause. OKAMOTO (In Japanese:) Get him some water. (In English:) We don't mean to push you. And you have our deepest sympathies. But we've come a long way. And we're no closer to understanding why the ship sank. YOUNG PI Because I don't know. I was asleep. Something woke me up. It may have been an explosion; I can't be sure. And then the ship sank. What else do you want from me? CHIBA (OFF) A story that won't make us look like fools. OKAMOTO We need a simpler story for our report. One our company can understand. A story we can all believe. (Chiba gives Pi a glass of water.) YOUNG PI So.... a story without things you never seen before. OKAMOTO That's right. 70. YOUNG PI Without surprises. Without animals or islands. OKAMOTO Yes. The truth.B175 INT. PI'S HOME, MONTREAL - DAY B175 WRITER So what did you do? ADULT PI I told him another story. Four of us survived... YOUNG PI (V.O. - OVERLAPPING) Four of us survived...C175 INT. INFIRMARY, MEXICO, 1978 - DAY C175 YOUNG PI ...The cook and the sailor were already onboard. The cook threw me a lifebuoy and pulled me aboard. Mother held onto some bananas and made it to the lifeboat. The cook, the cook was a disgusting man. He ate a rat. We had food enough for weeks, but he found the rat in the first few days - and he killed it, and dried it in the sun and ate it. He was such a brute, that man. But he was resourceful. It was his idea to build the raft to catch fish. We would have died in those first few days without him. The sailor was the same man who brought rice with gravy, the Buddhist. We didn't understand much of what he said, only that he was suffering. I can still hear him - the happy Buddhist who only ate rice with gravy. He had broken his leg horribly in the fall. We tried to set it as best we could, but the leg became infected and the cook told us we had to do something or he'd die. The cook said he'd do it, but mother and I had to hold the man down. And I believed him - we needed to do it. (MORE) 71. YOUNG PI (CONT'D)So... I kept saying, "I'm sorry, I'msorry", but he just kept.. lookingat me, his eyes so... I'll neverunderstand the point of that man'ssuffering. We didn't save him, ofcourse. He died. The morning after,the cook caught his first dorado,and I didn't understand what he'ddone at first, but Mother did, andI'd never seen her so angry. 'Stopwhining and be happy,' he said. "Weneed more food or we'll die. Thatwas the whole point.' 'What was thepoint?' Mother asked. "You let thatpoor boy die in order to get bait?You monster!' The cook got furious.He started towards her with hisfists raised, and Mother slappedhim hard, right across the face. Iwas stunned. I thought he was goingto kill her right then. But hedidn't. The cook didn't stop atbait either, no. The sailor, hewent the same way the rat went -the cook was a resourceful man. Itwas a week later that he... Becauseof me. Because I couldn't hold ontoa stupid turtle. It slipped out ofmy hands and swam away and the cookcame up and punched me on the sideof the head and my teeth clackedand I saw stars. I thought he wasgoing to hit me again, but thenMother started pounding on him withher fists and screaming, "MONSTER!MONSTER!" She yelled at me to go tothe raft - "Nee poda!" I thoughtshe was coming with me or I'd neverhave... I don't know why I didn'tmake her go first. I think aboutthat every day. I jumped over andturned back just as the knife cameout. There wasn't anything I coulddo; I couldn't look away... Hethrew her body overboard. Then thesharks came. I saw what they... Isaw. The next day I killed him. Hedidn't even fight back. He knew hehad gone too far, even by hisstandards. He'd left the knife outon the bench. And I did to him whathe did to the sailor. He was suchan evil man, but worse still, hebrought the evil out in me. (MORE) 72. YOUNG PI (CONT'D) I have to live with that. I was alone in a lifeboat, drifting across the Pacific Ocean. And I survived.176 INT. PI'S HOME - DINING ROOM - MONTREAL - SUNSET 176 ADULT PI After that, no more questions. The investigators didn't seem to like the story, exactly - but they thanked me, they wished me well, and they left. Pause. The Writer speaks his thoughts aloud as the realization strikes. WRITER So... the stories... Both the zebra and the sailor broke their leg. And the hyena killed the zebra and the orangutan. So ... the hyena is the cook. And the sailor is the zebra, mother is the orangutan... and you're... the tiger. ADULT PI Can I ask you something? WRITER Of course. ADULT PI I've told you two stories about what happened out on the ocean. Neither explains what caused the sinking of the ship, and no one can prove which story is true and which is not. In both stories, the ship sinks, my family dies, and I suffer. WRITER True. ADULT PI So which story do you prefer? WRITER The story with the tiger. That's the better story. 73. ADULT PI (Heartfelt:) Thank you. And so it goes with God. WRITER (Pause. He looks up.) Mamaji was right. It is an amazing story. Will you really let me write it? ADULT PI Of course. Isn't that why Mamaji sent you here, after all?They hear a car pulling into the alleyway alongside thehouse. ADULT PI (CONT'D) My wife is here. Would you like to stay for dinner? She's an incredible cook. WRITER I didn't know you had a wife. ADULT PI And a cat, and two children. WRITER So your story does have a happy ending. ADULT PI Well, that's up to you. The story's yours now.The Writer smiles. Outside, car doors slam; we hear voices asPi's wife and children cross around to the front. Pi risesand moves to the door. The Writer glances one final time atthe report. He flips the page and hesitates, reading the lastfew lines aloud. WRITER (Reading:) "Mr. Patel's is an astounding story of courage and endurance unparalleled in the history of shipwrecks. Very few castaways can claim to have survived so long at sea, and none in the company of... (He looks up at Pi) ...an adult Bengal tiger." 74. PI (Off:) We have a guest. Let me introduce you... THE WRITER stands and faces Pi. We see his POV - on Pi, holding his daughter in arms, surrounded by his family, smiling... DISSOLVE TO:183 EXT. THE MEXICAN COAST/THE JUNGLE - DAY 183 YOUNG PI'S POV of Richard Parker from behind as he stares into the jungle, the tiger's ribs gently rising and falling as he smells the jungle air - and then he walks forward and disappears into the swaying trees. The moment that the tiger is out of view, all the color drains out of Pi's world; his view of the trees loses all dimension and fades to black and white as we... FADE TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Life.txt b/unformated_scripts/Script_Life.txt new file mode 100644 index 0000000000000000000000000000000000000000..528bc0564a2a578634451d26f41d61fb5022b788 --- /dev/null +++ b/unformated_scripts/Script_Life.txt @@ -0,0 +1 @@ + "LIFE" Screenplay by Robert Ramsey and Matthew Stone SHOOTING DRAFT 1999 FADE IN: EXT. PRISON CEMETERY -- DAY A handful of people are gathered in an open field under a fierce Mississippi sun. A couple of young inmates, JAKE and LEON, lean on their shovels. They are waiting to bury two identical CASKETS with inmate numbers stenciled on the pinewood lids. A GUARD rests the butt of his rifle on the ground and takes a long, healthy pull from his canteen. He offers it to the PRISON CHAPLAIN, who is much obliged. SUPERINTENDENT BILL BURKE, a 40-year-old black man, glances at his watch and loosens his tie. Sure is hot. MARY HUMPHRIES, an elderly white woman in a nurse's uniform, stands behind WILLIE LONG, an ancient inmate sleeping peacefully in a wheelchair. She readjusts an umbrella to shield the old black man from the blistering sun. Burke dabs his forehead with a handkerchief. He gives the nod to the chaplain, who steps forward and cracks his bible. The men remove their hats. CHAPLAIN In accordance with the regulations of the State of Mississippi, we gather here today to lay to rest the remains of inmates R. Gibson, number 4316, and C. Banks, number 4317. Ashes to ashes, dust to dust. May God have mercy on their souls. BURKE Go ahead, fellas. The young inmates plunge their shovels into the dirt. One by one, the mourners head back toward a prison van parked on a nearby dirt road. NURSE HUMPHRIES I'll come back for you in a little while, Willie... She leaves Willie alone with Jake and Leon. He rolls his chair up to the edge of the graves and gazes at the pinewood caskets. JAKE These two guys friends of yours, old man? WILLIE We spent some time together. LEON Why do I get the feeling when you say some time, you mean some time. WILLIE I was already here a good many years when they came in in 1932. LEON 1932? That's like, that's like... WILLIE Sixty-five years ago. They always said the farm couldn't hold 'em forever. Looks like you're finally free, boys. Willie pulls a bottle of moonshine from his jacket and takes a swig in their honor. JAKE Hey, the dude's holdin'. LEON Come on, old-timer, hook the brothers up. Willie passes the bottle to Leon, who takes a swig and winces from the unexpected kick. LEON Hell of a way to get out. Heard they burned up in that fire yesterday. JAKE I seen the bodies before they sealed 'em up. Them fellas sizzled up good. Looked like some shit from the X- Files. (taking a swig from the bottle) Damn, that shit's nasty. WILLIE Ray's special recipe. He always had exacting standards where the hooch was concerned. LEON What were they, bootleggers? Willie holds up the bottle, checking the clarity of the liquor. WILLIE Something like that. MATCH CUT TO: EXT. SPANKY'S BACK ALLEY (1932) -- NIGHT RAY GIBSON holds up a similar bottle of liquor to a light over a door. Music comes from within. He takes a swig and stashes the bottle in his belt. He adjusts his tie, polishes his shoes on the back of his pants and raps on the door. INT. SPANKY'S -- NIGHT The speakeasy is jumping, jammed with people. Up on stage a hot JAZZ BAND is playing backup for a seductive CHANTEUSE. Well-heeled PATRONS enter through doors near the stage. In the back, at the end of a long hallway, a BOUNCER cracks open the door and Ray squeezes inside. BOUNCER Oh, no, Ray. Not tonight. Spanky's not happy with you. RAY Is Spanky here? BOUNCER No, but... RAY Then what's the problem? BOUNCER Do yourself a favor and find another place where they let you in the front door. RAY But this is where the action is and I have to be where the action is. Look, when your old lady wanted those alligator shoes, didn't I come through for you? Ain't she stepping in style now? BOUNCER Yeah... RAY Well, alright then. What do you think about this new tie? BOUNCER Sharp. RAY I look good tonight. And I feel lucky, too. Ray heads inside. BOUNCER Anyone asks, it wasn't me who let you in. Ray slides through the crowd, pausing at the bar to nibble on the neck of a COCKTAIL WAITRESS. COCKTAIL WAITRESS Don't even try it. RAY When do you get off? COCKTAIL WAITRESS I get off at two, but you ain't never getting off. She carries a tray of drinks into the crowd. Ray shakes his head in wonderment at her departing form. The BARKEEP steps up as Ray pulls out his bottle. BARKEEP You can't drink that in here, Ray. RAY I sure can't drink that watered-down swill you're serving. Give me a glass of ice. BARKEEP I can't give you a glass of ice. I can't give you anything until you pay your damn tab. Disregarding the warning, Ray tilts the bottle back. Shaking his head, the barkeep moves on to a paying customer. Ray's eyes follow a bottle of French Champagne as it is delivered to a nearby table. Here sits the straight-laced CLAUDE BANKS with his girlfriend, DAISY. She's enjoying the show. He's polishing the silverware. The WAITER pours two glasses of champagne and leaves the bottle on ice. Claude regards his glass skeptically. CLAUDE For the kind of money they charge here, you'd think they could hire somebody to actually wash the dishes. DAISY Claude. Here's to your new job down at the bank. I always knew you'd make something of yourself. CLAUDE Know what I'm going to buy with my first pay check? Daisy thinks she does. She leans in, eyes twinkling. CLAUDE Season tickets to the Yankees. Right there on the first base line. (off her disappointment) What's wrong, baby? DAISY I was hoping you were gonna say an engagement ring, Claude. French Champagne shoots out of Claude's nose. CLAUDE Engagement ring! DAISY That's what respectable folks do. Get a job, get married, start having babies. That's what you want, isn't it? CLAUDE Sure it is. I just don't see any reason to rush into things. Damn, look at this shirt. I'll be right back. Claude leans in to kiss Daisy on the lips. She offers her cheek. He departs. OVER BY THE BAR Ray watches Claude make a beeline for the men's room. INT. MEN'S ROOM -- NIGHT Claude steps into the bathroom and approaches the sink. A big hand falls on his shoulder and yanks him backwards into a stall... INT. STALL -- NIGHT Claude is shoved down on the toilet by two BAG MEN in suits. Suddenly, it's crowded in here. BAG MAN #1 Congratulations, Claude. We understand you finally got yourself a job. BAG MAN #2 Guess that means you can pay Mr. Riley the fifty bucks you owe him. They rifle through Claude's jacket and quickly find his wallet. CLAUDE Now wait a second, guys. I've got a bill to pay out there. BAG MAN #1 Twenty-two dollars. Not bad for a start. They toss back his empty wallet. CLAUDE Come on, fellas, that's two weeks pay. I'm here with my girl. You gotta leave me something. BAG MAN #2 How about your legs? CLAUDE My legs? Those are good, I'll keep the legs... The stall door swings shut as the bag men depart. INT. SPANKY'S -- NIGHT On his way into the Men's Room, Ray squeezes past the bag men on their way out. INT. MEN'S ROOM -- NIGHT Glancing around, Ray spots Claude's feet under the stall door. He steps up to the sink, washes his hands and takes a towel from the ATTENDANT. Scanning the assortment of grooming products, he selects a bottle of cologne and takes a sniff. RAY (displeased) You have any of that French stuff? As the attendent bends down to retrieve a bottle of the good stuff, Ray palms a coin from the tip basket. ATTENDENT Here you go. Ray offers the quarter, a gesture of uncommon generosity. RAY Keep the change. ATTENDENT Why, thank you, sir! Ray pats the cologne on his face. A toilet flushes and Claude steps over to the sink. Ray catches his eye in the mirror. RAY Don't I know you? CLAUDE I don't think so. RAY Sure I do. What's your name again? CLAUDE Claude Banks. RAY Claude Banks. How could I forget that? You've got to remember me. Ray Gibson. We went to high school together. CLAUDE You went to Monroe? RAY (beaming) That's right! Good old Monroe... Ray throws his arms around Claude, deftly snatching his wallet. Claude extracts himself from Ray's embrace. CLAUDE Well, I went to Jefferson, so you must have a different Claude Banks in mind. Claude straightens his jacket and heads for the door. Ray stashes the stolen wallet in his jacket. RAY Sorry, man. My mistake. INT. SPANKY'S -- NIGHT On the stage, the chanteuse has downshifted into a sultry number about back-door lovers and broken dreams. Ray steps out of the men's room and is instantly collared by BULLETHEAD, a man who makes his living being large and threatening. RAY Watch the threads, Bullethead. If this is about my tab, I've got it covered. Pressed up against the wall, Ray reaches into his jacket and produces Claude's wallet. Bullethead snatches it, inspects it and is not impressed. BULLETHEAD This ain't about your tab, Ray. You've got bigger problems than that. He stuffs the wallet back into Ray's jacket and hustles Ray out the back door past the bouncer who let him in. BOUNCER Is that Ray Gibson? Who the hell let him in here? BACK AT CLAUDE'S TABLE Claude returns to the table where Daisy is sipping champagne. He takes the glass out of her hand. CLAUDE Come on, honey, let's get out of here. DAISY But I'm having a good time... WAITER Excuse me, sir, I believe you forgot this. The waiter presents Claude with the bill. CLAUDE The bill. Of course, the bill. We couldn't leave without paying the bill. Especially such an incredibly large bill. INT. VAN -- NIGHT Claude is shoved into the back of the van and the doors are slammed behind him. He bangs and shouts, but it's no use. RAY Save your energy, Claude. You're gonna need it. Ray is stretched out against the back wall. Claude is knocked to the floor as the van lurches into motion. RAY Here, this belongs to you. (tossing Claude his wallet) It was empty when I found it. CLAUDE Good old Monroe. Ray swigs from his bottle and offers it to Claude, who isn't interested. RAY What I want to know is what happened to your cush between the time that you got up from the table and when I caught up with you in the Johnny? CLAUDE I don't see where that's any of your business. RAY Did those two muscle heads shake you down? Swear I've seen them down at the track with Sure-shot Riley. That's it, ain't it? A gambling debt. Busted, Claude snatches the bottle and carefully wipes off the neck before tilting it high. Ray gets a good chuckle out of this straight cat in the bow tie. CLAUDE Where they taking us, anyway? RAY Probably to Spanky's headquarters down at the pier. CLAUDE Good, I'm looking forward to meeting this Spanky. Give me a chance to straighten out this whole mess. RAY I can't wait to see that. You slay me, man. EXT. PIER -- NIGHT The van pulls into a the loading bay of a warehouse at the end of a short pier on the Harlem River. INT. WAREHOUSE -- NIGHT Bullethead and a HENCHMAN pull Ray and Claude from the back of the van. They find themselves in a dark warehouse filled with crates of contraband. CLAUDE (sotto) What are they gonna do to us? RAY You? Dine and ditch, right? (Claude nods) Over ten bucks? (he nods again) You're probably looking at a thumb. CLAUDE A thumb? What do you mean, like cut it off? For ten bucks? (Ray nods) That include the tip? Claude shoves his hands under his armpits at the sound of approaching FOOTSTEPS echoing across the vast space. Claude and Ray peer into the darkness. SPANKY (from the darkness) You picked the wrong night to fuck with me, Ray. I just lost three men and a truck full of Canadian whiskey. You know what that kind of thing does to my business? It makes me want to lash out and hurt somebody. SPANKY JOHNSON emerges into the light. He uses a small silver spoon to take an ample snort of cocaine into each nostril. He glances at Claude. SPANKY Who's he? Friend of yours, Ray? CLAUDE I never saw this man before tonight. He's a lowlife degenerate who lurks in bathrooms. I'm a professional man, an upstanding citizen. I go to church on Sunday. SPANKY Then what are you doing here? BULLETHEAD Failure to pay. CLAUDE (rattled) Look, Mr. Johnson, you seem like a reasonable man. I got a good job starts Monday. I'll pay you back with my first pay check. With interest. I don't want to tell you how to conduct your business, but if you cut off my finger you won't get jack. Working an adding machine, I gotta be whole. (his fingers dancing over imaginary keys) I need my thumbs and all my fingers for praying and doing good... Spanky holds up a hand, silencing Claude. SPANKY The choirboy wants to keep his fingers. Who am I to argue? Drop him. CLAUDE Drop him? What does drop him mean? Claude protests loudly as Bullethead and the henchman bind his hands and feet. Spanky turns to Ray. SPANKY You gotta lotta balls showing your face around my club. If a man's gonna run numbers on my side of Broadway, you think he'd have the common sense to keep a low profile. But not Ray Gibson. The goons hoist Claude up on another pulley and dangle him head first over a hole in the floor. Several feet down, the Harlem River laps against the wooden pylons. CLAUDE No, not down there! That water's filthy! Help me out here, man! Shrugging, Ray pinches his nose and puffs out his cheeks. The goons release the rope and Claude plunges into the water. Spanky turns back to Ray. RAY You don't have to drown that fella, Spanky. You already scared him half to death. He didn't know who he was fucking with. SPANKY But you do. What does that say about you, Ray? What does that say about me? I've given you a lot of leeway over the years on account of your father. But he didn't last long enough to teach you the meaning of the word respect so I guess I'm gonna have to school you myself. RAY Come on, Spank, I'm just trying to get by here. You remember how it was when you were starting out. The henchman yanks on the rope. Claude emerges from the hole, gasping for breath. CLAUDE I was supposed to wear this suit on Monday! The henchman releases the rope, sending Claude back into the water. Ray reaches into his jacket. Bullethead pulls a gun and presses it into Ray's temple. Ray gives him a look and cautiously pulls out his bottle. SPANKY What's that, some of your bathtub brew? RAY Puerto Rican rum. See for yourself. Ray tosses him the bottle. Spanky uncorks, sniffs, samples the goods. He's impressed. SPANKY Where'd you get this? RAY Comes up the Mississippi. I can get more. A lot more. I was thinking about going into business for myself, but under the circumstances, I'd be willing to take on a partner. Once again, the henchman yanks on the rope and Claude comes up sucking air desperately. He releases the rope, submerging Claude for a third time. SPANKY I'm interested. Keep talking. RAY All I need is the front money and a truck. I could be back in two, three days tops if I had somebody to share the driving. Spanky considers the terms. Can he afford to trust Ray? Can he afford not to? SPANKY If you fuck me on this one, I'll spare no expense. RAY Understood. SPANKY Alright, Ray, you've got a deal. Pick your man and get going. Ray glances around. The pulley rope is still twitching in the water. RAY I'll take the little choirboy, if you don't mind. SPANKY If I was you, I'd want somebody who can handle himself in a tight spot. RAY I just want somebody who won't put a bullet in my back once the truck is full. Spanky sees Ray's point. He nods to the henchman, who hoists Claude's limp body out of the water and onto the cement. Spanky plants a foot on Claude's chest and applies pressure. A geyser of Harlem River water shoots from Claude's mouth as he sputters back to life. SPANKY For your sake, I hope you can drive. Somebody give him some dry clothes. CUT TO: THE SPINNING WHEEL OF A TRUCK The CAMERA MOVES UP the side of the old Ford truck to find Claude sitting pensively in the passenger seat. INT. TRUCK (MOVING) -- NIGHT Ray palms the wheel. RAY Tell me about that hot sketch you were hypin' last night. She was a choice bit of calico. You two been seeing each other a long time? Gonna slap the handcuffs on her and stroll down the aisle one of these days? Tight-lipped, Claude shifts in his seat. RAY Sometimes I wish I could find me a sheba to settle down with. Suppose I'm just a tomcat by nature. (trying to fill the silence) This little rum run is gonna seriously improve my relationship with Spanky. He's a good man to have on your side. He's got the capital and the connections. That's what you got to have in that business. Spanky's place is pretty plush, but one of these days I'm gonna open up my own establishment. Ray's Boom-Boom Room. You like that? Ray's Boom-Boom Room. That's in the groove, don't you think? If Claude does like it, he's not letting on. RAY Come on, daddy-o. You haven't said a word since we started. Least you could do is make some friendly conversation. CLAUDE Look, man, I don't want friendly conversation. I don't want to be your friend. I've seen your friends and I don't like them. I just want to do this thing and get back to New York in time to start my job. RAY Start your job? What kind of job? CLAUDE Well, if you must know, bank teller at First Federal of Manhattan. I'm responsible for keeping track of hundreds, occasionally thousands of dollars. RAY That's some long green. CLAUDE Damn straight, it is. I got my own set of keys because I'm supposed to open up. So if I ain't there 8 a.m. Monday morning, there's gonna be hell to pay. Beat of silence. Ray laughs to himself. CLAUDE What? RAY Nothing. CLAUDE No, tell me what's so funny. RAY I don't know. Bank teller. Sounds like ladies work to me. CLAUDE Well, maybe I should dig around in other people's clothes for money. It's obviously been highly successful for you. RAY Hey, you'd be surprised what you find in other people's pockets. Just gotta avoid them deadbeat bank tellers. Get you every time. CLAUDE I didn't start out to be a bank teller. I was gonna be a ballplayer. Even had an offer to play short for the Newark Eagles. RAY Why didn't you take it? CLAUDE The Negro League don't pay so good. And you're always on the road. That don't wash with Daisy. RAY You gave up baseball to be a bank teller? I can't latch on to that. CLAUDE At some point a man's got to get serious about his future. I'm sure you have no idea what I'm talking about. RAY You're talking about giving up baseball to be a bank teller. CLAUDE Bank teller's just a start. I got plans. Real plans. Not opening some Zoom-Boom Room. This time next year I'll be a loan officer. RAY A loan officer? CLAUDE That's right, a loan officer. RAY So you mean, if I needed some jack to get my nightclub up and running, I'd have to hype some square like you? CLAUDE Uh-huh. Ray pulls out his pocket watch. A mechanical tune plays as he checks the time. RAY How would I get a loan, anyway? CLAUDE You need collateral. RAY (re: watch) Like this? CLAUDE That thing? Who'd you steal it from? RAY My daddy gave me this watch. CLAUDE Yeah? Who'd he steal it from? RAY My daddy is dead so watch your mouth. You can say what you want about me, but don't be dragging my daddy into it. This watch means the world to me. Solid gold. Keeps perfect time. CLAUDE Looks like a fake to me. Loan denied! Ray stuffs his daddy's watch back in his pocket. RAY Ah, go chase yourself. I'll take my business elsewhere. And for future reference, you are no longer welcome at Ray's Boom-Boom Room. CLAUDE There is no Boom-Boom Room. RAY When there is, you can forget about it. And I swear to God, you ever talk about my daddy again I'm gonna kick your bank-telling, loan-denying ass, you got me? CLAUDE Oooh... RAY I think I liked you better when you kept your trap shut. EXT. ROADSIDE DINER -- DAY The truck veers off the highway and jerks to a halt in front of the rundown establishment. INT. ROADSIDE DINER -- DAY A dozen WHITE FOLKS look up as Ray and Claude push through the door. RAY Man, something smells good in here. How's everybody doing? Nothing but sullen stares from all corners of the room. CLAUDE (sotto) Maybe we oughta find another place. RAY Are you kidding? Tell me you don't want a slice of that pie right over there. CLAUDE I must have left my appetite outside, which is where I think we ought to be right now. Claude tugs Ray towards the door but Ray won't be dissuaded. He boldly addresses a YOUNG MAN in an apron behind the counter. RAY Good evening, Billy. We'd like some coffee and a couple of slices of that homemade pie you've got advertised. BILLY How you know my name's Billy? RAY It says so right there on your shirt. BILLY (glancing down) That what that says? Billy's MAMA sets a piping hot pie on the back counter and steps up next to her son. She casts a disparaging glance at Claude's suit. MAMA If you boys can read so good, how come you missed that sign in the window? Claude considers the sign she's pointing to. CLAUDE You mean this sign? The one that says "No Coloreds Allowed." That's a good question. Ray, how come we missed the sign? RAY Look, ma'am, we've been driving all day. We'd just like to purchase one of those pies and we'll be on our way. MAMA Those are whites-only pies. RAY Got any nigger pies? Claude jabs him. CLAUDE Any fool could see those are whites- only, not-for-blacks, come-on-let's- get-the-fuck-outta-here pies. Thank you very much. Claude starts tugging Ray toward the door. RAY (sotto) Thanks for backing me up here, Uncle Claude. CLAUDE (sotto) Don't Uncle Claude me. You get a load of those crackers? Couldn't be a mouthful of teeth among the bunch of 'em. Why you want to pick a fight with people like that for? RAY You're soft. CLAUDE What'd you say? Diner patrons stare. RAY I said you're soft. CLAUDE Hey, man, don't ever call me that. RAY I call it like I see it, and what I see is definitely soft. Claude narrows his eyes. CLAUDE Alright. You want some pie? RAY Yeah, I want some pie. CLAUDE Okay then, I'm gonna walk over to that counter and get us some fucking pie. Resolved, Claude stomps over to the counter. CLAUDE Excuse me, ma'am, I bet a brick will turn that one right there into a colored pie. Claude lays down a dollar bill. Mama casually pulls a shotgun from under the counter. MAMA And I bet this right here will turn you into a colored pie. CLAUDE Okay, Ray, I think we can go now. Much obliged... Ray gives the whole place a cool once-over as Claude pulls him out the door. Mama turns to Billy, still studying the stitching on his shirt. MAMA Don't be concentrating so hard, baby. You're liable to seize yourself again. EXT. DOCKS -- NIGHT The truck rolls up to the waters edge. Ray kills the engine and flashes the lights twice. In the passenger seat, Claude is fast asleep. After a few moments, a FAT MAN appears, shining a flashlight into the cab. RAY How you doing? We're looking for Slim. SLIM You found him. Ray cocks an eyebrow. EXT. DOCKS -- NIGHT Under cover of darkness, a couple of MEN finish loading crates into the bed of the truck. Ray and Claude keep their eyes peeled for the law. Down by the river, they can see lights and hear music from a district of rowdy juke joints. SLIM steps up, wiping his hands. SLIM That's it, fellas. Thirty six cases of Puerto Rico's finest. At five bucks a case, that's $180. Ray pulls out a wad and slaps it in Slim's sweaty palm. The fat man starts counting it out. RAY Man, that music is hot. What goes on down there, Slim? SLIM That's Natchez-under-the-Hill. RAY Blacks welcome there? SLIM Green's the only color that matters under the hill. They got gambling, girls. You oughta check it out. RAY Maybe we will. Nice meeting you. Slim slips into the shadows. CLAUDE Nice meeting you? You've been here before, haven't you? RAY What gave you that idea? CLAUDE Oh, I don't know, maybe because our lives depend on it, I just sort of thought you knew what you were doing! RAY Don't get all agitated on me. I bought a bottle of rum from a couple of dudes, I heard 'em talking... CLAUDE Let me get this straight. We drove all the way down to Klan country 'cause you heard a couple of guys talking? RAY What are you complaining about? It worked out. Everything's cool. Now, come on, let's head down there and see what's shaking. We deserve a little reward. CLAUDE (dubious) Reward? RAY There are people down there having fun. I want to be one of them. I want you to be one of them. On Monday you can be a bank teller if you want, but tonight you're a bootlegger with a truck full of Puerto Rican rum and a fistful of cash. A look of excitement crosses Claude's face, but he quickly shakes it off. CLAUDE That's gas money. Exasperated, Ray stuffs a few bills into Claude's pocket. RAY There's your gas money. You stay here and watch the truck. And don't worry, I've got the keys. Left alone, Claude mutters and kicks at the dirt. He leans against the truck. UP AHEAD/EXT. JUKE JOINT -- NIGHT Ray emerges from the woods and heads down the hill toward the juke joint. Claude hustles up next to him. CLAUDE I'm just gonna keep an eye on you, make sure you don't do nothing stupid. INT. JUKE JOINT -- NIGHT A ramshackle den of iniquity on the banks of the Mississippi. The band is laying down some serious Delta blues, creating an inviting atmosphere for sin and moral corruption. On a far side of the room, Ray is playing poker with some LOCALS. He seems to be having a bad night. WINSTON HANCOCK, a formidable black man, sweeps in another big pot and puffs happily on his cigar. OVER AT THE BAR Perched on a stool, Claude shoots a dark look at Ray and motions for the door. Ray waves him off and returns to his game. Claude becomes aware of a soft, young female hand on his shoulder. SYLVIA I've never seen you in here before. CLAUDE (staring at the hand) That's because I've never been here before. SYLVIA I'm Sylvia. What's your name? Against his better judgement, Claude's gaze follows the long, slender arm up past a bare shoulder and settles on SYLVIA'S angelic face. He is struck dumb. SYLVIA Can't you remember your own name? CLAUDE I know it begins with a "C"... SYLVIA Well, Mr. "C", how about buying a girl a drink? (to the bartender) Two bourbons. CLAUDE I really shouldn't. I gotta keep an eye on my friend. SYLVIA He looks like he can take care of himself. The drinks arrive. She places a shot glass in Claude's reluctant hand. She winks provocatively and slowly pours the whiskey down her throat. Instinctively, Claude tosses back his shot. CLAUDE Claude. That's my name. Claude. That's never happened before. SYLVIA You're cute. You have any money, Claude? CLAUDE Ten dollars. But I need it to get home. SYLVIA Why would you want to go home? It's so early. The bartender refills their glasses. BACK AT THE POKER TABLE Winston considers his cards, hardly looking up as a WAITRESS lays down a cocktail napkin and sets a drink down on top of it. He glances at Ray, who casually considers his cards. RAY I'll take two. The dealer tosses Ray a couple of cards. INSERT -- Ray fans his cards to reveal a full house. After considering the other players at the table, Ray pushes what's left of his money into the center of the table. The three other PLAYERS fold with disgust. Winston squints long and hard at Ray, then pushes everything he has into the center of the table. WINSTON I'll see that... Winston reaches into his jacket and throws down some more money on the pile. WINSTON And while we're at it, let's sweeten the pot. RAY Looks like my sugar bowl's empty, Mr. Hancock. WINSTON (reaching for the pot) That's just too damn bad, ain't it? RAY Now, hang on, slick. I ain't through with you yet. Ray checks his cards again. He looks at the pot, it's a lot of money. With this hand, there's no way he can lose. He places his daddy's pocket watch on top of the pile. Winston checks the time piece. WINSTON That'll cover it. Ray lays down his hand. RAY Full boat, ladies doing the paddling. WINSTON Four threes. Ray sits back, stunned. Winston rakes in his winnings. The game is over for the night. The three other players head to the bar. WINSTON Don't take it too hard, New York. Have a round on me. Winston tosses a silver dollar to Ray, who snatches it out of the air. Winston drops his hat on his head and moves through the crowd and out the door. WAITRESS Can I get you something? Ray shakes his head. Carefully, she begins to clear the table. Suddenly, he grabs her wrist. Winston's glass tips over. Ray flips over the cocktail napkin to reveal an extra pile of cards. RAY Looks like he had a whole lot of nothing in his hand until you came along. WAITRESS (wrenching free) You're hurting my arm. EXT. JUKE JOINT -- NIGHT Ray dashes into the street, glancing both ways. No sign of Winston. Damn. EXT. BACK ALLEY -- NIGHT Winston produces Ray's pocket watch and pops it open. A smile crosses his face as the mechanical tune plays. A sheriff's sedan rounds a corner, illuminating Winston in its headlights. The car pulls up and SHERIFF WARREN PIKE steps out. Distinguished by a casual cruelness, he's a young white man who loves his uniform. PIKE If it isn't Winston Hancock. Winston tries to move past Pike, but the sheriff blocks his path with a night stick. As Winston backs off, another squad car pulls up behind him. TWO DEPUTIES step from the car, guns drawn. PIKE I thought we agreed that you were gonna leave town. WINSTON I tried to leave, Sheriff Pike. But your wife begged me to stay. Pike slams Winston with his club, sending the black man to his knees. As Winston struggles back to his feet, a stiletto flashes and he lunges for the sheriff, slashing his cheek. The deputies grab Winston from behind, holding him by both arms. The long knife clatters to ground. Pike touches his face, examining the blood on his fingers. PIKE You just committed suicide, boy. INT. BORDELLO HALLWAY -- NIGHT Ray walks slowly down the hallway to Room 13. He is about to knock when he hears the sound of lovemaking from within. INT. SYLVIA'S BEDROOM -- NIGHT Ray opens the door and peeks in. Sylvia's on top and in charge. Claude is concentrating real hard. Ray smiles to himself and closes the door. INT. JUKE JOINT -- NIGHT Claude hitches up his suspenders as he comes down the stairs. He finds Ray having a drink at the now-empty bar. CLAUDE Hey, Ray. I've been looking for you. RAY Here I am. CLAUDE Guess we better get going, huh? RAY Still got that ten dollars? CLAUDE Well, not exactly. See, I met this girl. Real nice girl. God-fearing girl. Her name's Sylvia. RAY That jelly you were talking to right here? CLAUDE She's in a tight spot. Her mama needs this operation, and they ain't got the money for it. Their church took up a collection but they were still short... RAY So you made a generous contribution. CLAUDE What can I say? When the spirit moves me. RAY That was mighty charitable of you, Claude. Looks like we both got fucked tonight. CLAUDE What are you talking about? RAY While you were upstairs doing God's work, I was getting jack-legged by a fool with four threes. CLAUDE You lost all our money in a card game? RAY He even got my daddy's watch. CLAUDE Fuck that cheap-ass watch -- (off Ray's glare) I mean, how the hell are we gonna get home without any money? RAY We've still got 36 cases of rum. That's better than money. EXT. BACK ALLEY -- NIGHT Ray and Claude head down the alley. CLAUDE You sure the truck's this way? (looking over his shoulder) I swear it was back that way. Suddenly, the bloodied figure of Winston Hancock lurches from the shadows and grabs Claude by the lapels. Claude is too scared to scream, staggering backward. But the man's grip loosens and he slips to the ground. CLAUDE (croaking) Ray... Yo, Ray...! Ray turns back to find Claude trembling with fear and covered in blood. He just points down. Ray eyes widen. He kneels down and turns Winston's body over. CLAUDE I think he's hurt pretty bad. RAY He's dead. CLAUDE Oh, man, I've never seen a dead body before! Much to Claude's horror, Ray starts rifling through Winston's pockets. CLAUDE What do you think you're doing?! The man's been dead for two seconds! Don't you have any respect? RAY It ain't here. CLAUDE What ain't there? RAY My daddy's watch. This is the dude I was telling you about -- Suddenly, the glare of two bright headlights from a pickup truck freeze Ray and Claude in a guilty tableau. FIVE WHITE MEN appear at the end of the alley. MAN WITH LANTERN What's going on here? Ray gingerly releases Winston's lifeless body. MAN WITH LANTERN What's wrong with that one? RAY Him? He's just drunk. CLAUDE Yeah, nobody puts 'em away like old what's-his-name. RAY Winston. His name's Winston. CLAUDE Come on, Ray, better get Winston back to the truck. Claude and Ray hoist Winston's body to its feet. The man raises his lantern, takes a closer look at Winston's face. MAN WITH LANTERN This fella looks dead. Ray and Claude check for themselves. CLAUDE Would you look at that, Ray. Winston up and died on us. RAY Hell with him then. If he can't share the driving, he can't ride in the truck. MAN WITH LANTERN He can ride with us. Suddenly, the men all have guns. And they're pointed at Ray and Claude. MAN WITH LANTERN So can you. INT. NATCHEZ JAIL -- NIGHT In a holding cell, Ray tests the window bars. Solid. Meanwhile, Claude sits on a cot brooding darkly. Through the bars, we see the rednecks laughing and passing around a bottle of bootleg rum with the DEPUTY on duty. RAY Man, this is gonna delay everything. Spanky's gonna be pissed. CLAUDE Spanky's gonna be pissed? Poor Spanky. Fuck Spanky! What the hell kind of a name is Spanky, anyway? You're responsible for this situation. I blame you for everything. If it wasn't for you, I'd be home having a hot meal right now. RAY If it wasn't for me, you'd be washing up on the beach at Coney Island right now. (mocking Claude) "I need all my thumbs and fingers for praying and doing good." The jailhouse door opens and Sheriff Pike walks in. He pauses to give the prisoners the once-over. There's a fresh bandage over the cut on his cheek. PIKE What do we have here? DEPUTY Billy Bob and the boys found them down down under the hill with Winston Hancock. He was dead. Looks like murder. PIKE You don't say. DEPUTY Looks like they was running rum. Got thirty six cases of evidence out back. You want I should call in the federal prosecutor? PIKE Let's not drag the feds into this. I can think of better uses for that rum than letting it collect dust in some government warehouse up in Nashville. Pike winks at his deputy, then turns to regard the prisoners. PIKE Besides, why bother with bootlegging when we got us a clear cut case of murder? RAY Excuse me, sheriff. As we explained to your associate here, there's been a mistake. We didn't kill anybody. Now, as for the bootlegging, we happen to work for a very important man in New York. CLAUDE That's right. Does the name Spanky Johnson mean anything to you? PIKE Afraid not. RAY Mr. Johnson is very well connected. If you were to let us go, I guarantee he would show you his appreciation, if you know what I mean. PIKE Are you offering me a bribe? RAY I'm just trying to pay the toll on the road to justice. PIKE You may be able to buy your way out of trouble up in New York City, but down here we take murder seriously. CLAUDE Look, man, how many times we gotta tell you people, we didn't kill that guy! PIKE Well, if that's the case, then you don't have anything to worry about, do you? Pike turns his back on the prisoners and checks the time on a gold pocket watch -- Ray's pocket watch. But from his cell, Ray can't hear the mechanical tune. PIKE Time to get home to the missus. See y'all in the morning. In the cell, Claude turns to Ray. CLAUDE The man's gotta point. We're innocent, after all. I just gotta get a good night's sleep on this filthy mattress. Keep our heads on straight, stay cool, what's the worst thing that could happen to us? SMASH CUT TO: INT. COURTROOM -- DAY The CAMERA Scorseses in on the JUDGE'S face... JUDGE Life! The gavel comes down with a thundering crash. Stunned, Ray and Claude resist the BAILIFFS' efforts to remove them from the courtroom. RAY Life?! How long is life? We were just walking back to the truck. We didn't do nothing! Fuck life! CLAUDE Life?! What's life mean? There's no way I can do life. I got a job starts Monday morning! They continue to protest loudly as they are dragged bodily through the door. EXT. COUNTRYSIDE -- DAY Blues music kicks in as a prison transport bus rolls down a dirt road cutting through the bleak Mississippi Delta. INT. BUS (MOVING) -- DAY LONG-CHAIN CHARLIE, a white prison sergeant, sits behind the wheel. A shot gun hangs within easy reach. The CAMERA MOVES BACK past grim-faced PRISONERS with their hands and feet shackled. We arrive at Ray and Claude sitting in grim silence as the bus lurches along. EXT. PRISON -- DAY The bus veers off the country road and passes under a sign: MISSISSIPPI STATE PENITENTIARY. Sgt. Dillard's voice PLAYS OVER. DILLARD (V.O.) Welcome to the farm. Here you will be provided with ample opportunity to repay your debt to society through the rigors of hard labor... Ray and Claude stare out the window, getting their first look at the harsh reality that awaits them. Cotton fields stretch to the horizon in every direction. HOE-GANGS till the earth under the watchful gaze of TRUSTY SHOOTERS... DILLARD (V.O.) In between harvest and planting season we got fields need clearing, roads need building and ditches need digging. You will eat only what you can grow. Your crop don't come in, you'll go hungry. If you die, don't worry 'bout us none. We'll find somebody to replace you... Along the road, CONVICTS cast hard looks at the new men as the cart passes. A WHITE SERGEANT on horseback shifts his rifle and casually spits tobacco juice in the dirt... EXT. CAMP 8 -- DAY A low-slung, single-story bunkhouse surrounded by a dirt yard. Two shooter shacks sit at diagonal corners of the yard. In each shack, two trusties with rifles keep vigilant watch over the camp. SGT. FRED DILLARD paces down the line of new men as HOPPIN' BOB, an uncommonly ugly trusty, unlocks their leg irons. DILLARD This here is Camp 8. Camp 8 is for incorrigibles, so whatever you've done to get here, believe me, we're not impressed. You new men are probably noticing that we have no fences here at Camp 8. We don't need no fences, we have the gun line. It runs from shack to shack clear around the yard. You are now inside the gun line. If you step outside the gun line without my permission, you will be shot. If you trip and fall over the gun line, you will be shot. If you spit, if you pee, if you stick your ass out and take a dump over the gun line, you will be shot. Dillard plucks a hat off one of the new prisoners and tosses it over the gun line. SHOTS ring out from the nearest shack. The hat is torn to shreds. DILLARD One of my trusties puts a bullet in you when you're trying to run, I'm liable to give him a pardon for saving me the trouble of tracking you down, so you can bet their aim is true. Dillard puts a cigarette in his mouth. Hoppin' Bob is right there with the flame. DILLARD My name is Sgt. Dillard. In the unlikely event that you need to address me, you call me boss. You already met this handsome fella right here. Hoppin' Bob's my ace boon coon. You run afoul of Hoppin' Bob, you run afoul of me. Nodding to Bob, Dillard saunters off. HOPPIN' BOB New men, strip down! Ray and Claude share a look. Self-consciously, the men begin to undress. INT. BUNKHOUSE -- DAY Double bunks line the walls, with a footlocker for each inmate. As usual, there's a poker game going on. HOPPIN' BOB Okay, ladies, got some fresh meat for ya! All activity comes to a halt as the new men shuffle into the cage wearing their prison-issue "ring-arounds." Hoppin' Bob slams the metal doors shut behind them. HOPPIN' BOB We ain't got no wallflowers at Camp 8. Everybody gotta dance eventually. But don't worry, they won't try nothing tonight. That would take all of the fun outta the courtship. The INCORRIGIBLES hungrily eye the new men in total silence. Claude sticks close to Ray as they shuffle toward their assigned bunks. The CAMERA SETTLES on a much younger WILLIE LONG. EXT. COUNTRY ROAD -- MORNING The inmates jump down from the mule cart and grab hoes and shovels. Because he can't count, Hoppin' Bob keeps track of the men using a system all his own -- a PEBBLE in his pocket for each man. Dillard stands by with his shotgun. DILLARD Got three miles of ditch to clear today. Let's keep it moving! EXT. DITCH -- DAY The men of Camp 8 labor under the brutal mid-day sun. JANGLE LEG, a handsome, muscular man, sings a verse to set the work tempo. Up and down the line, a mighty chorus responds. The CAMERA FINDS Ray and Claude swinging pick axes, sweating profusely. CLAUDE I don't believe this before Abe jive. I didn't go to night school to sing in no Mississippi Boys Choir! Claude stops to catch his breath and take off his shirt. RAY I wouldn't do that if I was you. CLAUDE Shut up. It's too damn hot. What do you know, anyway? A SHOT rings out. Claude hits the ground as a bullet kicks up some dust nearby. RAY Told ya. Claude looks up to see Dillard cracking pistachio nuts as Hoppin' Bob puts another round in the chamber of his rifle. DILLARD Why ain't his pick swinging? HOPPIN' BOB (echoing) Why ain't that pick swinging? CLAUDE It's too hot, boss. I'm tired. HOPPIN' BOB He says it's too hot, boss. DILLARD Too hot, huh? Well, you tell that lazy jiggaboo the state of Mississippi ain't interested in his meteorological assessments. HOPPIN' BOB Listen up, jiggaboo! State of Mississippi ain't interested in your... in your... (off Dillard's look) metropolitan assets! DILLARD Tell him the state of Mississippi is only interested in getting this ditch cleared by sundown. HOPPIN' BOB State of Mississippi wants this ditch cleared by sundown. You got that?! CLAUDE I got it... boss. DILLARD He don't sound like he's from 'round here. HOPPIN' BOB He's from New York City. That one, too. DILLARD New York. That's up north, ain't it? They'll find we do things different down here. RAY We noticed. Annoyed, Dillard jabs the butt of his rifle into Ray's solar plexus. Ray sinks to his knees in the dirt. DILLARD Looks like we got a couple of live ones. How long these boys in for? HOPPIN' BOB Judge gave 'em the long ride. DILLARD Life, huh? They step outta line again, we'll shorten up that sentence real fast. Dillard swaggers off, dogged at the heels by the ever faithful Hoppin' Bob. Resigned, Ray and Claude return to their labor. EXT. DITCH -- DAY The men rest in the ditch as BISCUIT, a slight inmate with a red bandanna tied around his head, dispenses water, one ladle per man. BISCUIT Drink it up! Willie exchanges two cigarettes for a second ladle. POKER FACE pulls a crumpled envelope from his shirt. His expression never changes, hence the name. POKER FACE Either of you new fellas know how to read? I've had this letter four months now. CLAUDE You can't read? None of these guys can read? WILLIE Last fella who could read made parole 'round Christmas. POKER FACE I don't even know who this is from. RAY Here, gimme that. Ray unfolds the letter and scans it. RAY It's from your mama's neighbor, Mrs. Tidwell. She thought you oughta know that your second cousin Bo died. The prisoners express their condolences. "Sorry, man." "That's some bad news." "I know you loved Bo like a brother..." RAY And your other cousin, Sally, on your daddy's side, she died. More sympathy from the men. "Ooh. Twice in one letter." "Rough break, Poker Face..." RAY Apparently, your sister died. POKER FACE Jenny? RAY No, it says Marleen here. Relief all around. "Thank goodness." RAY Oh, wait, looks like Jenny died, too. "Bad luck, man." "That's harsh..." RAY Then it goes on for a while about how the crop didn't come in on accounta the frost. (flips over the page) She finishes up with something about a tornado and how your mama and your daddy died in that. But don't worry none. She'll take care of the dog. That is, if it gets over the worms. The prisoners share dark looks. Ray folds up the letter and hands it back to Poker Face. POKER FACE Appreciate it. RAY Anybody else need anything read? "No, man, we're good." The men shake their heads and return letters and cards to their pockets. Jangle Leg nods and switches places with one of the convicts, parking next to Claude. JANGLE LEG How you doin'? CLAUDE I'm all right. JANGLE LEG You ever done time before? CLAUDE You kidding? I've been in and out of prison my entire life. Mostly in. I'm hard-core. JANGLE LEG Then you won't have no problem making the adjustment. You need anything, help of any kind, gimme a holler. Name's Jangle Leg. CLAUDE 'Preciate it. Claude. As they shake, Jangle Leg inspects Claude's hand thoroughly. JANGLE LEG Soft and supple. Like a lady's. CLAUDE (eyes narrowing) I try to moisturize regularly. HOPPIN' BOB (over his shoulder) Hey, Jangle Leg, what'd I tell you about pitching woo on the job? JANGLE LEG Sorry, Cap'n. Claude snatches back his hand and gives Jangle Leg a hard look. HOPPIN' BOB Break's over! Back to work! As the men grab their tools and return to work, Claude leans over to Ray. CLAUDE Why do you think they call him Jangle Leg? RAY Somebody just told me he wins the three-legged race every year. CLAUDE So? RAY He does it all by himself. INT. MESS HALL -- DUSK Wincing with each movement and covered in grime from the day's labors, the new men bring up the back of the chow line. COOKIE, the grub-slinger, slaps a large dollop of an unidentifiable substance onto Ray's tray. RAY What is that? COOKIE Creamed chip beef on toast. Except we're outta beef, so I had to improvise. RAY Can't I get one of those steaks you got grilling back there? COOKIE Those are for trusties, unless you got thirty cents or two packs of cigs. Another prisoner lays down some tobacco and gets a juicy steak. Ray grabs a hunk of corn bread and makes his way to the back of the room. Claude steps up, holds out his tray for Cookie. CLAUDE Excuse me, I don't like it when the food touches each other, so if you could just -- (SPLAT!) -- keep everything separate. Disappointed, Claude turns to discover that the only seat left is next to Ray. Scowling, he limps toward it. Jangle Leg's eyes follow Claude as he approaches the table. Biscuit smacks him. BISCUIT Eyes front, mister! Claude sits down and promptly goes to work scraping his burnt toast with his knife. The irritating sound slowly brings the entire room to dead silence. All eyes fall on Claude. Scratch, scratch, scratch... COOKIE (stepping up) Problem with the toast? CLAUDE It's fine now. Cookie glowers and takes a seat. RAY Stop aggravating people. Just eat your food. As the room returns to normal, Claude starts polishing his fork with his shirttail. Irritated, Ray shoots him a look. CLAUDE This fork is filthy. RAY The fork is the least of your worries, Claude. Undeterred, Claude breathes on his fork and polishes it some more. Disgusted, Ray pushes aside his plate. RAY What's your name? WILLIE Me? Willie Long. RAY What are you in for, Willie? WILLIE That's a long story... RADIO When he was 13 years old he killed a son-of-a-bitch with a claw hammer. WILLIE They never proved that. CLAUDE What a second, you've been in here since you were thirteen? RAY What about you, Radio? RADIO Armed robbery. JANGLE LEG Damn liar. Bitch killed his sister with an axe. RADIO She was my half-sister. Shit, I ain't the son-of-a-bitch who poisoned my own parents. BISCUIT (protective) They deserved it. Very strict. POKER FACE What about you, Biscuit? You nearly skinned your poor old landlady alive. COOKIE At least he didn't kill Santa Claus with his bare hands. RAY You killed Santa Claus? BISCUIT (scolding) On Christmas Eve. POKER FACE He wasn't the Santa Claus, he was just wearing the suit and ringing a bell. WILLIE What did you guys do? The whole table waits expectantly for their reply. RAY I kinda lost track of how many people we killed that night. Must have been 15 or twenty -- not counting women and children. It was a real bloodbath. All that screaming... CLAUDE Pack of lies. Don't listen to him. We didn't kill nobody. We were railroaded. And we gonna prove that. RAY He just blocked it out. Nigger's crazy. He's the one who did all the stabbing. He's capable of some heinous shit. (thumbing down the table) How 'bout him down there? At the end of the table, GOLDMOUTH, a hulking specimen, snarls menacingly, flashing a glittering set of teeth. WILLIE Goldmouth? They say he was born out back behind the shithouse. That's what they say. RAY You all been here a long time. Doesn't anybody ever escape from this place? WILLIE They run but they never get too far. RADIO Couple years back, Cookie made it clear to Greenville. RAY Greenville, that the nearest town? WILLIE (nodding) It's a two-day walk if you don't get lost. Take a mighty cagey country boy to navigate the woods and bayous between here and there. BISCUIT Those dogs they got can sniff a skid mark in your underpants from a half- mile off. RAY Alright, well, let's say you make it to Greenville. What's there, anyway? COOKIE Grandma Dodi's Pork Rib Joint. POKER FACE That's where they nabbed him. COOKIE Didn't even get to have my peach cobbler. WILLIE The most important thing they got in Greenville is a train that heads up north. Just then, Goldmouth stands up, casting a shadow over Claude. GOLDMOUTH Hey, girl, you gonna eat your corn bread? Claude looks up, considering his options. CLAUDE No, man. I want you to have it. RAY Wait up there, Claude. You give that guy your corn bread and the next thing you know you'll be ironing his shirts and clipping his toenails. GOLDMOUTH Maybe I oughta eat your corn bread. RAY My corn bread? Oh no, my friend. I love corn bread. Ray picks up his corn bread and takes a huge bite out of it, rolling his eyes with enthusiasm. RAY I thought my mama made good corn bread but this is really something special. Ray looks at the faces around the room, smiles broadly. Goldmouth is getting embarrassed. RAY Who knew I'd have to come all the way down to this here prison, deep in the asshole of the great state of Mississippi, to find such a tasty piece of corn bread? The prisoners begin to laugh. Ray's got them now. RAY And who knew that in this great corn bread-making institution I'd come face to face with the biggest, ugliest, stinkiest, ugliest gold- mouthed negro in the entire world. Now get out of my face before I lose my appetite! EXT. CAMP 8 YARD -- DUSK A punch sends Ray sprawling in the dust. Goldmouth looms over him. The incorrigibles form a circle around the combatants. Poker Face, the camp bookie, is taking all bets. GOLDMOUTH How you like your corn bread now, New York? Goldmouth and Ray square off. Goldmouth swings, Ray ducks and counters with a swift jab to the gut. Goldmouth just flashes a shiny grin and clobbers Ray with a fist the size of a Thanksgiving turkey. Ray sinks to the dust. Radio drops down near him. RADIO Come on, New York, you can do better than that! Get up and show him how they do it in Harlem! Ray shakes his head and staggers back to his feet. He circles the big man and gets in a couple of good shots, much to the crowd's approval. Goldmouth shakes his head and wipes the blood from his nose. Now he's mad. He grabs Ray by the shirt and delivers a crushing blow. Ray reels backward into Cookie's arms. COOKIE I appreciate you going to all this trouble over my corn bread. I don't get a lot of compliments in my line of work. Cookie shoves Ray back into the ring for more punishment. Claude emerges from the mess hall, munching on a piece of corn bread. He squeezes in between Poker Face and Willie. WILLIE Your pal's getting the tar whipped out of him on your account. CLAUDE How many times I got to tell you? He ain't my pal. Besides, he looks like he knows what he's doing. Just then Claude winces as Goldmouth delivers a jaw-crushing uppercut that knocks Ray on his back. Claude bristles under the incriminating looks coming at him from all directions. CLAUDE Alright, alright... Claude crouches down as Ray rolls over on his stomach and pushes himself up onto all fours. His eyes are swollen shut, his face covered with blood. CLAUDE Hey, Ray, I think you made your point, whatever that is. Maybe now's a good time to throw in the towel. You know what I'm saying? Ray manages a smile and staggers to his feet. RAY (slurring) Shit, Goldmouth. Back in New York, I know bitches who hit harder than you. Goldmouth pulls back his fist and lets it fly. Ray hurtles through the crowd, collapsing in the dust. Willie steps in. WILLIE The man's taken enough of a beating. Let's get him inside. Cookie, Radio and Poker Face raise Ray to his feet. Goldmouth slings him over his shoulder and carries him toward the bunkhouse. Dazed, Ray catches Claude's eye. RAY Got him good, huh, Claude? He won't be bothering us anytime soon. A quick elbow jab from Goldmouth and Ray is out for good. Disgusted with himself, Claude tosses what's left of the corn bread to the mangy dog, who makes short work of it. BISCUIT (wagging a finger) Shame, shame, that's your name. FADE TO BLACK: INT. MESS HALL -- DAY On Sundays, the mess hall also serves as a chapel. From a makeshift pulpit, the blind REVEREND CLAY and his DAUGHTER lead the congregation of convicts in a rousing chorus of "Down by the Riverside." EXT. CAMP 8 YARD -- DAY The gospel music filters into the yard, where the prisoners mingle with kinfolk. EXT. SGT. DILLARD'S HOUSE -- DAY MRS. DILLARD hums along with the gospel music as she places a couple of freshly-baked pies on the window sill to cool. EXT. CAMP 8 YARD -- DAY The CAMERA FINDS Claude and Daisy walking hand in hand toward a simple shack just beyond the gun line. This is the TONK HOUSE and Dillard is the gate keeper. CLAUDE Request permission to go to the tonk, boss. Dillard considers Daisy. DILLARD I don't see no wedding ring, Banks. Conjugal visits are for married prisoners only. CLAUDE You think you could make an exception just this once, boss? She came all the way down from New York. DILLARD I don't need the Baptists on my back, but I suppose I could issue a temporary marriage license for a nominal fee. Daisy gets the picture. She reaches into her purse and hands Dillard a couple of dollars. DILLARD I now pronounce you man and wife. (calling to the shooter shack) Claude Banks going to the tonk! Claude takes Daisy's hand and leads her over the gun line. ACROSS THE YARD Ray watches Claude and Daisy step into the tonk house. Then he returns to a game of horseshoes, tossing a ringer. Nearby, Biscuit gives Jangle Leg a haircut. RAY Biscuit, when you're done with Jangle Leg, you think you could squeeze me in? BISCUIT Thought you'd never ask. Biscuit needs some gravy. RAY I'm talking about a haircut. BISCUIT Cost you a pair of nylons. POKER FACE Hey, Ray, Goldmouth don't believe me. Ain't it so they got trains up in New York City that run under the streets? RAY They're called subways. A nickel will take you from one end of Manhattan to the other. Helluva ride, too. Radio looks up from a vacuum tube receiver he's busy repairing. RADIO Hey, Ray, you ever been to the Cotton Club? RAY Sure I've been to the Cotton Club. It's pretty sweet. But it don't hold a candle to the Boom Boom Room. That's where the real action is. WILLIE What's the Boom Boom Room? RAY That's my joint. The swinginest nightclub in town. COOKIE You got your own nightclub? RAY Well, not yet. It's still in the planning stages. GOLDMOUTH So it don't exist. RAY Just because it's in my mind, Goldmouth, don't mean it ain't real. Everything worth anything starts with a dream. Hoppin' Bob calls to Ray from the gun line. HOPPIN' BOB Gibson! Got yourself a visitor! Ray turns to find his MOTHER, a handsome woman in a floral dress, coming toward him. RAY Mama? MAMA GIBSON Rayford! The incorrigibles elbow each other and repeat the name "Rayford" as Mama Gibson envelops her son in a fleshy embrace, smothering him with kisses. RAY What are you doing here, mama? MAMA GIBSON I heard some things so I went to see Spanky Johnson. He told me what happened and gave me some money to get down here. What happened to your face? RAY Don't worry about that. Hey, fellas, this here is my mama. These are some of my friends. That's Willie, there's Poker Face, Radio, Cookie, Goldmouth, Biscuit, Jangle Leg. The motley crew gathers around, nodding politely. Goldmouth flashes a golden grin. Willie gallantly doffs his cap. WILLIE Mrs. Gibson. Shame on Rayford here for failing to mention that he had such a beautiful mama. Mama manages a half-hearted smile, clutching her bag. MAMA GIBSON Nice to meet you all. GOLDMOUTH How was your train ride? MAMA GIBSON Quite comfortable, thank you. COOKIE Them cookies in there? MAMA GIBSON Yes, oatmeal. RADIO 'Scuse me, you got any batteries on you? MAMA GIBSON No. No I don't. Biscuit sides up, fingering her dress. BISCUIT That's a lovely dress. Make it yourself? MAMA GIBSON (vaguely unsettled) Yeah... EXT. PORCH -- DAY Ray and his mama sit in the shade. RAY This is a big surprise, mama. I sure didn't expect to see you down here. A long, uncomfortable beat. Mama's lip starts to tremble. MAMA GIBSON Rayford, I wanted so much more for you than this. RAY Don't cry, mama. This place ain't so bad as it looks. Sure, we work hard, but there's plenty fresh air and sunshine... And you know something else, I've taken to going to church regular. They got services every Sunday right there in the mess hall. MAMA GIBSON Don't you lie to me, Rayford. (composing herself) You still have your daddy's watch? (Ray shakes his head) Well, this is all I can give you. I wish it was more. She puts some money in his hand. RAY I can't take that, mama. MAMA GIBSON Don't argue with me. You need it more than I do. I know how a little money can help in a place like this. Reluctantly, Ray stashes the money in his pocket. RAY I can't believe this. I always said I'd never end up like this. I thought I'd make something of myself, do something with my life. You know, be successful. Have a big house, a family. Now I'm gonna end up just like daddy. MAMA GIBSON Don't say that, Rayford. Don't ever say that. He gave up hope. That's where you gotta be different. RAY They gave me life, mama. MAMA GIBSON I gave you life. And they can't take it away from you. Remember that. You'll get outta here someday. I believe that. You gotta believe it, too. INT. TONK HOUSE -- DAY Reclining on a straw mattress, Claude watches intently as Daisy gets dressed. The rickety door reverberates with a loud pounding. HOPPIN' BOB (off) Time's up, Banks! We got a crowd gathering out here! Claude leaps from the bed and slams his fist against the door. CLAUDE Woman came all the way from New York, goddamnit! We'll come out when we're good and ready! Daisy quickly buttons up her dress. CLAUDE Did you go see my cousin Maynard like I asked you in my letter? DAISY Of course I did. He said he'd file an appeal right away. You didn't tell me he was so good looking. CLAUDE Yeah, that side of the family has all the looks and none of the brains. I hope he don't mess things up. DAISY He seemed like a pretty good lawyer to me. His offices take up an entire floor of that big, new building on 125th Street, and he was using all these words I never heard before. He even offered me a job. CLAUDE A job, huh? Well, that's nice, real nice. You won't have to work long. I'll be back soon enough. After I start work at First Federal Bank of Manhattan, I'll be keeping you in style. Everything will get back to normal again. That's a promise. Daisy smiles weakly and looks away. She doesn't have much faith in this promise. DAISY Listen, Claude, Maynard wanted to know if he should file the appeal on behalf of your friend, too. CLAUDE Ray Gibson? (thinks about it) No, no. He's the reason I'm in here, Daisy. For all I know, he's got a record a mile long. I got a better shot of getting out of here on my own. You tell Maynard to think about me, concentrate on me. Understand? DAISY Sure, Claude, whatever you say. EXT. COUNTRY ROAD -- DAY The prisoners jump down from the cart and grab hammers and pick axes as Hoppin' Bob keeps count with pebbles. DILLARD We lost yesterday on accounta the rain. That means we gotta make up for it today, so put your backs to it. HOPPIN' BOB You heard the boss! Let's move! Ray and Claude jump down after Willie. WILLIE (squinting at the sun) Looks like a scorcher. RADIO I bet the son of a bitch goes over a hundred and ten. POKER FACE I'll take that action. EXT. FIELD -- DAY The long line levels a road to a work tune being sung by Jangle Leg. Dillard checks the thermometer on the truck -- 90 degrees and rising. Mopping his brow, he starts down the line. The sun arcs overhead, a blazing inferno... Heat rises off the road... The men sweat profusely... "Taking it off here, boss!" echoes up and down the line. Biscuit has his work cut out for him, lugging a water bucket from man to man, offering the ladle. The sun... the hammer... the ladle... the axe... the sun... the hammer... the ladle... the axe... The mercury hits 110 degrees... A NEW GUY lets his hammer slip from his fingers, collapses in the dirt. Radio nods to Poker Face, who hands him a pack of cigs. WILLIE Man down, boss! Dillard uses his foot to roll the stricken man over. He's still alive. Barely. DILLARD You two, put him on the truck! Ray and Claude drop their tools, grab the man by his arms and legs and lug him up to the road. Once out of earshot, Ray whispers to Claude. RAY Cookie drew me a map to Greenville. CLAUDE So? RAY You know what I'm saying. CLAUDE Yeah, I know what your saying. And I'm saying if you made it that far, they'd be watching every train that pulls out of that station. RAY That's why we won't take the train. Cookie showed me where there's a farm house. They got a boat there. CLAUDE What do you know about boats? I bet you can't even swim. They reach the truck. With effort, they swing the man back and forth and launch him into the back of the truck. RAY What I know about boats is they take you to freedom. Come on, man. I think we can do this. CLAUDE Why are you always talking about we? There is no we. There is a me, there is a you. But there is no we between us. HARD CUT TO: INT. BUNKHOUSE WASHROOM -- DAY Ray and Claude continue their conversation as they lather up for a shave. RAY You want out of this place, don't you? Don't tell me you're starting to like it here. CLAUDE No, I don't like it here. Look around. There's nothing but ass. Male ass! Balls and ass! Believe you me, I'm getting out of here. RAY What does that mean? CLAUDE Forget it. RAY I'm not gonna forget it. What does that mean? If you've got a plan, I think I have a right to know about it. I told you my plan. CLAUDE Getting a map from a chubby chef named Cookie? Dragging our asses through the swamps in search of some worm-eaten boat? That ain't a plan, that's a vacation for two in the hole. When you've got a map to New York City, you get back to me. Claude splits. Scowling, Ray finishes up his shave. INT. BUNKHOUSE -- NIGHT Moonlight streams through the barred windows of the cage. Exhausted from the day's work, each man stretches out painfully in his bunk. JANGLE LEG Sure was hot out there today. COOKIE Still too hot to sleep. RADIO Every bone in my body feel like a big son-of-a-bitch dog got hold of it. GOLDMOUTH I can't wait 'til Sunday. CLAUDE What's so great about Sunday? Monday's right after it. Restless, Radio rolls over. RADIO Hey, Ray, what's the name of that nightclub of yours? RAY You mean the Boom-Boom Room? RADIO That's it. The Boom-Boom Room. Sure would like to see that place when you get it up and running. RAY You should have come by last night, Radio. You woulda had yourself some fun. WILLIE Last night? What are you talking about, Ray? RAY I'm talking about old Satchmo nearly blew the roof off the joint. POKER FACE Who? RAY Satchmo. GOLDMOUTH You mean Louis Armstrong? RAY He's a good friend of mine. Drops by the club whenever he's in town. CLAUDE Hey, do we have to listen to this bullshit? I'm trying to get some sleep around here. "Shut up, Claude!" echoes around the room. Irritated, Claude thumps his pillow and turns his back on the room. RAY Yeah, things were hot last night, but you'll never guess who's playing tonight. BLAM! A high horn note sounds. SMASH CUT: CLOSE-UP -- Biscuit, all dolled up and flashing a million- dollar smile. She begins to sing. BISCUIT A tisket a tasket... Biscuit is up on a makeshift platform in the bunkhouse, lipsyncing to Ella Fitzgerald. But its not the depressing bunkhouse anymore, it has transformed into Ray's Boom-Boom Room. PULL OUT SLOWLY as Ray, decked out in a sleek tuxedo steps in front of the CAMERA. He speaks into the CAMERA as he walks... RAY That's right, fellas. Catch any cab heading uptown. All the drivers know Ray's Boom-Boom Room. GOLDMOUTH (O.S.) Hey, Ray... Ray looks to his left, sees Goldmouth in the old bunkhouse. GOLDMOUTH Where am I at, man? RAY (in nightclub) C'mon, Goldmouth, somebody's gotta watch the front door. The CAMERA PANS off Ray to Goldmouth, in a tuxedo, at the front door of the nightclub with two lovely ladies. He waves to himself, sitting on his bunk. Himself waves back, smiling like a kid in a candy store. Willie is behind the bar, serving drinks to three gorgeous SKIMMIES. WILLIE Hey, Ray, I could get used to this! CLOSE ON Cookie sitting a table eating a huge porterhouse. The CAMERA DOLLIES around to find Ray eating with him. COOKIE Ray, my man, this steak is like butter! RAY Made just for you, Cookie. COOKIE How about some steak sauce? RAY No problem. Oh, boy! Ray motions to a busboy clearing a table. It's Claude. RAY How about some Worchestershire sauce! And clean that damn table. Claude grimaces. CUT TO: Willie laughing, Goldmouth laughing, Poker Face in the bunk laughing. POKER FACE Hey, Ray, I know you got some gambling! CUT TO: Ray at a craps table holding a pair of dice. He looks at Poker Face on his bunk. RAY C'mon, Poker Face, what's a club without some dice? The CAMERA PULLS BACK as Ray throws the dice. A perfect seven. The CAMERA PANS UP to Poker Face in a tux clutching a fistful of cash. POKER FACE Lucky seven! My nigger! Let it ride! Across the room, Jangle Leg, in a tux, sits at the piano. Radio, also in a tux, beats on the drums. JANGLE LEG Sing, girlfriend! Biscuit sings the song, smiling lovingly at her man. Everyone is having a great time in Ray's Boom-Boom Room, until... Whistles blow. At the front door, Hoppin' Bob appears with FIVE TRUSTIES dressed in police outfits. The incorrigibles scatter. RADIO Hey, Ray, looks like trouble! A hard white light from Hoppin' Bob's flashlight shines directly into the CAMERA. CLOSE ON Ray, in his bed, back in the old bunkhouse. The music stops abruptly. He shields his eyes from the harsh light. Hoppin' Bob is looming over him. It's back to reality. HOPPIN' BOB You don't shut up, you're gonna spend the rest of the night in the hole, Gibson! That goes for the rest of you girls, too. I don't want to hear another peep about no Boom-Boom fucking Room! A loud burst of flatulence cuts through the darkness. Hoppin' Bob turns his flashlight on Cookie. COOKIE Sorry, Cap'n. Scowling, Hoppin' Bob steps out of the cage and locks the door behind him. The men slowly settle back in. RADIO (whispering) Pretty good story, Ray. Didn't much care for the ending though. Lights out at Camp 8. EXT. CAMP 8 -- YARD -- DAY Claude's playing pepper with Radio, Jangle Leg and Poker Face. DILLARD Mail call! The incorrigibles quickly gather around as he calls off names, passing cards and letters through the crowd. DILLARD Craddock!... Williams... Henshaw!... Banks! CLAUDE Here! Dillard hands the letter to Ray, who glances at it before passing it back to Claude. RAY (reading) Maynard Banks, Esquire. Attorney at law. CLAUDE Gimme that. That doesn't concern you. RAY I'm sure it don't. INT. CAMP 8 BUNKHOUSE -- DAY Claude rips open the letter. A profound disappointment settles over him as he reads the news from cousin Maynard. Bitterly, he crumples up the letter and tosses it down. EXT. FIELD - DAY Dillard strolls down the line with his rifle over his shoulder. Under his watchful gaze, hoes rise and fall. After he passes, Claude moves a little closer to Ray. CLAUDE What's up, Ray? RAY (cool) Claude. CLAUDE Sure is hot today. Think it'll rain later? RAY What do you want, Claude? CLAUDE What do I want? What makes you think I want something? RAY My daddy always said when a man starts talking about the weather keep you hand on your wallet. CLAUDE Your daddy must have been a helluva guy, a deep man, a wise man. Sure wish I could have met him -- RAY Cut the bullshit. What do you want, Claude? CLAUDE (clearing his throat) You still got that map? RAY Yeah. CLAUDE Well, if you're still thinking about booking it, I want in. I think we can make it. RAY We? Did I hear you say we? As I recall, you're the one who said there is no we. Guess we got some bad news in that letter, huh? CLAUDE Look, my cousin Maynard is a lawyer. He filed an appeal on my behalf -- RAY On your behalf. What happened to we? CLAUDE The appeal was denied. Then Daisy went and fell for Maynard. They're engaged to be married, can you believe that? RAY Well, let's just think about that for a moment. He's a successful lawyer up in New York City and you're down here with a bright future in the cotton picking business. Eeny, meeny, miney, Maynard. CLAUDE Come on, man. Don't shut me out. I'm telling you, you and me, that map, we can go places. RAY You know what, Claude? This whole time we've been down here, you've done nothing but think about yourself, acting like this whole thing is my fault. That plan with your cousin, did that include me? A long beat. CLAUDE No. RAY At least you're honest for once. So now you want to be my friend? Well, let me tell you something, Claude-my- shit-don't-stink-Banks. You got a lot to learn about friendship. CLAUDE Does that mean I'm in? RAY I don't think so, Claude. You'd just slow me down. We'd have to stop every five minutes so you could polish your silverware. There's no way around it, you're soft. CLAUDE What'd you say? RAY I said you're soft. CLAUDE Don't call me that. You know I hate it when you call me that. Ray gets in Claude's face and silently mouths the word -- "soft." Claude throws down his hoe and sinks his fist deep into Ray's gut. CLAUDE Damn, that felt good. I should have done that the first time I met you. Ray touches the blood coming from his nose. Eyes blazing, he tackles Claude, dragging him to the ground. The two men roll around, trying to strangle each other. Hoppin' Bob hustles down the hill and drags Ray off of Claude. But Claude comes back for more. Hoppin' Bob finds himself in the middle of the fray. That's when the cavalry arrives. Two trusties use their rifles to crack Ray and Claude over the backs of their heads, sending them both down for the count. Hoppin' Bob empties his canteen over their faces. They sputter back to consciousness. HOPPIN' BOB Now you girls set aside your differences and get back to work or I'll see to it -- RAY -- we'll spend a night in the hole. We heard this shit before. Ray and Claude stagger to their feet and pick up their tools. Hoppin' Bob and the trusties head back up the hill. Ray starts to chuckle. CLAUDE What the fuck are you laughing about? Ray opens his palm to reveal TWO PEBBLES. Claude regards Ray with new-found respect. EXT. COUNTRY ROAD -- SUNDOWN One by one, the prisoners of Camp 8 climb into the mule carts under the watchful eye of Hoppin' Bob. As each man passes, he removes a pebble from his pocket. The last one in is Willie. Hoppin' Bob's pocket is now empty. HOPPIN' BOB All in, boss! DILLARD Move it out. HOPPIN' BOB Movin' it out, boss. Dillard spurs his horse, escorting the mule carts back to camp. EXT. FIELD -- SUNDOWN As the carts fade into the distance, Ray and Claude pop up from a roadside ditch and take off for a grove of trees in the opposite direction. EXT. WOODS -- SUNDOWN Running for all they're worth, Ray and Claude crash through the bramble. Claude trips over a root and sprawls face first in the bushes. Ray turns around and helps him to his feet. Claude is still laughing giddily. He throws his arms around Ray. CLAUDE You did it, man! You got us out! Next stop, New York City! RAY New York's a long way's off. Let's just keep moving, okay? As Ray and Claude disappear into the woods... DISSOLVE TO: INT. BUNKHOUSE -- NIGHT Radio's pulling in some jazz music out of New Orleans. Prisoners hit their bunks as the floorwalker does the nightly head count. He stops at Claude and Ray's empty bunks, glancing around, puzzled. EXT. DILLARD'S PORCH -- NIGHT Dillard smokes a cigarette on the swing. His wife steps out with a fresh bourbon and ice. Suddenly, SIRENS start to wail and emergency floodlights blaze to life at Camp 8. EXT. FIELD -- NIGHT Hounds scramble down from the back of a truck and gather around the DOG BOY. He holds out a handful of soiled laundry and a dozen snouts sniff it thoroughly. Nearby, Dillard gathers a DOZEN MEN with rifles and flashlights into a posse. He puts a cigarette in his mouth. Hoppin' Bob lights it for him. EXT. WOODS -- NIGHT Trees rise ominously around Ray and Claude as they push through dense underbrush. CLAUDE I know these trees all look the same, but I'm getting an awful familiar vibration from this one right here. You sure you know where we're going? RAY Absolutely. The map is very clear. CLAUDE Let me take a look at that map. Claude considers it from various angles. CLAUDE You call this a map? What was Cookie smoking when he drew this? RAY Cookie didn't draw it. I did. CLAUDE You drew this?! RAY I knew you wouldn't come if I didn't have a map. CLAUDE That gripes my soul, man. We're out here in the middle of nowhere. There is shit nibbling at my balls! Don't tell me you don't know where we're going! Ray shrugs and presses on. Dumbfounded, Claude considers the map again, then tears it to shreds. The braying of hounds echoes through the trees. CLAUDE Hey, wait up! EXT. THE WOODS -- NIGHT Ray and Claude race through the underbrush. EXT. THE WOODS -- NIGHT Dillard and his men follow the dogs through the woods, hot on the scent. EXT. THE WOODS -- NIGHT Ray and Claude race up to a chain-link fence. On the other side, an old Ford is parked on a dirt road. Hearing the posse closing in behind them, Ray and Claude fling themselves onto the fence. EXT. THE WOODS -- NIGHT The posse is gaining ground. Dillard takes two men off to the left, sending the rest of the men straight ahead. EXT. THE WOODS -- NIGHT Claude clears the fence first and scrambles for the old Ford. Ray's shirt snags on a piece of wire as he drops down from the fence. Stuck, he dangles helplessly a few feet off the ground. INT. FORD -- NIGHT Claude yanks open the door and jumps behind the wheel. TWO WHITE TEENAGERS bolt up in the backseat where they were necking. After a beat -- group scream. The half-dressed teenagers dive from the car and scramble off down the road. Claude twists the key in the ignition and the engine roars to life. CLAUDE Come on, Ray, time to go! RAY I'm stuck! Claude sees Ray caught up on the fence, then hears the sounds of the approaching posse. If he floored it right now, he might make it. But he can't just leave Ray hanging there. EXT. FENCE -- NIGHT Claude runs up and grabs Ray's legs, pulling for all he's worth. The shirt rips free, sending Ray and Claude tumbling to the ground. They leap to their feet and turn toward the car -- running smack into the barrel of Dillard's shotgun. EXT. SUPERINTENDENT'S MANSION -- DAY An OLD BLACK PRISONER delivers a frosty mint julep to SUPERINTENDENT ABERNATHY who rocks slowly in his chair. At his feet, his 10-year-old daughter MAE ROSE is playing jacks. Her long blonde hair makes her look like a little angel. MAE ROSE Look, daddy. They caught those two men who escaped last night. Mae Rose is pointing down the drive, where Dillard and a couple of trusties march Ray and Claude toward the house. ABERNATHY They ain't men, Mae Rose. They're convicts. And nigger convicts to boot. Can you say nigger? MAE ROSE Nagger? ABERNATHY No, nigger. MAE ROSE Nigger. ABERNATHY That's my girl. Bound by leg irons and handcuffs, Ray and Claude are deposited at the bottom of the stairs. DILLARD Here they are, Superintendent. We tracked 'em all the way to the Tallahachie. ABERNATHY That's quite a ways. I'm glad you New York boys could see some of our lovely countryside while you're down here. What do you say, Mae Rose? How should we teach these two a lesson? Mae Rose considers their faces. Ray and Claude look like they've been to hell and back. MAE ROSE A night in the hole? ABERNATHY Better make it a week. Dillard nods and turns Ray and Claude around. As they march back down the drive, Abernathy takes sip of his mint julep and affectionately pats Mae Rose on the head. EXT. CAMP 8 -- DAY The incorrigibles of Camp 8 gather at the gun line, watching silently as Dillard and a couple of trusties march Ray and Claude toward the hole. EXT. THE HOLE -- DAY The trusties shove them each into a small, dank cell and slam the doors behind them. Dillard secures both doors with an iron bar. DILLARD See you in a week, boys. OMITTED Sequence omitted from original script. INT. RAY'S CELL -- DAY Ray slumps to the floor, propping his feet against the wall. RAY Hey, Claude. I just want to say thanks for coming back for me. INT. CLAUDE'S CELL -- DAY Claude considers his bleak surroundings. It's a small, uncomfortable space, not even big enough to lie down. Just a tin bucket for a toilet. CLAUDE Don't mention it. RAY (off) Hell, you'd probably be half way to New York by now... CLAUDE I'm serious, man. Don't mention it. Ever. EXT. THE HOLE -- DAY The sun beats down on the tin roofs... INT. BUNKHOUSE -- CAGE -- NIGHT The prisoners are gathered around a table, laying out money. As usual, Poker Face is keeping tabs. COOKIE I'll take Claude to die on Wednesday for fifty cents. POKER FACE Wednesday for two bits. And don't forget you already owe me a steak. BISCUIT I'll take Claude for Friday. That's my birthday. With an ear to his receiver, Radio slaps his money on the table. RADIO Weatherman says a heat wave's coming. I say neither one of 'em son of bitches gonna last past Thursday. POKER FACE I told you before, I don't take pennies. Two cigarettes or one nickel minimum. What about you, Willie? Gonna get in on this action? WILLIE I got a crispy new dollar bill says both of them gonna make it. This gives the men pause. Willie tosses his money on the table. POKER FACE Now that's what I call a bet. GOLDMOUTH It's a mighty long shot, Willie. Nobody ever made it a week in the hole. JANGLE LEG Not in August, anyway. But Willie leaves the money where it is. POKER FACE Who else has some guts around here? Poker Face makes notations as the betting resumes. EXT. FIELD -- DAY Work goes on as usual for the prisoners of Camp 8. Trusties keep their eyes peeled for slackers. EXT. THE HOLE -- DAY The brick shacks bake in the noonday sun. EXT. FIELD -- DAY Biscuit moves down the line offering the ladle to the men as they struggle under a crushing heat wave. EXT. THE HOLE -- DAY Superintendent Abernathy strides up and gives the nod to Dillard, who unlocks the doors. Huddled in their respective cells, Ray and Claude shrink from the bright sunlight. Then, slowly and painfully, they rise to their feet. In the background, the incorrigibles gather at the gun line as word spreads that the fellows are still alive. Abernathy glances at the crowd with annoyance. ABERNATHY I don't think these boys have learned their lesson. Let's give 'em another week for good measure. DILLARD Sure you want to do that, sir? ABERNATHY Don't you ever question me, Sgt. Dillard. When I give an order, you jump to it, or I'll kick you and that first-cousin you call a wife outta that pretty little house so fast it'll make your pin-head spin. You got that? DILLARD Yes, sir. Dillard slams the doors on Ray and Claude and clamps shut the padlocks. Abernathy smiles at the incorrigibles, who regard him with undisguised hatred. AT THE GUN LINE A somber Poker Face offers Willie a wad of bills. POKER FACE Well, they made it a week. Looks like you win, Willie. WILLIE Let it ride. INT. CLAUDE'S CELL -- NIGHT A slot at the bottom of the door opens. A tin plate of mush slides through and the slot closes. Slumped in the corner, Claude reaches for the food -- but a RAT beats him to it, scampering out of the shadows and leaping onto the dish. INT. RAY'S CELL -- NIGHT A commotion and wild screams come from Claude's cell. Ray leaps to his feet, shouting through the wall. RAY Claude? You alright?! INT. CLAUDE'S CELL -- NIGHT Claude continues to stomp the rat. CLAUDE Can't take it no more, Ray! Die, motherfucker! Gotta get the fuck outta here! Claude pounds against the door, raising a holy racket. We continue to cut back and forth between cells as needed. RAY Keep it together, Claude. You wake up the man, he'll shoot you for sure. CLAUDE He'd be doing me a favor. I'm getting outta here one way or the other! Goddamn rats and shit! Fuck! Claude continues shouting and pounding. RAY All right, man, just settle down. We'll get outta here, Claude. We'll get outta here real soon. CLAUDE How the fuck are we gonna do that, Ray?! Ray looks around his cell. Claude's pounding is bound to wake up somebody soon. RAY We'll just get off at the next stop. CLAUDE (stops pounding, confused) Say what? RAY That's right, we'll get off at the next stop. The train's pulling into the station right now. CLAUDE The hell you talking about? What train? RAY We're in the Bronx, my man. Hundred and Sixty First Street. Claude focuses on what Ray is saying and starts to breathe easier. CLAUDE Hundred and Sixty First Street? That's Yankee Stadium. RAY Hell, yes, Yankee Stadium. Bombers are playing a double-header against the Red Sox. CLAUDE Red Sox... Who's on the mound? RAY I don't know. Who do you want? CLAUDE Allie Reynolds. He's my boy. RAY Sure, it says Allie Reynolds right here in the program. He's warming up right now. Man, we're so close to the field I need cleats. How'd you get such good seats? CLAUDE I know people. RAY They must be the right people. Whoa, there goes the hot dog man. Let's get a couple. Damn, that smells good. Nothing like a ballpark hot dog, huh? CLAUDE You get ketchup? RAY Ketchup? Who eats ketchup on a hot dog? Mustard's what you want. CLAUDE I can't eat it with mustard. EXT. THE HOLE -- NIGHT Dillard strides toward the hole, shotgun in hand. He pauses to listen to the argument, cocking an eyebrow in befuddlement. RAY (off) Give me back that hot dog. I'll eat it myself. CLAUDE (off) What am I gonna eat? RAY (off) You can starve to death for all I care. Now shut up, the game's about to start. CLAUDE (off) Hey, man, is Babe Ruth in the lineup today? RAY (off) Of course, he's in the lineup. There he goes right there. Hey, Babe...! Dillard shakes his head, shoulders his gun and heads back toward his house. EXT. THE HOLE -- DAY Abernathy gives the nod to Dillard, who unlocks the doors. Two trusties drag Ray and Claude out of their cells. INT. BUNKHOUSE -- DAY The men crowd around the windows. RADIO What's going on? Are they alive or dead? GOLDMOUTH Don't look too good. POKER FACE They're not moving. EXT. THE HOLE -- DAY Slowly, Claude opens his eyes, squinting in the harsh light of day. Summoning his strength, he staggers to his feet. CLAUDE Hey, Ray... Ray's eyes blink open. Claude holds out a hand and helps him stand up. They share a look. They made it. ABERNATHY (scowling) Sergeant Dillard, make sure these two are out in the fields first thing in the morning. Abernathy turns on his heels. Dillard considers the two tough guys standing before him. DILLARD Go on, get inside. Ray and Claude stagger toward the bunkhouse as the incorrigibles gather on the porch and help them in out of the sun. DISSOLVE TO: INSERT -- TIME PASSAGE (Note: This montage is mixed with 16mm and Super 8 footage. A beautiful 1940s song plays over.) A. King Kong is machined-gunned off the top of the Empire State Building... B. FDR introduces his New Deal... C. The incorrigibles chop weeds... D. With Willie and Claude standing guard, Ray samples a batch of moonshine from a secret still in his footlocker... E. At the height of the depression, poor people line up in front of a soup kitchen... F. Ray and the crew sit around the poker table playing cards and laughing... G. Ray opens a letter and pulls out a snapshot of his mama which he places over his bunk. H. The incorribles level a road... I. Jesse Owens wins the 100 meter race at the 1936 Olympics in Berlin... J. Benny Goodman sets the kids dancing with wild abandon in the aisles of the Paramount Theater... K. The Hindenburg bursts into flames... L. Claude writes a letter, "Dear Sylvia"... M. In the juke joint, Sylvia reads the letter and smiles. She shows it to a few other WORKING GIRLS... N. Adolf Hitler stabs the air in front of a foreboding sea of Nazis... O. The 1939 World's Fair opens in New York... P. Ray nails a sign to the side of the bunkhouse: RAY'S BOOM BOOM ROOM. He steps back to admire the effect. Behind him, Sylvia and her friends mingle with the incorrigibles in the yard... Dillard takes his cut as Claude and Sylvia head for the tonk house. Ray and his date step up... Q. Lou Gehrig is honored at Yankee Stadium. "Today I consider myself the luckiest man on the face of the Earth..." R. With a pillow stuffed under a home-made Santa outfit, Ray distributes chocolate to the incorrigibles while Claude and Willie decorate the saddest little Christmas tree you ever saw. S. The 1940 Oldsmobile is introduced... T. Japanese Zeros bomb Pearl Harbor... U. FDR declares "a day that will live in infamy."... V. A WWII newsreel shows American G.I. s storming a beach in the South Pacific... INT. MESS HALL (1943) -- NIGHT The inmates of Camp 8 cheer for the American soldiers up on a makeshift movie screen. Instead of black and white stripes, the prisoners now wear blue twill. In an audience of new faces, the CAMERA FINDS some familiar ones. Ray and Claude are surrounded by their crew -- Willie, Radio, Poker Face, Cookie, Biscuit, Jangle Leg and Goldmouth. A decade has passed. EXT. CAMP 8 YARD -- DAY A line of NEW PRISONERS stands before Dillard, now 10 years older. DILLARD ...Camp 8 is for incorrigibles, so whatever you've done to get here, believe me, we are not impressed. You new men are probably noticing that we have no fences here at Camp 8. We don't need no fences, we have the gun line. It runs from shack to shack clear around the yard -- Dillard pauses in front of a big country boy who can't be more than 18 years old. The kid is bouncing a rubber ball. DILLARD What the hell you think you're doing? The kid don't answer. An OLD GUY steps forward. OLD GUY Excuse me, boss. That kid don't talk. Something wrong with his head, just can't get right, boss. DILLARD Can't get right, huh? We'll see how long he last. Now, where was I? HOPPIN' BOB We don't need no fences at Camp 8, boss. DILLARD That's right. We don't need no fences, we have the gun line. It runs from shack to shack clear around the yard. You are now inside the gun line... INT. BUNKHOUSE -- DAY Ray and some of the fellas are playing poker. Dillard's voice drifts in through the open window. RAY (mouthing along) If you step outside the gun line without my permission, you will be shot. If you trip and fall over the gun line, you will be shot. If you spit, if you pee, if you stick your ass out and take a dump over the gun line, you will be shot... He lays down his cards and rakes in the pot. EXT. BASEBALL FIELD -- DAY Jangle Leg pitches to Radio, who swings and misses. Behind the plate, Goldmouth tosses the ball back to Jangle Leg. On the sideline, Ray teaches three-card monte to CAN'T GET RIGHT. Claude paces nearby. CLAUDE I try to teach 'em the finer points of the game, share my wisdom, but I don't know why I bother. They don't listen, they sure don't learn... Another pitch, another strike. RAY What you're dealing with here is a complete lack of talent. CLAUDE I'm sick of watching Camp 12 win the championship. Every year they get to roast the victory pig and we get dick. This year I want that pig. Radio knocks a grounder up the middle. CLAUDE Alright, Radio, there you go. Who wants to hit next? Can't Get Right looks at Ray. RAY You want to hit? (to Claude) Yo, Claude. Give Can't Get Right a shot. CLAUDE (skeptical) Him? RAY Can't be worse than any of these other fools. CLAUDE All right, grab the bat. Let's see what you can do. Can't Get Right shuffles to the plate. Goldmouth hands him the bat. CLAUDE Jangle Leg's gonna throw the ball nice and easy. You just go ahead and take a swing. Jangle Leg tosses the ball. Can't Get Right swings and connects with a mighty CRACK! The incorrigibles crane their necks as the ball disappears into the sky. They turn to look at Can't Get Right. Ray gives Claude a significant look, then tosses another ball out to Jangle Leg on the mound. CLAUDE Okay. Let's try that again. This time give it a little juice. Jangle Leg nods, winds up and delivers a whistling fast ball. Can't Get Right clobbers it. Once again, the incorrigibles track the departing projectile. RAY Told ya. Can't Get Right smiles for the first time. EXT. SUPERINTENDENT'S MANSION -- DAY The men of Camp 8 paint a fence along the drive leading up to the big house. RADIO I heard Camp 12 got themselves a son- of-a-bitch used to pitch for the Mud Hens. GOLDMOUTH That boy got a year for jay-walking. RAY Judge must have money riding on the championship. CLAUDE Don't matter who Camp 12 puts on the mound. All I know is when this season's over Camp 8's gonna have pork chops. Just then a U. S. Army Jeep swerves past the men and parks in front of the mansion. Young CAPT. TOM BURNETTE helps MAE ROSE out of the car. The prisoners stare furtively at her long legs and curly blonde tresses. POKER FACE Looks like little Mae Rose has grown up. BISCUIT And out. COOKIE Mmm-mm, that girl's got gams. CLAUDE She's got it all. And it's firm and round and fully packed. RAY You shred it, wheat. That there is fresh water. Next to them, Can't Get Right stares openly, mesmerized by her beauty. Ray nudges him. RAY Be cool, man. You can look, just don't drool. Up at the mansion, Abernathy and his WIFE come out onto the porch, all smiles. ABERNATHY How was the honeymoon? Am I gonna be a grandaddy soon? MRS. ABERNATHY Don't pay attention to the superintendent, Tom. You're going to stay for supper, aren't you? TOM Afraid not. I'm shipping out this afternoon. The prisoners steal glances as Mae Rose kisses her new husband goodbye. She gives them quite a show, raising her leg behind her just like Betty Grable. Then Tom climbs into the Jeep and pulls away. Mae Rose takes a long glance at the prisoners. The men all look away -- except Can't Get Right who stands there smiling innocently. Mae Rose gives him a little wink, then turns her back and bounces up the steps. EXT. BASEBALL FIELD -- DAY A plump PIG roots about in a small pen. A sign dangles from a post -- "First Prize." The incorrigibles of Camp 8 limber up for the big game with the inmates of Camp 12 across the field. POKER FACE Think you can handle something that big, Cookie? COOKIE I handled your mama, didn't I? Don't y'all worry. I got plans for that bad boy. Ain't none of him going to waste. Beyond the fence, a late-model sedan rolls up. STAN BLOCKER, in a straw hat and a rumpled suit, climbs out and stretches his legs. Irritated, he smacks a mosquito and exchanges a few words with Dillard. DILLARD Banks! Get over here! Claude hustles over, removing his hat. DILLARD This is Stan Blocker. Scout for the Nigger Leagues. BLOCKER Negro Leagues, actually. Pittsburgh Crawfords. Ever hear of us? CLAUDE We get the games on the radio sometimes. BLOCKER We played down in Jackson yesterday. Heard a rumor you've got a boy up here who can hit the ball a ton. CLAUDE You probably mean Can't Get Right. That's him over there. BLOCKER Can't Get Right? That's the kid's name? Can I talk to him? CLAUDE You can try, but you won't get too far. Why you interested? BLOCKER Crawford's are always looking for new talent. CLAUDE Maybe you didn't notice, but this is a prison. BLOCKER There are ways around that. Right sergeant? Blocker winks at Dillard, then glances at the incorrigibles practicing in the field. Goldmouth, Cookie, Poker Face, Biscuit -- they don't exactly inspire confidence. BLOCKER Nice looking squad. See you after the game. Blocker takes a seat on the bench. EXT. BASEBALL FIELD -- DAY The inmates of Camp 12 are in the field. Our boys from Camp 8 cheer for Cookie digging in at the plate. Ray taunts the opposition from the third base line. The PITCHER winds up and releases a fast ball. Cookie swings and connects for a base hit up the middle. IN THE STANDS Mrs. Abernathy and Mrs. Dillard share a box of Cracker Jack. MRS. ABERNATHY Of course, the superintendent's hoping for a boy, but personally, I'd prefer a girl. MRS. DILLARD Whatever it is will be a little gift from heaven. Look at the way she glows. Mae Rose sits next to them. She is SIX MONTHS PREGNANT. She removes her sunglasses and coyly bites a fingernail when she spots Can't Get Right in the on-deck circle. DOWN ON THE FIELD Can't Get Right smiles shyly. Sensing trouble, Claude ushers Can't Get Right toward the plate, massaging his shoulders. CLAUDE You're my boy, just keep what little mind you have focused on the game. If you hit that ball the way I know you can, you might just be our ticket off this farm. Can't Get Right digs in. Claude returns to the sidelines and appeals to the gods. The pitcher winds up and releases a fast ball. Can't Get Right connects with that familiar CRACK! Blocker stands up and watches the ball clear the fence and just keep going. With his team cheering him on, Can't Get Right trots around the bases. But he's still looking at Mae Rose. EXT. CAMP 8 YARD (LATER) -- DAY Cookie slowly turns the pig on a spit over an open fire. The incorrigibles are savoring a victory feast. As always, trusty guards keep an eye on things. Off to the side, Blocker is laughing with Ray and Claude. He takes a hit off Ray's bottle of shine. It's not his first, either. BLOCKER Mark my words, within five years there's gonna be a colored man playing in the majors. RAY Come on, the world hasn't changed that much. BLOCKER Maybe not yet. But it will. And I'll be out of a job. Damn, that's some tasty hooch. CLAUDE It's amazing what Ray here can do with a couple of pounds of potato skins and some molasses. RAY So, Blocker, what do you think of our boy? BLOCKER I think that boy could be the next Josh Gibson. I'm gonna talk to the front office about him, you can bet on that. Damn, it's getting late. We got a game in Memphis tomorrow. Blocker starts for his car, parked just beyond the gun line. CLAUDE What about us? Don't forget to mention us. RAY We're like his handlers. He can't function without us. BLOCKER I'll put in a good word for you. You've done a good job with that boy. Thanks for your hospitality. Ray and Claude's eyes gleam with hope as Blocker's car rumbles off down the road. EXT. SUPERINTENDENT'S MANSION -- NIGHT Inside, a woman screams in agony. Then, the HEALTHY CRIES of a new-born baby. INT. MAE ROSE'S BEDROOM -- NIGHT Superintendent Abernathy paces anxiously in front of a white curtain surrounding Mae Rose's bed. Suddenly, Mrs Abernathy staggers out from behind the curtain with a stricken look on her face. She tries to speak, but words fail her. Her legs go wobbly and she faints dead away. ABERNATHY Uh, doctor... The DOCTOR steps from behind the curtain, drawing it behind him. He checks Mrs. Abernathy's pulse. DOCTOR She'll be fine. She just had a bit of a shock. ABERNATHY Is Mae Rose okay? DOCTOR She's doing just fine. ABERNATHY And the baby? DOCTOR (vague) He's a big one. ABERNATHY It's a boy! Well, let's get a look at him. Abernathy pushes past the doctor and yanks open the curtain. Mae Rose is propped up in bed, looking exhausted. ABERNATHY Well, where is he? Where's my new grandson? The NURSE turns around, cradling the baby in her arms. Abernathy gently pulls back the soft blanket. His eyes widen with horror upon discovering that the newest member of the Abernathy family is black. EXT. CAMP 8 YARD -- DAY Can't Get Right bounces his rubber ball off the wall, catching it on the rebound. INT. BUNKHOUSE CAGE -- DAY Ray passes around his latest batch of buck as the men discuss Can't Get Right's professional prospects. The thump-thump of the ball on the wall outside plays over. POKER FACE You really think they'll let him out of here just to play baseball? WILLIE Why not? Boy's got God-given talent. CLAUDE God may have given it, but Claude Banks spotted it and nurtured it. RAY Damn straight. I expect those Pittsburgh Crawdads to remember that. CLAUDE Crawfords. RAY Whatever. COOKIE (glancing out the window) Heads up, here comes trouble. EXT. CAMP 8 YARD -- DAY Abernathy drives his sedan up to the bunkhouse. All of his worldly possessions are strapped to the roof. It appears that the Abernathys are leaving town. In the back seat, Mae Rose cradles her baby. Her mother sits next to her. Dillard steps out into the yard to confer with the Superintendent, then turns to address the inmates. DILLARD Alright, listen up! I want every man lined up out here in the yard on the double! Let's move it! HOPPIN' BOB You heard what the man said! Move it! EXT. CAMP 8 YARD -- DAY Abernathy holds his newborn grandson up next to Ray's face. Hmm. Scowling, he moves a little further down the line, scrutinizing the features of each man. He pauses in front of Claude, holds up the baby. Maybe. Abernathy stops in front Goldmouth. Holds up the baby. The possibility makes him shudder. He moves on to Can't Get Right. His eyes narrow. ABERNATHY I know it was somebody from this camp. I can feel it in my bones. Disgusted, Abernathy hands the baby back to Mae Rose. Then he turns, walks back to Can't Get Right and places a revolver against his head. ABERNATHY Do you know who the father of that little chocolated baby is? Can't Get Right nods slowly. Abernathy smiles. ABERNATHY Well, then, who is it? Up and down the line, the men brace themselves for the worst. Can't Get Right just grins. Enraged, Abernathy cocks the revolver. That's when Ray steps forward. RAY The baby's mine, boss. Stunned, Abernathy lowers the gun and approaches Ray. Then Claude steps forward. CLAUDE He's lying, boss. I'm the father of that baby. Confused, Abernathy looks back and forth between the two men. Then Willie steps forward. WILLIE Actually, it was me, boss. I know I may look old... BISCUIT Any fool could see that baby's mine, boss. COOKIE I beg to differ. That cute little rascal belongs to me... POKER FACE I'm the father... RADIO I'm the father, boss... GOLDMOUTH I'm the father... JANGLE LEG I'm the father... And so it goes down the line, until every last man of Camp 8 has stepped forward to claim kinship with the Superintendent. Even hard-ass Dillard can't help cracking a smile. Disgusted, confused and thoroughly fed up, Abernathy jams the revolver into his belt and climbs into the car. As he guns the engine, Mae Rose gazes out the back window, smiling one last time at the father of her baby. Can't Get Right smiles back. DISSOLVE TO: EXT. CAMP 8 YARD -- DAY It's visiting Sunday and Ray's Boom Boom Room is in full swing. Sylvia's girls are everywhere. Down at the gunline, Dillard takes his cut from inmates lined up for their turn in the tonk. A FIVE-PIECE PRISON BAND is playing the blues. Nearby, Willie is dispensing Ray's moonshine from a bunkhouse window. He raises a jar in a toast. WILLIE To Superintendent Abernathy. May he have many more grandchildren! The incorrigibles erupt in boisterous agreement. Claude grabs Can't Get Right and shakes him. CLAUDE What I want to know is where? When? How? WILLIE Wasting your breath, Claude. He ain't the type to kiss and tell. Just then, Rev. Clay and his daughter emerge from the mess hall and start across the yard. It's a good thing the old man is blind because he wouldn't want to see how far his flock has strayed. The Reverend inhales deeply as one of Sylvia's girls passes nearby. REV. CLAY There's a sweet fragrance in the air today. CLAY'S DAUGHTER The magnolias are blooming early this year, daddy. Blissed out incorrigibles enjoy a last dance as the band downshifts into a slow, sultry number. In the midst of the dancers, Claude clings to Sylvia. Nearby, Jangle Leg dances intimately with a YOUNG WOMAN. Up on the porch, Ray refreshes Biscuit's drink. Biscuit has been crying and it shows. The liquor probably isn't helping. RAY Don't take it so hard, Biscuit. She don't mean nothin' to him. BISCUIT Hell with him. It ain't that. He pulls some folded sheets of paper from his pocket, passes them to Ray. RAY These are free papers. BISCUIT (devastated) What am I gonna do out there, Ray? I can't go home to my mama like this. I'll get the strap for sure. RAY Come on, Biscuit, this is good news. Your mama's gonna break down in tears when you show up on her doorstep. Poker Face leans in. POKER FACE (sotto) I'll give you three to one she gives him the strap. Ray gives Poker face a shove, then turns back to Biscuit. RAY It's 1945. It's a different world now. BISCUIT Not for me, it ain't. RAY Well you can't stay here, Biscuit. This ain't no life for a man. Any one of these fellas would give their right arm to be in your shoes. I sure know I would. Ray hands back the papers and heads off to dance with a PRETTY YOUNG WOMAN lingering nearby. Left alone, Biscuit polishes off his moonshine and checks his reflection in the bunkhouse window. BISCUIT No life on the inside, no life on the outside... He crumples the discharge papers and drops them. Then he steps down from the porch and walks calmly past the dancing prisoners toward the gun line. Ray lifts his head off his date's shoulder. Something about the way Biscuit is walking suggests that he isn't going to stop. RAY Hey, Biscuit...! But it's too late. Biscuit crosses the gun line and keeps walking, his eyes focused on the horizon. TRUSTY Man over the line! The band stops playing, the dancers grow still. Dillard turns around and squints. DILLARD Goddamnit, Biscuit, get back here! But Biscuit isn't paying attention. He breaks into a run. Dillard nods to Hoppin' Bob who raises his rifle and draws a bead. But he can't pull the trigger. He lowers his gun. Shots ring out from the shooter shacks. Biscuit reels from the impact of the bullets and looks down sadly at the blood spreading across his ring-arounds... Prisoners silently gather at the gunline. Jangle Leg pushes his way through the crowd and crosses the gunline without hesitation. Dillard indicates for the shooters to hold their fire. They train their rifles on Jangle Leg as he strides toward his fallen companion. Jangle Leg gently lifts Biscuit's lifeless body into his big arms and somberly carries him back toward the camp. The CAMERA RISES HIGH OVERHEAD as the prisoners make way for Jangle Leg to cross back over the gunline. INT. BUNKHOUSE -- DAY A dark mood hangs over the men. Jangle Leg sits stoically as Radio fiddles with his receiver. Nearby, Poker Face and Ray play a listless game of gin rummy. Claude is thumbing distractedly through a dog-eared copy of Baseball Digest. RADIO Hey, fellas, I got Chicago. But nobody can muster much enthusiasm for this news. Radio shrugs and drops down on his bunk. Just then, Can't Get Right walks past heading for the door. He's dressed in civilian clothes, his bindle slung over his shoulder. CLAUDE Hey, Can't Get Right, where you going? Why you dressed like that? Can't Get Right holds out a piece of paper which Ray scrutinizes. RAY It's a pardon from the governor. CLAUDE Let me see that. The incorrigibles gather around for a glimpse at Can't Get Right's ticket to freedom. CLAUDE Where'd you get this? Can't Get Right nods out the window. Stan Blocker is waiting by his car. EXT. CAMP 8 YARD -- DAY Claude storms across the yard and stops at the gun line. Ray is a few steps behind. CLAUDE Yo, Blocker, what's going on here? BLOCKER Kid's getting out. I got him a pardon. CLAUDE Yeah, but what about me and Ray? I didn't see our names on that pardon. You said you were gonna put in a good word for us. BLOCKER I did, Claude. I mentioned you. I mentioned you both. But the fact is, pardons don't come cheap. The kid can hit. What can you do? This hits Claude hard. RAY Let it go, Claude. CLAUDE I'm not gonna let it go. The man needs to explain himself. Makin' promises. BLOCKER Look, I am truly sorry about this. I'd like to help you... CLAUDE But you can't. BLOCKER At least the kid's getting out. Isn't this what you wanted? Claude looks around as the incorrigibles begin to gather. He's on the spot. Dillard approaches with Can't Get Right. Claude looks into the big kid's eyes. CLAUDE (resigned) Yeah. Of course it is. Steeling himself to the reality of the situation, Claude gives Can't Get Right a hug. CLAUDE You show them Crawfords how to play ball. RAY Make 'em throw strikes. Can't Get Right nods. He steps up to the gun line and looks at both shooter shacks. DILLARD It's alright. You're a free man now. Can't Get Right steps across the gun line. Blocker opens the car door for him. But before he climbs in, Can't Get Right reaches into his pocket and pulls out his rubber ball. With a smile, he tosses it to Claude, who snatches it out of the air. BLOCKER Don't worry, we'll take good care of him. Blocker tips his hat and climbs behind the wheel. Claude and Ray watch Blocker's car drive off under a red Mississippi sunset. Slowly, the inmates drift back toward the bunkhouse until Ray an Claude are left alone at the gun line. RAY One of the new kids said they're farming those acres just north of the swamp. He said he saw a crop duster flying around the place. CLAUDE I'm not in the mood right now, Ray. RAY He said they keep it parked out behind the barn. Can't be that hard to fly a plane. Lots of people do it. CLAUDE They're called pilots! I'm serious, Ray. I'm not in the mood for one of your stupid, fucked-up plans right now. RAY I don't see you coming up with any plans. CLAUDE (getting mad) My plan is on his way to Pittsburgh right now. That congenital idiot just got himself a pardon signed by the governor thanks to us, but we can't seem to do nothing for ourselves. Don't you feel a little disgusted right now? RAY Crop duster. CLAUDE I ain't getting in no airplane with you. I'm finally wrapping my mind around the concept. They threw us in this shithole for life. Don't you get it, Ray? We're gonna die here! Might as well head up to the cemetery, pick a plot and start digging. Suddenly enraged, Ray hauls off and knocks Claude down with a solid right. Surprised, Claude touches his bloody lip. RAY My daddy died in prison. He gave up hope and hung himself. What you're talking about is the same damn thing. That ain't how I'm going. CLAUDE Maybe you're fooling yourself, Ray. Maybe you're just a chip off the old block. RAY Take that back or we ain't friends no more, Claude Banks. CLAUDE Here's a news flash, Ray. We never were friends. We've just been stuck together for 12 years. It's been nothing but bad luck since the moment I ran into you. Every time I look at you I get sick to my stomach thinking about what my life could have been if I'd never bumped into Ray Gibson. A hard look comes to Ray's eyes as Claude rises to his feet. RAY Better watch yourself Claude, before you say something you regret. CLAUDE The only thing I regret is the day I met you. RAY Well, if that's the way it is... CLAUDE That's the way it is. RAY Then I have nothing left to say to you. Ray walks away, leaving Claude to nurse his split lip. CLAUDE You never said nothing of value anyway. INSERT -- TIME PASSAGE A. In his Pittsburgh Crawfords uniform, Can't Get Right lays into a fast ball, sending it soaring into the bleachers... B. People dance in the street in Time Square, marking the end of WWII... C. Hoppin' Bob drops a package on Ray's bunk. Ray rips off the brown paper to reveal a book: "So You Want to Learn to Fly..." D. Claude and Sylvia make love in the tonk house... E. In the mess hall, Ray pointedly carries his tray past a table where Claude sits with Willie... F. An A-bomb explodes in the Bikini Atolls... G. Jimmy Stewart hugs his wife and children at the end of "It's a Wonderful Life"... H. Jackie Robinson slides across home plate at Ebbets Field... I. Ray runs full tilt across a field toward a barn. Sure enough, there's the single engine crop duster parked right where he said it would be... J. Claude and another INMATE repair a hole in the bunkhouse roof. They dive for cover as Ray's crop duster swoops low overhead and dips out of sight beyond the trees. A puff of smoke rises into the sky... K. Soot-stained, Ray is marched to the hole and shoved inside... L. Newly elected president Harry Truman holds up a copy of the Chicago Tribune baring the headline "Dewey Defeats Truman"... M. RCA unveils the first color television... N. Cars pull up next to speaker poles in front of a drive-in movie screen... O. In the bunkhouse, early rock and roll plays on a modern 1950s radio that sits where the old vacuum tube receiver used to be. A YOUNG TOUGH now occupies Radio's old bunk... P. At the poker table, Poker Face slumps forward onto his pile of chips, revealing a straight flush. The other men quickly fold... Q. With a TRUSTY standing guard, Claude and Ray silently shovel dirt into Poker Face's grave. The CAMERA MOVES past gravemarkers -- Biscuit, Jangle Leg, Radio... R. Marilyn Monroe's skirt rises on a blast of subway air in "The Seven-Year Itch"... S. Rosa Parks is arrested for refusing to sit in the back of the bus... T. Elvis Presley creates a sensation on the Ed Sullivan Show... U. School children learn to "duck and cover" in the event of nuclear attack... V. The inmates of Camp 8 work to level a road. Ray's on one side, Claude's on the other... W. Prisoners mingle with friends and family on visiting Sunday. Claude waits on the bunkhouse steps. His face brightens when Sylvia appears... X. Blacks sit-in at lunch counters in Greensboro, N.C... Y. Kennedy is elected... Z. OMITTED... AA. Martin Luther King delivers his "I have a dream" speech at the Lincoln Memorial... BB. The Zapruder footage of Kennedy being shot... CC. American soldiers jump down from helicopters and run for the jungles in Vietnam... DD. Ford introduces the 1965 Mustang... EE. The assassination of Malcolm X... FF. Muhammad Ali looms over Sonny Liston, asking "What's my name?"... GG. The CAMERA MOVES past more gravemarkers -- Hoppin' Bob, Goldmouth -- to find Claude and Ray silently shoveling dirt over another casket. Ray pounds a simple marker into the ground: Cookie. Briefly, they lock eyes. But neither one speaks and the moment passes... HH. Go-Go dancers... II. Mao Tse Tung... JJ. Jimi Hendrix at the Monterey Pop Festival... KK. TV's Batman and Robin battle the forces of evil in Gotham City... LL. Black Panthers... MM. Peace Protesters... NN. The death of Martin Luther King... OO. Robert Kennedy... PP. Neil Armstrong sets foot on the moon... QQ. Vida Blue rears back and fires a pitch in the 1972 World Series... EXT. CAMP 8 YARD -- DAY On the porch, Willie, now in his 70s, sits in a wheelchair watching the ball game on a black-and-white television. A TRUSTY waits nearby. Ray, now in his mid-60s, emerges from the bunkhouse lugging a duffle bag. RAY Alright Willie, I think I got everything. I'll talk to Dillard, see if I can get up to the infirmary and check up on you. Make sure they're changing your diapers regular. WILLIE They'll be sending you up there soon enough. And not just for a visit, neither. RAY (leaning in) I slipped in a couple of bottles of my latest batch. Help wash down all them pills they'll be giving you. He gives Willie a slap on the back and nods to the trusty. The trusty wheels the old man across the yard where YOUNG PRISONERS mingle with WIVES and FAMILY MEMBERS sporting the fashions of the early '70s -- Afros, mutton chops, paisley prints and bell-bottom pants. ACROSS THE YARD Looking old-style, Claude sits on the mess hall steps waiting for Sylvia. He catches Willie's eye. The two men nod to each other, an unspoken farewell. Then Claude turns to find Ray looking at him from the bunkhouse steps. Ray and Claude hold each others gaze for a moment. Then Ray heads back into the bunkhouse. YVETTE (off) Are you Claude Banks? Claude turns to face YVETTE, a pretty young woman. CLAUDE Yeah. YVETTE My name's Yvette. Sylvia sent me. You look just like she said. CLAUDE She's alright, isn't she? YVETTE Oh, she's fine. She's just not coming today. CLAUDE Why not? YVETTE She got married last month. CLAUDE Married? YVETTE Real nice guy, too. Trumpet player. They moved down to New Orleans. Claude takes this in, staring off into space. YVETTE She always said that if you were on the outside... CLAUDE But I'm not on the outside. I'm in here. YVETTE I know she's sorry she won't be seeing you anymore. Anyway, she wanted me to take care of you. CLAUDE Take care of me? YVETTE You know, go to the tonk or whatever. CLAUDE I'm too old for you. Besides, I'm not much in the mood. YVETTE Want me to come back some other time? CLAUDE (shaking his head) Nice girl like you don't belong in a place like this. But if you talk to Sylvia, tell her old Claude said congratulations. EXT. CAMP 8 YARD -- DAY Claude stands at the gun line, staring across at the Dillard house. Mrs. Dillard places a couple of pies on the windowsill to cool. CLAUDE Whites-only pies... Suddenly, he makes a break for the Dillard house. TRUSTY Man over the line! Ray turns to see Claude dashing across no-man's land. Shots ring out from the shooter shack, kicking up dirt around Claude's feet as he serpentines across the field. EXT. DILLARD'S HOUSE -- DAY Breathless, Claude makes it to the kitchen window and digs his hand into the golden-brown crust, shoving a sloppy fistful of pie into his mouth. More shots ring out. Bullets PING all around him. Grabbing the pie, he darts around the side of the building, out of range. Back against the wall, he drops down on his haunches, snarfing pie like a hungry wolf. EXT. CAMP 8 YARD -- DAY A case of empty Coke bottles sits in the middle of the yard, glinting in the hot sun. His face smeared with boysenberry, Claude finishes taking off his boots and socks and steps barefoot onto the bottles. DILLARD Comfortable? CLAUDE As a pair of fur-lined bedroom slippers, boss. DILLARD We'll see what those slippers feel like after, say, 24 hours. And if you step down off them bottles -- if one toe so much as touches the dirt -- one of these boys is gonna shoot you dead. Let's see. We need a special man for this job. He takes a trusty's rifle and moves among the inmates, who have gathered around. He stops when he gets to Ray. DILLARD How about it, Ray? Ray glances at Claude, then back at Dillard. DILLARD I'll make you trusty right now. If that pie-eatin' son of a bitch falls off those bottles and you have to shoot him, I'll see to it you get a pardon. Hell, I'll personally escort you out the gate. Dillard offers the rifle to Ray, who doesn't have to think too long. RAY You don't want to give me a gun, boss. I'm liable to use it on you. EXT. CAMP 8 YARD -- SUNDOWN Ray's been given the same treatment as Claude. Barefoot, balanced on Coke bottles, the two men stand a few feet apart facing each other. A trusty with a rifle keeps an eye on them. After years of silence, the tension reaches the breaking point... CLAUDE You're a sucker. I'd have taken that deal. RAY Excuse me? Are you talking to me? CLAUDE I'd have knocked you off those bottles, put a bullet in your ass and be half way to New York right now. RAY After all these years of blissful silence, I almost forgot how annoying the sound of your voice can be. CLAUDE I hope you don't think I owe you anything. Because I don't owe you a damn thing. RAY I didn't do if for you, anyway. I just ain't no boot-licking trusty, that's all. The trusty tightens his grip on his rifle. He'd love the opportunity. CLAUDE I was sorry to hear about your mama passing. RAY That was five years ago. CLAUDE I know, but since we're talking, I thought I'd mention it. RAY We're not talking, you're talking, and doing too damn much of it, if you ask me. They stand in stony silence. Then Ray starts to laugh. A long, low belly laugh. CLAUDE What?! RAY You sure looked funny running for those pies, bullets flying all around you. CLAUDE Bullets weren't the problem. That pie was too hot. Burned my tongue. The two men start to laugh. Really laugh. Nearly a decade's worth of laughter comes welling up out of them, and they nearly lose their balance, which only makes them laugh harder. EXT. CAMP 8 YARD -- DAY A trusty bangs the rap iron. Young prisoners pour from the bunkhouse and line up for breakfast. Claude and Ray bring up the rear, the elder statesmen of the bunch. By a long shot. DILLARD Fourteen acres today and only 12 hours of daylight! Eat up and move it out! Gibson! Banks! Get your sorry asses over here! Claude and Ray step out of line and approach Dillard. DILLARD Every morning I wake up praying that Ray Gibson and Claude Banks have died in their sleep and every morning you disappoint me. RAY AND CLAUDE Sorry, boss. DILLARD I stand before you a defeated man. Try as I might, I can't seem to break you. I swear, if they dropped a nuclear bomb on this camp, you and the cockroaches would be the only things left. But starting today at least I won't have to endure your presence any longer. You've got fifteen minutes to clear out your footlockers. You're both being reassigned to the Superintendent's mansion. And I, for one, will not miss you. Ray and Claude share a look. Then Ray embraces Dillard, who stoically endures the breach of his personal space. RAY I always wanted to do that. (sighing) There is so much love inside of this man. EXT. SUPERINTENDENT'S MANSION -- DAY Up on the porch, Claude brings a tray of minted iced tea to Superintendent Wilkins, who sets aside his bible and washes down a couple of pills. Before going back inside, Claude can't resist taunting Ray, busy trimming a hedge out in the hot sun. CLAUDE Oh, yard boy, these pansies could use some attention over here. Perhaps some fertilizer would restore their exuberance. EXT. MARSH -- DAY Claude and Ray beat the bulrushes with switches, rustling a couple of pheasants from their hiding spot. As the birds take wing, Wilkins aims his shot gun and fires twice in rapid succession. Both birds fall from the sky in a flutter of feathers. OMITTED Sequence omitted from original script. OMITTED Sequence omitted from original script. INT. SUPERINTENDENT'S MANSION -- DAY Claude fills Wilkins' water glass as the Superintendent takes a bite of lamb chop and winces in pain. WILKINS Damn dentures slipping again. Everything falls apart when you grow old, eh, Claude? Time sure marches on. CLAUDE Yes, boss. WILKINS You know, I'm fixing on retiring at the end of the summer, gonna try to enjoy what few years I have left. What do you think of this place? It's one of those new retirement communities down on the Gulf. Claude glances at a glossy brochure. From outside, Ray peers suspiciously through the dining room window as he hacks at a rose bush. CLAUDE Ocean views, palm trees, two heated swimming pools and a golf course -- sounds a damn sight better than that infirmary across the way where I'm gonna end up. Claude returns the brochure. WILKINS I apologize, Claude. That was rude of me. CLAUDE That's alright, boss. Takes a lot more than a colorful brochure to hurt my feelings. WILKINS You been on the farm for quite a spell, haven't you? CLAUDE Over forty years now. Me and Ray Gibson out there. Wilkins glances over at the window. Ray ducks out of view. WILKINS Forty years. That's a long time for any crime, even murder. CLAUDE It's a hell of a lot longer when you're innocent. WILKINS Half the men in this prison swear they're innocent. Don't you think that's kinda funny? CLAUDE You have to forgive me if I don't laugh. Claude pushes back into the kitchen, leaving Wilkins to think this one over. INT. SERVANTS' QUARTERS -- NIGHT Ray and Claude are getting ready for bed. RAY You and Wilkins sure are getting chummy. You two planning on going steady, or something? CLAUDE He's just a lonely old man. He likes to talk. RAY Hey, I'm a lonely old man. I like to talk, too. So why don't we start by talking about what kind of a plan you're working on? CLAUDE I'm not working on a plan. RAY You can't fool me, Claude. I know you got something brewing. CLAUDE Goodnight, Ray. Claude punches his pillow and turns off the light. EXT. SUPERINTENDENT'S MANSION -- DAY Ray hacks a rose bush down to the nub. From the garage comes the sound of an engine turning over. Wilkins' 1973 Lincoln Continental convertible lurches down the drive with Claude at the wheel. He screeches to a halt inches from Ray's legs and climbs from the car. RAY What the hell are you doing? CLAUDE Don't touch that car. Claude pulls out a hanky and buffs Ray's finger print off the hood. CLAUDE Wilkins' driver's got the flu, so he asked me to fill in for him. RAY You haven't driven in 40 years, you ain't even got a license. Man's taking his life in his hands, putting you behind the wheel! Where you taking him? CLAUDE Greenville. We're picking up the new Superintendent at the bus station. Ray scowls as Claude straightens his chauffeur uniform and heads up the path to the mansion. EXT. GREENVILLE BUS STATION -- DAY Claude pulls up in front of the station, steps out of the car and holds the door for Wilkins, who checks his watch. WILKINS You know I trust you, Claude. CLAUDE Yes, sir. WILKINS I'll be right back. Wilkins heads into the station, leaving Claude alone with the Continental. All around him are the sights, sounds and smells of the free world. A woman rushes into the arms of a man as he climbs off a bus. Across the street is Grandma Dodi's Pork Rib Joint where Cookie never made it to the peach cobbler. A young brother with a boom box walks by. In the street, kids crowd around the back of an ice cream truck. Then Claude catches his reflection in the car window and frowns. When did he get this old? Unnerved, he moves around to the back of the car and pops open the trunk. RAY (sitting up) Damn, it was getting hot in there. CLAUDE What the hell are you doing in that trunk?! RAY You didn't think I was gonna let you escape alone, did you? CLAUDE I ain't escaping! We're picking up the new super just like I told you. RAY Then you're lucky I came along. Doesn't take a visionary to spot a golden opportunity like this. Now help me out of this trunk. CLAUDE You ain't getting out of that trunk. RAY Come on, man, I'm starting to cramp up here. (Ray struggles out of the trunk) We have the chance right here, right now, I say we go! CLAUDE Go where, Ray? RAY Back to New York for starters. CLAUDE And what will we do when we get there? I'm sixty-five years old, Ray. So are you. What are we gonna do out here? Get married, have kids, settle down? That boat sailed without us, man. RAY This boat's gonna sail without you, too. I don't care if I last one day out here. At least it's one day of freedom. Now gimme those keys. CLAUDE Forget about that. You run if you want to, but you're not taking this car. RAY Claude, man, I'm serious. Give me those keys. CLAUDE I ain't spending a month in the hole so you can take a joy ride. RAY Don't make me take them away from you. CLAUDE Hey, there's Wilkins! Ray looks, Claude clocks him. Ray slumps back into the trunk. Claude stuffs Ray's legs back into the trunk and slams the lid. CLAUDE Who's driving now, bitch? He looks up just as Wilkins and the new superintendent exit the bus station. Warren Pike's hair has gone grey and he's 40 years older, but there's no mistaking the former sheriff of Natchez County. He still bears a nasty scar on his cheek from a wound inflicted long ago. CLAUDE'S POV -- Pike appears as a young man in his sheriff's uniform striding slowly toward him. Claude blinks and looks again. Pike has returned to his old self as he and Wilkins step up. PIKE (dropping his bags) There you go, boy. Oblivious, Pike climbs into the back seat. Wilkins nods to Claude. WILKINS Come on, Claude, time to go. Claude snaps to it, grabbing the bags. He considers opening the trunk, but decides to carry them around to the front seat with him. EXT. KITCHEN PORCH -- DUSK Backs to the CAMERA, Ray and Claude urinate, presumably off the porch. RAY You sure it was him? CLAUDE Some faces you just don't forget. Warren Pike's is one of 'em. RAY I don't like it, I don't like it one bit. We shoulda taken that car when we had the opportunity. We'd be half way to New York by now. CLAUDE We'd be in the hole by now. Hey, man, you're peeing on my shoe. RAY I know. Simultaneously, they shake and zip. Claude bends down and picks up a bowl of gumbo, placing it on a tray next to an identical one. INT. DINING ROOM -- NIGHT Wilkins pours a frosty drink and offers it to Pike. WILKINS Lemonade? PIKE I prefer bourbon. WILKINS I'm sorry, I don't keep any liquor in the house. PIKE Well, fortunately, I carry my own. Pike pulls a flask from his jacket and tilts it high. Claude enters from the kitchen with the two steaming bowls of gumbo. WILKINS Hunting's been pretty good on the farm the last few years. It's one of the perks of the job. If you're interested, tomorrow I could show you some of my favorite spots. PIKE You don't have to twist my arm. (digging in) Say now, that gumbo has quite a kick. WILKINS Thank you, Claude. That'll be all for tonight. CLAUDE Goodnight, Mr. Wilkins. Mr. Pike. WILKINS Goodnight, Claude. Pike nods coldly. Claude steps back into the kitchen. PIKE If you don't mind my saying, you seem mighty familiar with your house boy. WILKINS I believe in treating the convicts with respect, if that's what you mean. PIKE (sarcastic) Respect? Well, isn't that progressive. WILKINS If somebody deserves respect, Mr. Pike, they receive it from me, convict or no convict. Pike curls his lip with disdain before taking a healthy spoonful of gumbo. EXT. MARSH -- DAY Claude and Ray beat the bullrushes with switches. Amid a flutter of wings, three pheasants take to the air. Wilkins fires first, knocking one out the sky. Pike pulls off two rounds, playing clean up. EXT. FIELD -- DAY Ray and Claude dump their game bags into the back of a pickup truck. Nearby, Pike drains his flask while Wilkins scrapes mud off his boots. The breeze picks up, clouds fill the sky. WILKINS Well, that's a pretty good haul. What do you say, Mr. Pike? Ready to call it a day? Pike pulls a gold watch from his pocket and releases the face plate. A familiar mechanical tune floats on the gathering breeze. Ray turns around slowly. His eyes fall on the watch in Pike's hand. His daddy's watch. In Pike's hand. PIKE Yeah, it's getting late. I could sure use a bath. RAY That's a real nice watch you got there, sir. Fancy old thing even plays a little tune. PIKE Yeah, it's special. They don't make 'em like this anymore. RAY Sure don't. Mind if I ask where you got it? PIKE Why, my wife gave it to me on our anniversary some years back. Claude looks at the watch, then at Ray. Uh oh. RAY Must have been some time ago. Maybe forty years? PIKE (eyes narrowing) Something like that, yes. RAY She give you that scar, too? Pike thrusts the barrel of his gun up under Ray's chin. PIKE I oughta shoot you for that comment, boy. RAY Like you shot Winston Hancock? Wilkins turns to see Pike holding Ray at gunpoint. WILKINS What's going on here? PIKE I'm afraid I'm gonna have to teach this uppity nigger a lesson in manners. RAY That's Mr. Uppity Nigger to you. Ray grabs the barrel of the shotgun and slams it into Pike's face. Pike rolls over and freezes, staring down the barrel of his own gun now in Ray's hands. Confused, Wilkins points his gun at Ray. CLAUDE Cool it, Ray. You're gonna get us in a lot of trouble. WILKINS He's right, Gibson. Put down the gun and we'll work this out. RAY I'm gonna work this man's brains out the back of his head. PIKE Shoot him, Wilkins! CLAUDE Don't shoot, sir. I can deal with this. (cautiously) Ray, buddy, you don't want to shoot this white man. See, you do that, they'll kill you for sure. And it's not that I like you or anything, but I've kinda gotten used to having you around. RAY He's got my daddy's watch, Claude. I always knew whoever took that watch killed Winston Hancock. And that was you, Mr. Pike. PIKE He's crazy. Don't listen to him, Wilkins. WILKINS Do you realize what your saying, Gibson? RAY That watch was the only thing my daddy ever gave me. It meant the world to me. PIKE Goddamn it, Wilkins, would you please just shoot the nigger! RAY He shoots me, I swear I'll take you with me! I just want to hear you say it. WILKINS Is there any truth to what he's saying, Pike? PIKE What difference does it make? Natchez was better off without Winston Hancock! Who cares if a couple of no- account bootleggers went to jail for his killing? At least the state of Mississippi got 40 years of cheap labor out of the deal! CLAUDE Forty years of cheap labor! Gimme that gun. Claude grabs for the gun. RAY No, I'm gonna kill him -- CLAUDE No, believe me, I'm gonna kill him! Claude yanks the gun free and points it right in Pike's face. Wilkins trains his gun on Claude. But the moment passes. Claude lowers the gun. Bewildered, Wilkins does the same. CLAUDE I can't do it. RAY That's because you're soft. Gimme the gun. CLAUDE What'd you say? RAY I said you're soft. CLAUDE Don't call me soft, I hate it when you call me that. Ray mouths the word -- "soft." Claude clenches his jaw, points the gun and pulls the trigger. Click. Pike smirks and pulls a small gun from his boot. But as he raises it -- BLAM! Pike is hurled backward by a shotgun blast. Shocked, Ray and Claude look at Wilkins, his gun still smoking in his hands. After a significant beat, Ray reaches down and gingerly retrieves his daddy's gold pocket watch. RAY I believe this is mine. EXT. SUPERINTENDENT'S MANSION -- DAY A gurney carrying Pike's body is lifted into the back of a van by two COUNTY CORONERS. Nearby, a distraught Wilkins tells his story to a couple of SHERIFF'S DEPUTIES. WILKINS ...I was drawing a bead on a bird when Mr. Pike just stepped into my line of fire. DEPUTY #1 Where were the two convicts when the shot was fired? WILKINS They were busy loading up the truck. We got him back here as quick as possible, but... I just feel terrible about this... INT. MANSION -- DAY Ray and Claude watch through the window as Wilkins talks to the deputies. CLAUDE Why don't he just tell 'em the truth? RAY He knows nobody wants to hear the truth. One of the deputies pats Wilkins sympathetically on the back. Then he and his partner put away their notebooks and head for their vehicle. Wilkins heads up the steps and into the house. WILKINS Well, I think they bought it. One of the deputies belongs to my church. Visibly shaken, Wilkins takes a seat, wiping the sweat from his brow with a handkerchief. WILKINS I realize there's no way... There's nothing I can say to make up for forty years... I'll have Charlotte prepare those pardon papers right away. Wilkins winces and swallows a couple of pills from his box. WILKINS Claude, mind helping me to the bathroom? CLAUDE (giving him a hand) Sure, boss. WILKINS I'm not your boss. Not anymore. EXT. PRISON CEMETERY (PRESENT) -- DAY Jake looks at Willie expectantly. JAKE So Ray and Claude got their pardons, right? LEON (smacking him) No, they didn't get their pardons, you dumb shit! If they'd got their pardons way back then, we wouldn't be burying them today, would we? JAKE (chewing on it) Oh, right. Well, why didn't they get those pardons? WILLIE Old man Wilkins' never came out of that bathroom. Died right there on the crapper. LEON Just like Elvis. WILLIE Of course nobody believed Ray and Claude. JAKE That musta messed 'em up pretty bad. LEON What happened to 'em after that, Willie? WILLIE After that? Well, let's see. After that they got old. We all got old. EXT. INFIRMARY -- DAY Ray and Claude, now in their nineties, sit under a tree in the courtyard listening to a Yankees game on a transistor radio. RAY Nurse Humphries was checking my prostate this morning. I got an erection. CLAUDE An erection, huh? Haven't had one of those in a while. RAY Tell me about it. Scared me at first. Then, before I could figure out what to do with it, it was gone. Imagine my disappointment. On the radio, the announcer voice rises in pitch as the Yankees score. Ray and Claude share a satisfied look. CLAUDE Sure would like to see the house that Ruth built one more time. RAY Well, Ruth shoulda built it a little better. Damn thing's falling to pieces. Gonna hurt somebody. CLAUDE What do you expect? It's almost as old as we are. RAY They oughta tear that shit down and ship them Yankees cross the river to Jersey. CLAUDE Remember what that place looked like on a sunny spring day? More beautiful than any church I was ever in. TWO ORDERLIES push a DEAD BODY past on a squeaking gurney. CLAUDE Looks like old Jonesy finally got his walking papers. Ray tips his flask in a simple salute. RAY Over to the morgue and up the hill to the cemetery. Never thought I'd admit it, Claude, but you were right. CLAUDE 'Course I was right. About what? RAY You're the one who said that boneyard's the only way we're getting out of here. We're gonna join all the rest of 'em soon enough. Jangle Leg, Biscuit, Goldmouth, Poker Face, Cookie, Radio -- yes sir, pick a plot and start digging... Ray closes his eyes and settles in for a nap. Claude turns to watch Jonesy squeaking away. Something about what Ray just said has given him an idea. INT. INFIRMARY -- DAY "Oprah" blares on the television. Old convicts linger about in various states of repose and decay. A young ORDERLY pops to the music on his Walkman as he pushes a cart through the ward. Over at a table, Ray and Claude play poker with Willie, a SHAKY OLD JUNKIE and TWO YOUNG GANG BANGERS. The currency on the table isn't poker chips, it's pills of various sizes and colors. GANG BANGER #1 Two Percodan. CLAUDE I'll raise you. GANG BANGER #1 What the fuck are those? CLAUDE Keeps your cholesterol down. GANG BANGER #1 I look like I give a shit about my cholesterol? GANG BANGER #2 takes a quick hit of cocaine from a bullet. He notices Ray staring at him. GANG BANGER #2 You want a bump, G? RAY I wouldn't be putting that shit up my nose. That came in in somebody's ass. It's like you're sniffin' ass. Maybe that's your thing, but it ain't mine. Ray pushes his bet to the center of the table. The shaky junkie folds. Willie tosses in some pills and turns to Gang Banger #2. WILLIE Looks like it's up to you, stinky ass sniffer. Glaring, Gang Banger #2 flips a big pill into the pot. CLAUDE Thorazine? Well, that's a little rich for my blood. He tosses down his cards. The shaky junkie attempts to light a cigarette. The match slips from his trembling fingers and falls into his lap. CLAUDE Damn fool gonna set this place on fire one of these days. Gang Banger #1 folds. It's back to Ray. RAY I got three stool softeners left. (to Gang Banger #2) That oughta be right up your alley. The remaining players match the pot. Gang Banger #2 reveals his cards. Willie frowns. Ray lays down his cards and victoriously sweeps his winnings into a paper cup. Across the room, Nurse Humphries enters with a tray of snacks. She, too, is showing the years. NURSE HUMPHRIES Who wants Jell-O? The magic word. The poker players join a stampede of oldsters in a clatter of canes, walkers and artificial limbs. Ray and Claude are left alone at the table. RAY Hey, where you going? We got money on the table here! Claude glances around to ensure that he's not overheard. CLAUDE You know, Ray, I've been chewing on what you said this afternoon. I think I got a plan. Ray gives Claude a long look. RAY Are you trying to tell me after all this time you finally have a plan for busting out of here? CLAUDE Shh! Is that so hard to believe? RAY Don't tell me, I don't want to hear it. It's probably all fucked up, anyway. CLAUDE You don't want to hear it, you don't want to hear it. There's no shame in that. RAY It's too late for plans. CLAUDE Never thought I'd hear Ray Gibson say that. Hell with you then. You'd only slow me down anyway. Ray turns away as Claude walks off. A DODDERING INMATE stands nearby slurping on Jell-O. His robe hangs open. RAY Hey, man, cover that shit up! Disgusted, Ray discards his own Jell-O. He pulls out his daddy's pocket watch and checks the time. The little mechanical tune nags at him. He snaps the lid shut and considers the watch resting in the palm of his hand. OMITTED Sequence omitted from original script. EXT. INFIRMARY -- NIGHT The building is dark. But then, through a first-floor window, we see the unmistakable orange glow of a fire. INT. INFIRMARY -- NIGHT An ALARM BLARES as the place fills with smoke. Wearing a robe and slippers, Nurse Humphries runs among the prisoners, helping them out the door. EXT. INFIRMARY -- NIGHT Coughing and disheveled, Ray emerges onto the lawn pushing Willie in the wheelchair. As other prisoners evacuate the building, Ray looks around for Claude, but he doesn't see him. Nurse Humphries takes a quick head count. NURSE HUMPHRIES Is everyone here? RAY Hey, where's Claude? I don't see Claude! NURSE HUMPHRIES Stay calm, Ray. We'll find him. Claude! Has anyone seen Claude? RAY He must still be in there. Grimly, Ray starts toward the burning infirmary. Nurse Humphries holds him back. NURSE HUMPHRIES Wait for the firemen! RAY It'll be too late. NURSE HUMPHRIES You can't go in there, Ray! You'll never make it! RAY I'm going in for him. He'd do the same for me. Ray shakes her off and runs up the steps, disappearing into the burning building. INT. INFIRMARY -- NIGHT Ray dodges flames as he presses into the inferno. EXT. INFIRMARY -- NIGHT Nurse Humphries, Willie and the rest of the inmates watch grimly as flames engulf the building. Nobody could survive this blaze. From the highway comes the siren wail of approaching fire engines. But it's too late. Sparks erupt into the night sky as the roof collapses... EXT. INFIRMARY -- DAWN Fire trucks pull away from the smoldering ruins. A local REPORTER interviews witnesses. INVESTIGATORS comb through the wreckage, making notes. COUNTY CORONERS pull a couple of gurneys from the back of their van. EXT. INFIRMARY RUINS -- DAY Superintendent Bill Burke is led through the destruction by a FIRE INSPECTOR. They approach the coroners as they finish zipping up two body bags. BURKE How did it start? FIRE INSPECTOR Probably old wires. The place was a tinderbox just waiting to go. BURKE I guess we should have torn this old building down a long time ago. FIRE INSPECTOR Gibson made it this far before he was probably overcome by smoke. From the look of things, Banks never even made it out of bed. Burke watches solemnly as the coroners wheel the bodies past him. EXT. PRISON CEMETERY -- DAY Jake and Leon shake their heads and look at the two fresh graves. LEON Man, you really bummed me out. That's a terrible story. (looking at Jake) Nigger, you crying? JAKE Hell, no! I just got something in my eye. WILLIE It's alright for a man to cry once in awhile. Just don't make a habit of it. LEON Hey, Willie, what was Claude's plan, anyway? WILLIE Nothing to it, really. Claude figured they could steal a couple of bodies from the morgue. They got a couple of crackers working there don't know their asses from their elbows. Then they was gonna set fire to the infirmary and make it look like those bodies was them that got stuck inside. Claude figured during the commotion, it wouldn't be too hard to slip onto one of the fire trucks and hang tight until it rolled right on out of here in the morning. The young inmates share a look, then glance into the graves, then look back at Willie. JAKE What makes you think it didn't work? WILLIE I never said it didn't work. Leon and Jake do the arithmetic. You can almost hear the gears grinding under the strain. LEON You trying to tell us that's not Ray and Claude in those boxes? Willie starts to chuckle and sets his electric wheel chair on auto-pilot, leaving the young inmates to guess at the truth. JAKE What do you think about that? LEON I think that old man lost his marbles about a hundred years ago. Come on, let's get this over with. They pick up their shovels and go back to work burying the caskets. INT. GREENVILLE FIRE STATION -- DAY The CAMERA MOVES PAST a FIREMAN hosing down the truck, past another group of soot-stained FIREMEN eating breakfast, and pauses in front of two lockers. A couple of FIREMEN emerge from the showers wrapped in towels and open their lockers. They share a look. FIREMAN #1 (to the room) Alright, which of you hambones took our clothes? EXT. YANKEE STADIUM -- DAY -- WIDE SHOT Scalpers sell tickets. Vendors hawk souvenirs. Fans stream up from the subway and through the gates. Somebody is singing "The Star-Spangled Banner." EXT. STANDS -- DAY In the middle of a capacity crowd, a VENDOR fixes two hot dogs and passes them to a KID at the end of an aisle. The kid passes them to the MAN next to him, and so on down the line. The CAMERA FOLLOWS the hot dogs from face to face, some old, some young, some black, some white -- it's New York City, after all -- and finally the hot dogs arrive in a pair of old, calloused black hands. Ray passes one of the dogs to Claude. CLAUDE I can't eat this. RAY Why the hell not? CLAUDE I saw that hot dog guy in the bathroom urinating. He didn't wash his hands. Ray and Claude glance around confused as the wave rolls through their section of the bleachers. What the fuck? Claude inspects his hot dog. RAY Just put some mustard on it and eat it. CLAUDE You didn't get ketchup? RAY Gimme that damn thing. Ray snatches back the hot dog. CLAUDE What am I gonna eat? Ray is suddenly young again. RAY Have my ice cream. Claude takes the ice cream. He, too, is suddenly young again. CLAUDE Thanks. They look at each other and share a laugh. RAY Hell of a day for a ballgame, huh, Claude? CLAUDE Hell of a day, Ray. Yankees are on fire. Claude pops the top on his ice cream. Suddenly, they are both old again. CLAUDE No, this ain't gonna work either. It's half chocolate, half vanilla. RAY So? CLAUDE They're touching. The CAMERA begins to pull back. RAY If you don't eat that ice cream right now, I'm gonna strangle you until you are completely dead. CLAUDE Yeah? You and what army? RAY Next thing, you're gonna be complaining about the seats. CLAUDE Well, if you must know, they could be closer. RAY Damn, I shoulda let Spanky Johnson drown you in the river when I had the chance. "Pipe downs" etc. from the people around them. CLAUDE (glancing around) I know you're not talking to me... RAY I'm sorry, he's on medication... The CAMERA PULLS BACK as the arguing continues, just like the old days. MUSIC UP. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Light Sleeper.txt b/unformated_scripts/Script_Light Sleeper.txt new file mode 100644 index 0000000000000000000000000000000000000000..a04f5918e4819975e7f061913e103f748667e011 --- /dev/null +++ b/unformated_scripts/Script_Light Sleeper.txt @@ -0,0 +1 @@ + LIGHT SLEEPER Written by Paul Schrader SHOOTING DRAFT 1992 JOHN LETOUR, forty, light sleeper. Never meant to be a drug dealer, it just came along. He's been other things: messenger boy, cab driver, model, postal clerk, doorman, nightclub shill -- never meant to be them either. Now he's a D.D. Drug dealer. JOHN LETOUR, well-groomed, khaki slacks, leather jacket, tippet-like scarf, belt pouch, "Beatle" boots, a shadow drifting in and out of other shadows, New York, day, night: watching, listening, rarely speaking -- nonexistent, seen only by those he sees. His face an affable blank. Make of it what you will. The eyes flicker; the hands shift discreetly. A map of calculation. Once he had a drug problem. Life turned a page. Today he follows instructions: he sleeps light -- one eye open, anticipating. JOHN LETOUR, D.D., loner, voyeur, has been drifting toward an unknown destination. At mid-life the destination draws near. The circle tightens. The dealer is anxious. The destination is love. NIGHT IN THE LIFE CREDIT SEQUENCE: New York by night. JOHN LETOUR nestles in back of a blue car service sedan, face reflected in the window. Neon mixes with steam, street people with tourists, young dates: each with a different agenda, a hidden purpose. His beeper goes off. He clicks it, checks the digital message. The DRIVER stops at an uptown corner. LETOUR opens the curbside door, motions to the DRIVER he'll be back in "ten" minutes. He enters the video laundromat, a twenty-four-hour video rental/laundromat/tanning salon. Inside, he meets a RETRO-YUPPIE (J. Crew Division) in the "Classics" section. They exit. On the sidewalk, money is exchanged for a packet. LETOUR pockets the uncounted cash. The YUPPIE mouths goodbye, eager to put distance between him and LETOUR. JOHN checks his beeper, stops at a pay phone, dials. JOHN LETOUR re-enters the sedan; the DRIVER heads downtown. High-rises give way to Tudor City. Uncollected trash lines the curbs. LETOUR eyes a PEDESTRIAN; PEDESTRIAN looks back. Later. Three a.m. The streets are dark. LeTour's car passes a glowing Korean market. LETOUR narrates from diary: LETOUR (voice over) Labor Day weekend. Some time for a sanitation strike. Everybody crazy to stock up. They decide to score at the last minute and want it now. Never fails. The faces look alike. You gotta use memory tricks: each has some peculiarity -- it keeps you sharp. A D.D. told me when a drug dealer starts writing a diary it's time to quit. I started writing after that. Not every night -- now and then. Just to burn off the night. Fill up one book, throw it out, start another. The sedan drives on. End credits. CUT TO: HOMEBASE Four a.m.: streets empty. LeTour's sedan drops him off near a ten-story West 80s apartment building. JOHN gives the DRIVER a forty-dollar tip (standard procedure), turns the corner. He presses the intercom; a buzzer unlocks the door. He enters the lobby, walks past English reproduction furniture toward the elevators. Presses the button. Penthouse C door opens. ANN lets JOHN in with a smile. ANN, forty-four, striking in a tailored dress, greets him with a wet kiss. Her hair is coiffured, her face made up. She is John's employer, mentor, confidante, Mother Hen: she keeps the books. Her ingenuous demeanor belies sterner stuff: she's been in the drug business fifteen years. Ann's apartment is a jumble of sensibilities: dark green walls, zebra-skin sofa, Haitian wall friezes, framed magazine photos of Paramahansa Yogananda, Liz Taylor, the Duke of Windsor -- paintings stacked behind an oversized urn. A bird flits in its cage. One corner of the living area is devoted to a fledgling cosmetics business: Macintosh computer, billboard of trade paper clippings and ads, herbal samples, reference books, color charts. ROBERT, fifty, slight, waves hello as JOHN locks the door. Gay, hip, worn, he's John's "co-runner." They work -- and eat -- out of Ann's apartment. Take-out tins of Indian food are stacked amid crystals, tarot cards, glasses, and vitamin bottles. No sign of drugs, drug paraphernalia, or money. ANN Darling. LETOUR Ann. ANN Have we made New York safe for another weekend? LETOUR (waves) Robert. ROBERT Get a job. LETOUR (about ROBERT) Sad what ten years without sex can do. Repartee: the plumbing of family feeling. JOHN unzips his belt pouch, walks toward the bedroom to deposit the night's earnings. ANN Any hundreds? LETOUR Twenties -- and tens. ROBERT Tens! ANN Goddamn cash machines. ROBERT Did what's-his-name give you a hard time? LETOUR (out of shot) You mean --? ROBERT Yeah. LETOUR Cash Before Delivery. (re-emerges) CBD. ROBERT Fucking investment bankers. ANN These Wall Street kids deal with fake money all day, they think cash is a theoretical concept -- like it doesn't apply. I see 'em at two, shudder to think at nine they're buying and selling -- turned me off the stock market. LETOUR It's late. (to ROBERT) You staying? ROBERT It's over. LETOUR I'm gonna crash -- try, at least. ANN (to LETOUR) Tomorrow will be easier. Maybe we can all eat together. Go on. You look tired. Here, take a couple of C's. I'll pick up anything that comes in. LETOUR turns to leave. ANN Sleep tight. ROBERT Pick up the trash. LETOUR (laughs) Yeah -- big kiss. He throws two kisses, exits. CUT TO: JOHN'S APARTMENT First light reflects across the Hudson as LETOUR walks west on 22nd Street toward his Chelsea apartment building. A delivery truck passes uncollected garbage. He enters a nondescript doorway. Inside his studio apartment, JOHN sits at a second-hand table writing in a composition book. He drinks from an eight-ounce glass of white wine, continues. The room has little personality; Ann's apartment has enough for two. Nails indicate where pictures once hung; a boombox sits on the linoleum floor amid cassettes, books (Autobiography of a Yogi, The Secret Doctrine), fashion magazines, a stack of unopened CDs. A futon is unrolled beneath the room's sole decoration, a poster of a human foot advertising a forgotten photo exhibit. Wine bottles -- Chenin Blanc. Precious little to show for forty years. LeTour's narration resumes as he writes: LETOUR (voice over) "Labor Day." "Union Movement" -- there's a contradiction in terms. I know about long hours. It's worse when I'm off -- I just walk and walk. Where am I going? There's an element of providence to it all. Like rolling numbers. Luck. You're walking down the street, some guy that looks maybe a little like you does a stick-up four hours ago, there's an APB description out and a cop pulls you in cause he's cold and wants to go inside -- they grab your stash. Your number's up. You're busted for nothing. For bad luck. CUT TO: JEALOUS Five p.m. A Clinton transient hotel. Inside hotel room, LETOUR meets with JEALOUS, a twenty-five- year-old drug intermediary in leather jacket. JOHN counts hundred-dollar bills, hands them to JEALOUS. JEALOUS Are they "faced"? LETOUR Don't bore me. JEALOUS rearranges the hundreds: JEALOUS Is it so much work to face them the same direction? You don't do it, I got to. It's time -- my time -- LETOUR (overlap) Jees -- JEALOUS We've been through all this. (LETOUR shrugs) This nineteen-gram shit is a drag. LETOUR We pay you more, you put up with more. White drugs for white people. Twice the price, twice the safety. JEALOUS I can't believe Ann's been working as long as she has -- never busted. She's something. LETOUR Never made any big money either. JEALOUS Sure. LETOUR She blows it. JEALOUS You believe that? What you gonna do after she quits? How long you been with her? LETOUR She always says that. We'll see, Jealous. JEALOUS She's out. You should pick up her trade. You're too old to be a go- fer. They know you, they trust you. LETOUR No way. I'm not the management type. I get in charge, I'll start using again -- not for me. I know music people. I'm gonna get in recording. JEALOUS Yeah. LETOUR reaches for the door. JEALOUS Tour. LETOUR What? JEALOUS Normally this wouldn't matter to you, but you may get hassled. LETOUR Why? JEALOUS You read the papers? The Park murder. All over the Post. Mariah Rangel -- nineteen-year-old Barnard co-ed bitch dead in Turtle Pond coked to the fucking gills. All of a sudden they're hot after mid-level dealers. They're buzzin'. You know her? LETOUR (shrugs) I look like an encyclopedia? Who knows? (opens door) Thanks for the warning. CUT TO: THE NIGHT BEGINS Ann's apartment. Eight p.m. She opens the door for LETOUR, kisses him, goes back to the phone. Mantra muzak plays as JOHN locks door, heads toward bedroom. Inside bedroom, MTV glows silently as ROBERT, wearing a black turtleneck, works at a desk amid tools of the trade: digital scale, "hot box," Deering grinder, block of manite, pure cocaine, pills, felt pen. ROBERT scissors glossy magazine paper (Elle) into neat quarters, folds each into gram-size "bindels" -- envelopes. Red satin drapes the ceiling. ROBERT Jack. JOHN kisses him atop the head. ROBERT You pick up from Jealous? LETOUR (passes bag) Yeah, nineteen grams after four times last night. We're certainly not his favorite people. ROBERT We don't make the laws. Nineteen is carrying, twenty is dealing. Let him be stupid. LETOUR He took my hundreds. ROBERT (stands) Take over for a while. I'm getting contact high. LETOUR (sits) Who's Her Majesty talking to? ROBERT flips through cable channels as JOHN grinds cocaine. ROBERT The Ecstasy connection. From Arizona. She's trying to get them to come here -- or, better, Europe. LETOUR That's where the money is. ROBERT All mark-up -- the "Big One." LETOUR (laughs) Don't dress. (beat) You really think she means it? ROBERT That's what she says. New Year's Eve and out -- no Acid House, no product, no deliveries. LETOUR That's just her mouth talking. ROBERT Next year -- strictly Akasha. LETOUR "Akasha"? ROBERT Cosmetics. That's what Ann's calling the company now -- LETOUR (interjects) -- this week. I don't get it -- marigolds, violets, sage -- why'd anyone pay to put weeds on their face? ROBERT Why'd anyone pay to put them up their nose? I like cosmetics. I need cosmetics. You should come in with us. LETOUR You forget: she hasn't asked me. ANN hangs up, calls: ANN (out of shot) Johnny! Robert! Come here! They return to the living area. ANN (open arms) Plant me two kisses, boys, fifteen hundred Ex at thirty each and the delivery's here. They simultaneously kiss her cheeks. ANN (to LETOUR) Whatja think? LETOUR Of what? ANN The face cream. Almond, marigold, chamomile, egg, aloe -- the "Almilk" formula. I remixed it. LETOUR (smells her) Very nice. ANN Reminds me, if you get downtown stop at Enhancements and pick up some almond oil -- not the California. (fishes menus from desk) What should we order? LETOUR How about Indian? ANN Darling, it's Saturday. ROBERT Thai. We haven't had Thai in a while. The phone rings. Ann's voice repeats a recorded message: ANN'S VOICE "Hello. This is Ann. If you leave a message, we'll get back to you -- sooner than you think." Answering machine beeps. MAN'S VOICE speaks from the tiny speaker: "Ann, this is Ed. Call me. 749-2876." ANN (to ROBERT) Answer that. He'll call back every five minutes. ROBERT (walking) The night begins. The phone rings again: another message as ANN examines the menu. ANN "Ped Srilom"? -- it's Northeastern. Duck. LETOUR (glancing) I'm going veggie. Get me the "Puk Ob." ROBERT (out of shot from phone) Me too. LETOUR Use it for facial cream. ROBERT (out of shot) Remove unsightly hair! ANN Laugh, one day you'll be watching me on "Oprah" from a welfare hotel. LETOUR Forgive us. ROBERT (returns) Eddie wants now. Now. His place. Top Lady. God knows what happened to his shit yesterday. ANN (to LETOUR) You take it -- call in. LETOUR It was supposed to be light tonight. ROBERT Don't you watch TV? LETOUR Don't have one. ROBERT Well if you were the normal stupid fuck you should be so lucky to be and had one, you'd know it's supposed to rain -- ANN Good for the trees -- ROBERT Some farmer whacked his numerology on us. ANN (peers through curtain) It's started. ROBERT The Farmer's Almanac is based on numerology. LETOUR Raining? ANN Take a coat. (to ROBERT) And you, clean up the product before the food delivery comes. JOHN grabs his belt pouch, heads for the closet. CUT TO: CONFESSOR LETOUR Rain falls on LeTour's car near an East Side luxury high- rise. The door opens to Eddie's apartment: severe decor, once chic, now dated. EDDIE, thirty-two, is a mess: puffy face, sweaty shirt, pinched lips -- on a drug jag. EDDIE Le Tour! -- finally. What took so long? LETOUR (steps inside) Traffic. It's raining. EDDIE How's things? LETOUR Okay. EDDIE I need a quarter -- you got it? LETOUR (nods) Robert said he sold you a quarter yesterday. EDDIE (slurs) Some friends came over. How much is that? Fourteen-hundred? LETOUR nods as EDDIE, employing diminished skills, counts from a roll of twenties. JOHN looks around: full ashtrays, porn tapes, empty vodka bottles -- there have been no "friends." LETOUR Eddie. Look at yourself. Sit down. I've known you, what, like eight years? EDDIE (counting) Yeah... LETOUR Knew you from the other job, the one before the last one you fucked up. I knew your wife -- remember her? We used to sit and talk and talk -- Pressures EDDIE into chair. EDDIE (whining) You don't know what she was like -- LETOUR This is no good. I'll sell you a gram and some downs, but I ain't gonna put you in the emergency room. Cool it. Go to bed. Sleep it off. John's beeper goes off. EDDIE (stands) You charge $200 for what goes for ninety on the street -- and you're not gonna sell? LETOUR (clicks beeper) So go to the street. EDDIE I'll call Ann. LETOUR Go ahead. You know what she'll say. Phone's over there. EDDIE (irrational) I'll tell the fucking cops. LETOUR (flashes cold) Fuck you. That's it. You're out. (turns to leave) Don't call again. Catch you next lifetime. EDDIE (contrite) Please, Tour, I'm sorry. You're right. I didn't mean that. I'm quitting anyway. I'll take the gram. Sorry. LETOUR (turns back) Okay. EDDIE Two hundred? LETOUR nods. EDDIE counts $200 as LETOUR takes a gram from his pouch, gives it to him. LETOUR You got downs? (EDDIE nods) One more thing. I gotta use the phone. EDDIE pockets the envelope as JOHN, checking his beeper, walks to the phone. Later. LETOUR sits in an Upper West Side apartment as an earnest MID-TWENTIESH MAN, wearing undershorts, snorts a hefty line, offers a rolled dollar bill as he talks. LETOUR declines. MID-TWENTIESH MAN (continuing) ...but -- if there's no God, how can man conceive of him? The idea of God presupposes the existence of God. That's the Ontological Argument. Anselm. Twelve hundred. Fourteen hundred -- I'm not sure -- LETOUR (checks his watch) I've got to go. MID-TWENTIESH MAN (gesturing) Let me finish. Okay, if the idea of God is implanted by God -- the sensus divinitatus, the sense of the divine -- what is the role of human thought? Not faith, thought... LETOUR's mind drifts. His diary voice overlaps: LETOUR (Voice over) Everybody wants to talk. It's like a compulsion. My philosophy is: you got nothing to say, don't say it. They figure you can tell a D.D. anything, things they would never tell anyone else. He understands. Of course they're stoned to start. If I could tie together all the hours of coke talk I've heard, that would be a lot of string. It was Robert's idea to add twenty-five dollars to home deliveries cause it's such a hassle. Fifty is more like it. Later. Narration continues as sedan drives through rain. Later. A Tribeca loft. LETOUR swaps drug jargon with TWO N.Y.U. STUDENTS at an impromptu party. Attractive ingenues drift by. TRENDY TWOSOME, blasted, sways, to techno-rap. Business done, LETOUR turns to leave. The FIRST STUDENT grabs his shoulder: FIRST STUDENT C'mon, Tour, stick around. SECOND STUDENT Yeah. FIRST STUDENT There's only four of us and like seven of them -- and we're paying for the dope. See her, over there, the blonde, long hair, yellow skirt? -- she's gonna model for Elite. DOWNTOWN NYMPH, sixteen going on seventeen. LETOUR (smiling) Me? I'm an old man. She'd break me like an old horse. SECOND STUDENT Shit, dude -- LETOUR Nah. Thanks anyway. (checks watch) I gotta go. Have fun. (heads toward exit) CUT TO: FACE FROM THE PAST LeTour's sedan heads down Lexington Avenue. It rains unabated. Puddles glisten; red taillights refract on the windshield. JOHN rests in back, a bag from Enhancements beside him. Pedestrians, well-dressed and casual, desperately wave for taxis amid sacks of garbage. No use: nothing for blocks. John's sedan stops for a midtown light. LETOUR looks out the window, sees a WOMAN vainly hailing a cab. He looks again. She turns her head. He recognizes her. LETOUR (to DRIVER) Carlos. Wait a second. He leans over, opens the far door, calls: LETOUR Marianne! Marianne! Hop in! I'll give you a ride. MARIANNE JOST, thirty-five, stylish in short black hair and long black coat, steps closer, looks through the rain. LETOUR John. John LeTour. MARIANNE (recognizes him) John? LETOUR Get in. You're getting soaked. She ducks inside, slams the door. MARIANNE (awkward) Hi... The car moves on. LETOUR Where are you going? MARIANNE wipes rain from her cheeks; her expression deepens: cautious, suspicious. No reply. LETOUR I didn't know you still lived here. MARIANNE (second thoughts) Maybe this wasn't such a good idea. I should get out. LETOUR Don't be crazy. It's pouring. MARIANNE I'm not supposed to be around -- LETOUR (completes sentence) -- former drug associates. MARIANNE It's four years I'm clean. No alcohol, no cigarettes, no nothing. LETOUR I heard. I'm happy for you. MARIANNE It's still not easy. LETOUR I know. Mar, you don't need to avoid me. I'm straight -- two years. It came that time. I tried to tell you. I wrote. I called. MARIANNE (looks around) I should get out. LETOUR Honest. MARIANNE But you're dealing. LETOUR No. I stopped. MARIANNE What's in the bag? LETOUR Almond oil. You can check. (opens bag) Look. She does: Enhancements Almond Oil. John's beeper goes off! -- he punches it. LETOUR Shit. MARIANNE What's that for? In case someone needs almond oil in the middle of the night? LETOUR I still deal a little, but I'm straight -- that part's true. Believe me. MARIANNE (to DRIVER) Stop here. Now. Stop! LETOUR I won't say anything. I promise. I'll just sit here. I'll just give you a ride. The car pulls over. MARIANNE opens the door, gets out. MARIANNE Goodbye, John. LETOUR Where do you live? (door slams) Mari... She fades into the rain. JOHN watches, aching. DRIVER Sir? LETOUR Eighty-third Street. The sedan continues uptown. CUT TO: MEMORIES John's apartment. Pre-dawn. His diary lies open on the desk. LETOUR sits clothed on the futon, drinking white wine. He pages through a cheap, half-filled photo album. He touches snapshots, 3◊5's from another time: -- JOHN and MARIANNE, arm in arm, on a Florida beach -- MARIANNE, surprised by the camera, snorting coke at a party -- JOHN, MARIANNE, and ANN posing, smiling, same party -- JOHN and MARIANNE kissing over birthday cake, same party -- MARIANNE IN MOROCCO BAZAAR -- JOHN blowing a kiss in Fez airport CUT TO: PSYCHIC HEALING LeTour's narration continues over embossed card on an entry table: Teresa Aronow, Psychic Reading, 37 Jones Street, New York, N.Y. 10012, (212)473-4297. VOICES under narration: TERESA (out of shot) Coffee? LETOUR (out of shot) Thanks. TERESA (out of shot) Black? LETOUR (out of shot) Yeah. TERESA (out of shot) Here. JOHN accepts a coffee mug, sits on a sofa across from TERESA. Sunlight falls through crocheted curtains. TERESA ARONOW, fortyish, professionally young, is compact, demure; she wears business jacket and skirt, patterned blouse. Nothing about her is remotely paranormal -- nothing except, of course, her "aura." The "Other Side." Her voice is at the same time soothing, piercing. Teresa's West Village consultation room is startlingly mundane: a bourgeois walk-up. Upholstered furniture, Tiffany objÍts d'art, framed photos of her husband and children -- a trip to Capri. A twenties portrait of Madame Blavatsky, above the fireplace, centers the room. LETOUR I'm not sure how this works. TERESA Have you ever been to a psychic before? LETOUR No, but I've, well, I've heard about it. TERESA Do you need advice? John? LETOUR (nods) No... it's not that... I don't know -- I just decided to come. I thought... TERESA Be comfortable. (smile) How did you hear about me? LETOUR A recommendation. Somebody from work. Two hundred dollars, right? TERESA nods. JOHN tucks cash into an envelope, places it on the coffee table. TERESA It's a lot of money? LETOUR I don't care. TERESA (explaining) I look at you. I give you my impressions. I feel your "vibrations" -- I don't like that word, it sounds phony, but I can't think of anything better. (watching) You're anxious. (he shrugs) More than usual. Your aura is very strong. I feel a very strong vibration from you. A change is coming. You're worried about money. You say you don't care about money but that's not true. LETOUR Yeah. TERESA Your livelihood is endangered. You're worried about the future. You don't have much money saved. What will you do? LETOUR I don't know. TERESA I see a woman who has betrayed you. LETOUR (smiles) My mother? TERESA (cuts him short) Who will betray you. LETOUR Not... I... TERESA Keep it in mind. I have a strong feeling about this woman, a woman close to you, she will betray you. You're in the entertainment business, aren't you? LETOUR Yes. TERESA But you're not happy. You want to do something else. Is it music? LETOUR Yes... TERESA You have a talent for music. LETOUR As a child. TERESA You still have it. It's strong. I see music in your future. A career opportunity will come in the music field. Take it. It won't seem promising. Take it anyway. (pause) You're full of stress. Are you exercising? LETOUR No. I -- TERESA You should exercise more. You must let go of this stress. It's not good for your health. I'm not saying you're going over to the other side, but it's not good for you. You're still drinking, aren't you? You have a drinking problem? (he shrugs) It's interfering with your health and your life too. You've had other problems. Drug addiction. LETOUR Yes. TERESA This was very important in your life. LETOUR Yes. TERESA You are in the balance. Everything you do -- positive or negative -- in this life is a drop that will carry over in the next. Every act, every decision matters. LETOUR Teresa? TERESA What is it? LETOUR I'm thirty-eight years old. (beat) Forty. TERESA You're young. LETOUR I have trouble sleeping. (TERESA waits) Look. What do you see around me? Is there anything? Is it dark? Have I run out of luck? Is there luck? TERESA I see a glow. Everything you need is around you. The only danger is inside you. CUT TO: MONEY CHANGER Ann's apartment. The night has already begun. ANN sits on the floor beside a YOUNG HASID counting money. He wears Orthodox garb: black hat, black coat, peyas. Tibetan bells reverb from speakers as the Bergmanesque cambist runs faced twenty-dollar bills through a battery-operated counting machine, places stacks of cash on the floor. ROBERT returns a call from the kitchen; LETOUR emerges from the bathroom, wiping his hands. ANN (to LETOUR and ROBERT) Your pay's on the table. JOHN walks to the cosmetics corner, finds an envelope with his name on it, looks inside: $500 in twenties. He pockets the money. LETOUR sits as HASID double-checks the total: cash covers the available floor space. YOUNG HASID (dialogue punctuates action) One hundred thirty-one, let's make it 130-$13,000, hundreds for small bills. One percent commission, $130 to you -- add tens or whatever if you want. Opening a satchel, he removes bound $100s, counts off 130 as ANN adds up commission in small bills. He loads the satchel: YOUNG HASID Same time? ANN (nods) Two weeks -- don't run. Stay a while. We'll order kosher. We'll tell you dirty stories. We'll talk Zionism. The HASID laughs. He likes her. YOUNG HASID (passes hundreds) I'm late already. I only come 'cause I like you. Sure you're not Jewish? I don't want to see you hurt. Find a man. You should do something else. ANN (offers commission) Invest in my cosmetics line. YOUNG HASID (takes money) Don't mix business with friendship. ANN follows him to the door. YOUNG HASID Shalom. ANN Shalom. (opens door) See you next week. (calls after him) Don't eat any hot dogs! ANN closes door. LETOUR Jealous said something about a yuppie murder in the Park. You know anything about it? ANN It's all over the news. LETOUR Jealous said to be careful. ANN We are careful. ROBERT (returning) We're too small time. Besides, she wasn't one of ours -- not directly. (to LETOUR) Tis is at St. Luke's. He wants somebody over right away. Second floor waiting room. LETOUR A hospital? What's he doing there? ROBERT He says he needs you to come to St. Luke's. I'd go but I got the other thing. LETOUR The --? ROBERT Yeah. ANN (to LETOUR) Go. Keep on his good side. He set up Arizona. Phone rings; Ann's machine answers: "Hello, this is Ann..." ANN (to LETOUR) Let's have lunch. Tomorrow. LETOUR Me? ANN One o'clock. CÙte Basque. Is that too early? LETOUR No. Yeah -- sure. ROBERT Tonight? LETOUR I vote Japanese. ANN Fine. ROBERT Okay. LETOUR (heads for door) Mixed sushi. Oshitashi. CUT TO: ST. LUKE'S EMS vehicles line street outside St. Luke's -- Roosevelt Hospital. Inside, LETOUR weaves through Emergency (eerie), double-steps the stairs, looks for the second floor waiting area. TIS (Mathis -- pronounced Tees), thirty-five, Swiss, paces in the waiting room. He wears a linen jacket, horn-rim glasses, Cerrutti Euro-swank. He spots JOHN, takes him aside: LETOUR What's going on? TIS You got some valiums? LETOUR (nods) -- 'n 'ludes. TIS Just a valium -- a ten. LETOUR What is it? TIS You won't believe it. What a nightmare. I brought in this chick. She O.D.ed -- man, I didn't even know her. I didn't have to bring her in. The cops are coming back to talk to me. I'm hyper. I gotta come down. LETOUR (hands him valium) Here. TIS Make it two. LETOUR obliges. TIS pops a blue without water, pockets the other. TIS Thanks. LETOUR She okay? TIS Who? LETOUR The girl. TIS Yeah, yeah. Met her last night. A walking vacuum cleaner. What a nightmare. Underage. LETOUR You need a lawyer? TIS (gestures toward suited man) He's here. Thanks. TIS folds a bill into John's hand. LETOUR Any time. TIS turns, steps away. LETOUR walks down the long corridor. Curious, reflective, he slows past open doors. Friends, family, patients sit in blue light. Each room a drama. He heads down a duplicate corridor. A VOICE turns his head: RANDI John! He turns to see RANDI JOST, thirty, Marianne's younger sister. She wears running shoes, jeans, red sweater. LETOUR Randi? RANDI (kisses him) I can't believe it. Marianne's here too. She flew in. It's been so long. You look great. LETOUR (deactivates beeper) You too. Randi, what's wrong? Why are you here? RANDI Mom. She's back in. Didn't Marianne tell you? LETOUR Serious? RANDI (nods) More chemo. LETOUR Can I see her? RANDI She's sleeping. She sleeps most of the time. She'd like it, though. She still talks about you. LETOUR (sad) I'm so sorry. She's a terrific woman. I was crazy about her. God. MARIANNE, head down, approaches. Looking up, she finds herself unexpectedly beside JOHN and RANDI: RANDI It's John. What a coincidence. MARIANNE (gathering herself) Yes. (extends hand) Hi. LETOUR (shakes hand) Randi told me about your mom. I'm sorry. MARIANNE Thanks. LETOUR She's sedated? MARIANNE Yeah. RANDI She would be so happy to see John. MARIANNE I don't think that would be a good idea. An awkward silence: RANDI doesn't get it. LETOUR You both look so tired. MARIANNE One of us has to be here. RANDI The hospital lets us stay in her room. LETOUR Let me buy you some coffee or something -- the cafeteria's downstairs. It helps to talk. RANDI You go, Marianne, it's my turn with mom. MARIANNE I shouldn't. RANDI Go. You haven't eaten. Go on. (nudges her) Go on. MARIANNE I... RANDI Bring me a coffee. MARIANNE acquiesces. LETOUR This way. (to RANDI) Kiss your mother for me. JOHN escorts MARIANNE toward the stairs. CUT TO: EUPHORIC RECALL Hospital cafeteria. JOHN and MARIANNE carry trays to a formica table, molded chairs. He mixes sugar in his coffee as she sets out her salad, diet soda, to-go coffee. An awkward moment. MARIANNE scans the fluorescent room: doctors, nurses, relatives. LETOUR I like your mom. MARIANNE She liked you. You know this will happen someday, but when it does... Your mother -- that was a shock. LETOUR (re: Marianne's mother) She's been sick a while? MARIANNE A year. LETOUR Your father? MARIANNE ("no") Not this time. His new wife -- he'll make it to the funeral. LETOUR What have you been doing? Where do you live? MARIANNE It's... (deciding) I don't want you to know about my life. LETOUR Anything? You married? Have children? A dog? (smile) House plants? MARIANNE Details just open the door. LETOUR The door to what? (no answer) It's not like we're strangers. We were married. MARIANNE We were not. LETOUR There was a ceremony. MARIANNE He wasn't even a minister. He was an astrologer. LETOUR He was also a minister. "Universal Harmony." MARIANNE He was a Pisces. LETOUR You're a Pisces. MARIANNE It was not legal. LETOUR In the eyes of Jeanne Dixon we're still -- MARIANNE I was on the cusp. LETOUR We were happy. MARIANNE We were miserable. We were either scoring or coming down -- mostly coming down. LETOUR There were good times. Area, out on the street, laughing, dancing with friends -- we were magical. MARIANNE You took off for three months without telling me and called once. That's how magical we were. You were an encyclopedia of suicidal fantasies -- I heard them all. Nobody could clear a room like you, John. And the friends, you may have noticed, turned out to be mine, not yours. I envy you. A convenient memory is a gift from God. LETOUR You exaggerate. MARIANNE In rehab they call this "euphoric recall." You only remember the highs, never the lows. LETOUR We were happy. MARIANNE I was drowning. LETOUR It wasn't me -- MARIANNE You watched -- LETOUR You jumped -- MARIANNE You did nothing -- "It wasn't your business, you weren't responsible" -- you still think like that. (shakes head) Actions have consequences; so do -- LETOUR (overlap) I -- MARIANNE -- inactions. LETOUR I didn't -- (MARIANNE smiles) I meant well. MARIANNE You always meant well. LETOUR We were in love? MARIANNE Yes. LETOUR We were happy? She doesn't answer. He slides his hand across the table. She notices his gold and onyx ring. LETOUR You bought it for me. It's inscribed inside. She pushes his hand away. Details open doors. LETOUR Ann's quitting. I've got to find something else to do. MARIANNE Ann? I'll believe it when I see it. LETOUR It's true. MARIANNE Are you really straight? LETOUR Yeah. MARIANNE Let me see your eyes. JOHN leans forward, eyes open. She presses up an eyelid, examines one iris, the other: MARIANNE Eyes are deceiving. (beat) Congratulations. LETOUR If I could do that, I could do anything. MARIANNE What do you mean? LETOUR We could do anything. We could start over. MARIANNE (bangs her head) What was that? I think I heard something. LETOUR I'm serious. An INTERCOM VOICE announces visiting hours will end in five minutes. MARIANNE You're crazy. LETOUR (gestures to room) This is crazy. MARIANNE I have to get back. JOHN nods, checks his watch -- he's late too. They exchange "last looks"; MARIANNE stands. LETOUR I'll walk you. He stands, follows. CUT TO: NEW DIARY Later. LeTour's sedan pulls up near Palio, a midtown restaurant. JOHN steps around garbage bags, enters. Inside, JOHN "maps" bar, greets the MAŒTRE D'. LETOUR spots the FRENCH (LaCroix and Montana) COUPLE in the dining section, catches the man's eye. He nods to the MAŒTRE D', makes his way toward their table. He joins the FRENCH COUPLE, declines a drink, exchanges drugs/money amid air kisses. Late night. Fog hangs over 22nd Street: Chelsea's deserted. Homeless men behind windbreaks of trash. John's apartment. He writes bareback at the desk. He completes his composition book diary mid-sentence, closes it, discards it. He lifts a new book from the floor, opens it on the desk, continues. He fills his glass with wine: LETOUR (voice over) I can always find another way to make a living. I never planned this in the first place -- not like Ann. She came up to sell, have parties, make contacts. She was so glamorous. I just wanted to be around her. She'd sit up listening to coke stories. Now it's me and Robert. The whole crowd was the same age. Everybody's younger now. She made me. LETOUR pulls his weekly pay from his pants, puts five twenties in an envelope. He addresses the envelope. "Linda Wichel, 1012B-2 A Street, Sacramento, California," stamps it. Dissolves: (1) LETOUR vanishes from his desk, (2) materializes fetally on his futon, bareback, slacks, boots, anxious, awaiting sleep. LeTour's diary contains parallel columns of names: one headed "People Who Are Left Handed," the other, "People Whose Eyes Don't Match." CUT TO: C‘TE BASQUE Midday. JOHN, wearing a black tweed jacket, tie, khaki slacks, mails the Sacramento letter, enters C‘TE BASQUE, a hoity- toity 55th Street restaurant. Midmeal. ANN and LETOUR sit in a prominent booth; power moguls confer quietly. A deferential WAITER brings fresh berries, retrieves empty salmon plates. ANN You have any money saved? LETOUR There's some. Not much. A thousand or two. Maybe more -- I'm not sure. ANN What do you do with your money? The CHEF stops by, asks if the meal was satisfactory. ANN assures him it was, kisses his hand. The CHEF nods, gratified. JOHN resumes the conversation: LETOUR I don't know. It's not that much in the first place -- as you know. ANN (counterpoint) It's tax free -- LETOUR Rent, utilities, phone, tips, CDs -- what about your money? ANN Kitty Ford once told me, "Ann, the only person I know that lives as well as you is my grandmother." All the money I've made, all the money I've spent -- it never adds up. This last two years cosmetics' been taking everything. LETOUR I wish I could help. ANN You still go to meetings? LETOUR No, but I'm okay. What are the odds of meeting someone you haven't seen in years twice in two days? ANN Ask Robert to make up a chart for you; the other person -- who is it? LETOUR Just a contact -- you don't know him. ANN What's the plan? LETOUR The plan? ANN What you gonna do? LETOUR My future? ANN Too conceptual? LETOUR We had this conversation two years ago. We'll have it two years from now. ANN This time it's for real. LETOUR (accepting premise) I'm thinking of some music courses. Mixing, sound editing -- ANN You took that before. LETOUR That was acting. ANN (corrects him) Modeling. LETOUR Why all this concern? Suddenly you care? ANN I have feelings too -- you may have noticed. I guess I'm worried. I'm tough, you gotta to be tough, especially in this business, it's one thing to act tough -- I've seen Zipporah twice this week. LETOUR She helps you? ANN (nods) -- harmonizes, she's encouraging me to get out of this into the cosmetics thing -- WAITER leans in, deposits check as WELL-TANNED CUSTOMER, fifty-five, cologne and hauteur, passes. He looks at ANN blankly, continues. She watches: ANN (about CUSTOMER) Nomination for Best Picture. I knew every girl he fucked -- how, why. I knew when he had trouble shitting. Like this. (crosses fingers) His wife says he gets straight or she cuts him off. Old money. I remember the last thing he said to me: "See you soon." Yeah, sure. That was five years ago. ANN pulls a wad of twenties from her purse, counts bills atop the check: $260. ANN (vulnerable) You'll still talk to me, won't you? A beat: this is the reason for lunch. The WAITER picks up the cash, appraises the gratuity. LETOUR You --? (to ANN) Of course I will. ANN It'll be strange without you around. I hadn't thought of it -- it hit me. LETOUR (clever) We'll always have Paris. ANN (reproachful) John. JOHN reaches, touches her visceral emotion. He takes her hand: LETOUR Ann, you want me, call, write a letter, tell a wino -- I'll be there. She smiles, clasps his hand. Touching, he is touched. CUT TO: GENERAL HOSPITAL Afternoon. St. Luke's. LETOUR, wearing tweed jacket, walks down the corridor, checks room numbers. A NURSE passes. He stops at a room, pushes the door a crack, peeks inside, quietly enters. Inside the hospital room, MRS. JOST, sixty-five, lies sedated, attached to IV tubes and a respirator. Flowers wreathe the bed. RANDI sleeps in a chair by the window. LETOUR looks from MRS. JOST to RANDI and back again: a vibrant woman reduced to a shell. He soundlessly eases into a vacant chair. His mind goes back. RANDI twists fitfully in her chair. A stuffed bear peeks over family photos on the window sill. MARIANNE steps into the doorway, stops, frozen -- watching the tableau: JOHN, RANDI, her mother. Her face is ravaged: the death watch has taken its toll. LETOUR reaches his arm, touches the hospital bed. MARIANNE tiptoes behind JOHN. He turns, stands. LETOUR (soft) I'm sorry. I... She puts her finger to her lips. He nods. She steps closer, holds him politely. His cheek nestles in her neck. They turn toward the door, step into the corridor, walk arm in arm as if supporting each other. LETOUR (after a moment) I always thought my father would die first. He would die, then my mother and I would reconcile. Just her and me. I hated him for living. MARIANNE It's like a joke. It's not a real feeling. It's like a feeling of a feeling. LETOUR My old man bawling in the hospital, me popping in and out of the john getting loaded. (beat) I miss you. They stop. She kisses him. MARIANNE You tried to kill me. You took ten years of my life one way or another. (he kisses her) I couldn't hate my mom -- I was too busy hating you. LETOUR I thought I was just killing myself. She runs her hands under his shirt, up his back. LETOUR Selfish. MARIANNE I remember. LETOUR What? MARIANNE What it felt like. (kisses his face) What this tasted like. He slips his hands under her blouse, caresses her breasts. LETOUR I see you and my heart starts thumping. MARIANNE John. They kiss deeper, bodies grinding. The painful present fades. A NURSE approaches with WHEELCHAIR PATIENT. She tries to pass one side of JOHN and MARIANNE, tries the other side, is blocked again. The NURSE stops, stares at their soap opera. Sensing her glare, JOHN and MARIANNE, hands over and under each other, stop, look to the NURSE: embarrassed -- yet blissful. LETOUR Excuse us. (to MARIANNE) Let's go. MARIANNE Come. Come with me. CUT TO: HOTEL SEX Paramount hotel room: Vermeer's Lace Maker dominates Phillipe Stark decor. LETOUR and MARIANNE are all over each other. The pain of the moment, the pain of the past are subsumed by passion. Blind, welcome sexuality. Naked, they kneel facing each other on the bed, faded bleeding heart tattoo on his bicep: LETOUR Have you ever had sex totally straight? MARIANNE Not with you. LETOUR Neither have I. MARIANNE Such an erection. LETOUR Never had anything like it stoned. Feel it. (she does) MARIANNE Weird. LETOUR (caresses erection) Wow. MARIANNE I'm dripping. LETOUR Let's disappear. They smack their sweaty bodies, tumble yelping to the carpet, kiss indiscriminately: LETOUR Kiss, kiss, kiss. MARIANNE Kiss, kiss, kiss. LETOUR Together. Later: night. They lie nude in a scramble of twisted sheets and mattresses. Street lights cast horizontal shadows. LETOUR crawls over, falls upon Marianne's breast. She wakes up, looks at JOHN, looks out the window, returns to slow sad reality. MARIANNE stands, pulls on her panties. LETOUR (waking) You need to go back? She dresses before responding: MARIANNE This is the end. It was wonderful. I'm glad it happened this way. It will never happen again. You will not see me, you will not call me again. I'm happy for you. I wish you the best. I'm leaving. I'm going back to the hospital. I shouldn't have left -- but I don't regret it. Please dress and leave as soon as possible. I have a key. Goodbye. LETOUR Marianne... MARIANNE It's my fault. MARIANNE, clothes askew, exits. LETOUR I love you. LETOUR is alone. He pulls his pants on. Looking for his socks, he peruses Marianne's personal things. He examines her cosmetics, her underclothes. He dabs her perfume on his cheek. Buttoning his shirt, he retrieves his beeper from suit jacket. Activated, it disgorges messages. He checks his watch: 9:00 p.m. CUT TO: GET ON OUT Nine-thirty: Ann's apartment building. Trash stacked high. LETOUR presses the buzzer. LETOUR, exhausted, unfocused, enters Ann's apartment. ANN is immediately upon him: ANN Johnny, what is this? Your beeper broke, gettin' some shiatsu? Two hours: where have you bee? LETOUR There was a mix-up -- ANN How you gonna survive on your own? The U.N.'s got some conference in two days. The holiday's over -- ragheads everywhere trying to score. U.N. security at every hotel -- little creeps with lapel pins. Even I've been out. This is where our money is: Europe, Asia, not the streets -- you wouldn't know crack from crackerjacks. LETOUR Where's Robert? ANN Busting his ass. He's out doing your job. LETOUR It was a confusion. ANN Get confused on your day off. LETOUR When is that? ANN Don't get wise. What do you want me to do? Suck your dick? -- okay. A raise? No way. Get out there. There's a list on the TV. I love you. Get your ass outta here before I kiss it. LETOUR (pecks her cheek) I'm on my way. Love you. Forgive me. CUT TO: AU BAR LeTour's sedan waits between limos. Inside, JOHN passes the MAŒTRE D', looks around: he's known here. Au Bar, a restaurant/club open 9:00 p. m. to 4:00 a. m., caters to the young, the rich, the European. He spots TIS with THOMAS, twenty-five, his handsome trainer, and TWO MODELS at a second-floor table. They exchange nods. LETOUR scans the room: suspicion is second nature. A laughing man (GUIDONE) at the bar catches his eye. He seems to blend: Italian, twenty-eight, silk suit, impeccable hair, accent -- but something's not right. His black shoes have rubber soles. LETOUR looks for a gun bulge, dirty hands. The ITALIAN turns; LETOUR glimpses his face: too pale. The ITALIAN averts his eyes. Glancing back, LETOUR walks up the stairs to Tis' table. TIS Tour, sit. Take a rest. LeTour, this is Gabri, Tasha -- you know Thomas. They're here for a show. The MODELS respond in respective accents. THOMAS extends his hand. JOHN shakes, remains standing. LETOUR EnchantÈ. (to TIS) How'd it turn out? TIS (to GABRI) Questo Ë un vero Americano. (to LETOUR) What? GABRI and TASHA buzz. LETOUR St. Luke's. TIS No problem, but -- can you believe this? -- she's out of the hospital in one day, calls me up, wants to "get together." Some people are just born for losing. Want to go in back? LETOUR Not now. TIS Huh? LETOUR Look at the bar. Black-haired guy, late twenties, brown suit, drinking tonic? (TIS nods) He's casing you. Not me, you. Undercover, whatever -- he's on you. TIS You know him? LETOUR (shakes head "no") Just a feeling. You holding? TIS No. Need help? LETOUR ("no") Leave a message. Robert or I will come by later. TIS Forget it. It wasn't for me anyway. (to MODELS) Who am I trying to impress? (they smile uncomprehendingly) Make it tomorrow. A half -- no, three- quarters. LETOUR Nineteen is the top. I'll make two trips. TIS Nineteen is fine. LETOUR (leaving) A domani. Take care, girls. CUT TO: THERE IS A DIRECTION The blue sedan drives west past Times Square, turns north on Eighth Ave. A plastic wall of trash stretches toward the river. Port Authority hustlers -- male, female -- cruise as TRANSIT COPS whack an emaciated CRACKHEAD. JOHN, lit by neon, lowers his power window. John's apartment. Night. He writes in his diary, drinks. LETOUR (voice over) I feel my life turning. All it needed was a direction. You drift from day to day, years go by. Suddenly there is a direction. What a strange thing to happen halfway through your life. He goes to the phone, dials. A voice answers: HOTEL SWITCHBOARD (out of shot) Paramount Hotel. LETOUR Marianne Jost, please. HOTEL SWITCHBOARD (out of shot) Just a moment. A pre-recorded message comes on: HOTEL MESSAGE "Welcome to the Paramount. Your party is out. If you would like to leave a message for -- (Marianne's voice) 'MARIANNE JOST' (back to message) -- please do so after the beep." LETOUR hangs up, carries the phone to the boombox. He dials again, presses 'Record,' holds the receiver to the mike, records the hotel message, hangs up. First light slants from the window. LETOUR lies clothed on the futon, boombox by his ear. He presses "Play" and "Rewind," running the tape over and over, listening, re-listening to Marianne's voice: "Marianne Jost." "Marianne Jost." "Marianne Jost.") CUT TO: PHONE CALLS Midday. Twenty-second Street. A helter-skelter of daytime activity unseen before. John's apartment. Sunlight fills the studio apartment. LETOUR, unshaven in T-shirt and slacks, sets the phone on the desk beside his open composition book. He pauses, dials. HOTEL SWITCHBOARD (out of shot) Paramount Hotel. LETOUR Marianne Jost. HOTEL SWITCHBOARD (out of shot) Just a moment. JOHN waits, closes his diary. HOTEL SWITCHBOARD (out of shot) I'm sorry. Ms. Jost checked out this morning. LETOUR She was there yesterday. HOTEL SWITCHBOARD (out of shot) She checked out this morning. LETOUR Did she leave a forwarding number? HOTEL SWITCHBOARD (out of shot) No. LETOUR Thank you. He hangs up, thinks, redials. ST. LUKE'S SWITCHBOARD (out of shot) St. Luke's -- Roosevelt Hospital. LETOUR Mrs. Jost. JoAnn Jost. She's a patient. ST. LUKE'S SWITCHBOARD (out of shot) Just a moment. A long silence. JOHN looks out the window. A MEDICAL STAFF VOICE from the hospital: MEDICAL VOICE (out of shot) Who is this calling? LETOUR (thinking) Skyline Floral. We're trying to confirm a delivery. MEDICAL VOICE (out of shot) Mrs. Jost passed away last night. LETOUR Are the funeral arrangements local? MEDICAL VOICE (out of shot) Just a sec -- yes, Plaza Memorial. LETOUR Thank you. MEDICAL VOICE (out of shot) You're welcome. JOHN hangs up, paces, sits. CUT TO: DIRTY LAUNDRY Afternoon. Chelsea laundromat. Mothers and maids gossip, sort clothes. Hispanic radio underscores the whirl of machines. LETOUR, unshaven, shoves dirty clothes into a washer. He counts out quarters, starts the machine. Heading toward a vacant chair, he spots a MAN out the window. It takes a second to place the face: it's the "Italian" from Au Bar in street clothes. He watches JOHN watching him. LETOUR walks outside, approaches GUIDONE on the sidewalk: LETOUR Can I help you, officer? GUIDONE What? LETOUR I hope I haven't made a mistake. You are a cop, aren't you? GUIDONE Yes. LETOUR Could I see a badge? GUIDONE eyes LETOUR with disdain: the contempt of a cop for a dealer, of youth for middle age. GUIDONE (shows credentials) Bill Guidone. LETOUR What is it? GUIDONE You think you're invisible, don't you? You think we don't know you, LeTour -- that's the name you use, right? LETOUR My father's a partner in a powerful law firm. If you have anything in mind, do it by the book. GUIDONE elbow-stabs LETOUR, kicks his shin. Wincing, retreating, JOHN staggers, regains his balance. GUIDONE (in his face) You? Who the fuck cares about you? I could grind you right here! -- maybe I will! -- and nobody would give a fuck! You're not worth the paperwork. I look like Narcotics? I'm Homicide -- I'm investigating the Park murder. LETOUR (acquiescent) I don't follow the news. GUIDONE Downtown's interested how a Barnard honors student with fancy parents got a quarter of uncut coke on her when she was murdered. I mean, we just don't see this girl cruising Alphabet City trying to score. Somebody sold her, somebody upscale and classy -- you're classy, I hear -- and that somebody knows something we need to know. (hand inside LeTour's shirt, pinching his tit) Delivery boy! LETOUR I wish I could help. I don't even know who's president. GUIDONE Let me put it this way. Here's my card (hands card) Ask around, take a week or so. Call me. Tell me something I don't know. Either that, leave town, or get your ass busted day in, day out. LETOUR examines the card. CUT TO: FUNERAL HOME Evening. LETOUR, shaven, in black tweed jacket, white shirt, black tie, crosses Amsterdam Avenue, enters Plaza Memorial Chapel. Inside funeral home, JOHN checks the letterboard for Mrs. Jost's name. An arrow directs him. Nondenominational muzak. Senior citizens whisper off-screen. Walking, he sees MARIANNE, dressed in black. She sees him, turns to him; her face hollow, desperate: MARIANNE Get out. LETOUR Marianne... MARIANNE (emotion rising) Every time you come into my life something terrible happens. I thought I was rid of you. How'd you get here? I don't want you here! I don't want you around me, I don't want you around my mother! Damn you! LETOUR Marianne... MARIANNE (wild) Get out! A PLAZA MEMORIAL EMPLOYEE approaches. RANDI, in black, intervenes, pulls JOHN toward the door. MARIANNE YELLS from behind: "Out!" Outside, they stop midsidewalk. LETOUR I didn't... RANDI I'm sorry. That's the way it is. You shouldn't have come. Marianne has been up all night, crying and crying. She wasn't there when Mother passed -- died -- she blames herself. It wouldn't have made any difference. She just slipped away. Marianne's -- I'm worried -- A CRACKHEAD strides past trash ramparts, cursing, demanding money: "Fuck white devil, fucking the black, give the fucking money, white fuck...," etc. LETOUR It's... RANDI Don't try. LETOUR How are you? RANDI Me? LETOUR Yes, you. I can't think of anything, but if there was anything I could do... RANDI Thanks. I'm okay -- I guess. I mean, we've been expecting it. It'll hit me later. LETOUR I saw her. RANDI Who? LETOUR Your mother. I came in the room. You were sleeping. I just watched. RANDI Oh. (beat) I'd better get back. Marianne's probably flipping out. She re-enters the funeral chapel. CUT TO: ON A ROLL Eight p.m. LETOUR, direct from Plaza Memorial, enters Ann's apartment. ANN, coiffured and made up, gestures to take-out tins: ANN Have some shu mai. Just delivered. LETOUR No. ROBERT (entering) I told Ann you'd be on time. Tis called. He said before ten. He said you were right. ANN About what? LETOUR An undercover cop. Not a narc. The Park murder. Jealous was straight on that -- you hear anything? ROBERT Remember the time that cop called here? Wanted to know if we had "nose candy"? (laughs) Ann says, "John Candy?" "John Candy?" ANN looks at JOHN, approaches: ANN What's wrong baby? You like like shit. Something wrong? (holds his face) LETOUR No. ANN You can't fool me. I can read you. LETOUR (distressed) What do you care? You're leaving me. A few more months -- sayonara. (to ROBERT) You too. John who? What was his name again? Le --? (to ANN: pained) I mean it's not exactly like I got a pension plan. ROBERT (hurt) Jack. ANN (takes his hands) Johnny, it's not that at all. Is that what you think? You hate cosmetics. You don't care about it. You told me that. LETOUR I know. ANN Who knows what will happen? ROBERT I got a friend -- a D.D. -- got into lapidary. I'll introduce you. You have to pass a test. LETOUR Lapi --? ROBERT Gems, you know, crystals, diamonds. LETOUR Any more about the Park murder? ANN (re: murder) What's with this thing? ROBERT Stay away. ANN (genuine) You want in? We'll make a place for you. LETOUR No. ANN It's -- The kitchen phone rings. A voice follows the pre-recorded message: EDDIE (out of shot -- answering machine) "Ann, this is Ed. You gotta come. The other thing is over. I'll be home all night. 749-2876." ROBERT Shit. ANN (unequivocal) Don't answer it. Let him call all night. He's trouble. I don't want to deal with him. LETOUR It's alright, I'll go. Let me handle it. ROBERT I'm sorry if -- ANN (about EDDIE) He gives you shit -- fuck him. LETOUR (to ROBERT) Forget it. ROBERT We're going Chinese tonight, okay? I mean we're on a roll -- ANN Spring roll. LETOUR (preparing to leave) Sure, whatever. Surprise me. CUT TO: INTERVENTION Eddie's high-rise apartment. EDDIE is worse, if anything. He's been scoring on the street: broken pipes and vials crunch underfoot. EDDIE and LETOUR argue ("Fuck you!" "Fuck you!"). EDDIE spits, pushes TOUR, JOHN pushes back. Eddie's feet tangle. He trips, FALLS. A bottle SMASHES. JOHN goes to the phone, checks Eddie's directory, dials. EDDIE (on floor) You gotta get permission? Check with Mama? LETOUR I'm calling your brother. EDDIE Huh? LETOUR Yeah, the lawyer in Bronxville. I'm gonna ask him to come over. (EDDIE protests) You've told me so much about him. EDDIE (panicked) No, don't. Please, I'll give you money, anything. He doesn't understand. Whose side are you on? LETOUR (on phone) Is this Martin Jeer? (beat) Thank you. EDDIE, woozy, tries to stand. EDDIE I shoulda never called. LETOUR (to EDDIE) I recommend Hazelden. It has the best all-around program. (on phone) Martin Jeer? (beat) I'm here with your brother Ed. (beat) Yeah, in the city. I'm afraid there's a medical emergency. You're going to have to come. EDDIE lurches toward LETOUR. JOHN -- flash of anger -- bootkicks him in the head! Eddie's cheek hits the carpet. LETOUR (on phone) He'll be here. JOHN, cooling down, measures his breaths. A spring can only be wound so tight. CUT TO: LEXINGTON AVENUE LETOUR walks from his sedan around the corner to the Lexington Avenue entrance to Grace Towers, a pre-war apartment building. In the lobby, he gives his name to the SECURITY GUARD, is directed to the express elevator. He exits on the thirtieth floor; footsteps muted by thick carpet. Victorian prints on dark blue walls. He looks about, approaches a door, presses the buzzer. THOMAS opens the door; JOHN enters Tis' opulent apartment. Salle and Clemente hang on the walls; New York twinkles outside panoramic windows. A pipe and syringe lie atop art books. TIS, in jogging sweats, comes from the bedroom to greet him. TIS Tour, just in time. We were out. Nineteen, right? LETOUR Thirty-eight hundred -- got any hundreds? TIS Some, not the whole thing. (to THOMAS) You got hundreds? THOMAS No. LETOUR hands him a plastic bag of gram envelopes. TIS opens a packet, pours the contents on the coffee table. TIS I like that about Ann. Always takes the time to grind it. If you do it, do it right. JOHN hears footsteps, turns to see MARIANNE stumble out of the bedroom! She looks terrible: shoeless, blouse out, hair undone, bruise on her forehead -- perhaps she fell against something -- hands trembling. TIS (to MARIANNE) Looks like you could use some help. (MARIANNE looks up, sees JOHN, goes pale) Mari, this is Tour. You got any hundreds? JOHN stares speechless: the girl who won't talk to him because he's a dealer. MARIANNE bolts back into the bedroom, SLAMS the door! TIS Not the talkative type. Haven't seen her in years. You know her, don't you? (no answer. TIS counts the money, offers it. LETOUR is frozen) Why they call me? What a nightmare. (extending money) You want it or not? LETOUR (vacant) Yeah. LETOUR pockets the cash. TIS, his arm on John's elbow, "walks" him to the door: TIS See you later. TIS nudges JOHN to the corridor, closes the door behind him. JOHN looks toward the elevator; TIS, behind the door, calls "Marianne!" Time cut: LETOUR stands in the elevator, red floor numbers flashing past, blank eyes mirrored in dark glass. CUT TO: FALL FROM GRACE JOHN exits Grace Towers, walks past a limo toward Lexington Avenue. Rounding the corner, he sees his blue sedan. He looks at the cash, repockets it. He continues slowly, each step a separate task. LETOUR reaches for the door handle. A scream pierces traffic noise. A car screeches, another. Voices call out. LETOUR steps back, listens. He retraces his steps, turns onto Lexington Avenue. The SECURITY GUARD, walkie-talkie in hand, clusters on the sidewalk with the limo driver, two pedestrians. A cabbie jumps from his taxi, joins the confusion ("My God!"). A siren approaches. John's beeper goes off. Drawing closer, LETOUR sees the partial bloodied shape of a broken body on the sidewalk: he recognizes Marianne's skirt. A squad car brakes with a screech. TWO COPS converge, climb over trash, clear the crime scene: FEMALE COP Get back! MALE COP Who saw it? What happened? (the FEMALE COP bends over Marianne's body) EMS is on the way. FEMALE COP Too late -- A second squad car pulls up. JOHN turns away, walks around the corner. LETOUR opens the car door, closes it, sits inside. A wailing ambulance flashes past, speeds up Central Park West. LETOUR doesn't react. Beeper re-beeps; he disconnects the battery. The driver, CARLOS, twenty-five, Hispanic, shirt starched, turns, looks, thinks, says: CARLOS Where to? LETOUR What? CARLOS Where to, sir? Where are we going? LETOUR Nowhere just now. Wait. CARLOS (after a moment) You want me to wait here? LETOUR Yes. Pause. More police cars. The EMS siren starts up; the ambulance speeds downtown past LeTour's sedan. No reaction. CARLOS turns off the engine. LETOUR Downtown. CARLOS Yes. CARLOS starts the car, pulls into traffic. CUT TO: TWENTY-TWO MINUTES John's apartment. Late night. LETOUR, barefoot, T-shirt, slacks, stands flat against the wall. WINS broadcasts twenty-four hour news on the boombox. ("Give us twenty-two minutes and we'll give you the world.") Sports, ads, bullshit -- LETOUR hears what he's been waiting for: NEWSCASTER (out of shot -- radio) This story is just in. A woman has fallen thirty stories to her death from a posh Grace Towers apartment on Lexington Avenue. Police are withholding identification pending the notification of the next of kin. The incident happened about ten p.m. According to the sources on the scene there was no one else in the posh Grace Towers apartment when the fall occurred. We will bring you more details as we get them. (teletype efx) An end to the sanitation strike seems imminent. Negotiations at the Helmsley Palace are continuing to this hour... Actions have consequences. CUT TO: MOTHER TERESA First light. Jones Street. LETOUR, sleepless, pounds on Teresa's door. No answer. Knocks again. Again. Noises from inside. A sleepy voice: TERESA (out of shot) Who is it? LETOUR John. John LeTour. Can I see you? TERESA (out of shot) What time is it? LETOUR It's important, Teresa. TERESA (out of shot) Call. Make an appointment. LETOUR Open the door. You're awake anyway. (no answer) Teresa. TERESA, wearing oriental bathrobe, unlatches the door. JOHN enters, turns to her. The door closes. LETOUR Read me. What do you see? TERESA Do I know you? LETOUR We had a session last week. What do you see? TERESA (remembering name) John? LETOUR Yes. Look at me. TERESA takes a moment to concentrate. TERESA Step back. (he does) Again. (he does) Death. LETOUR Someone I knew died tonight. TERESA This was not an accident. This person was murdered. LETOUR Am I in danger? TERESA (beat) There is danger around you. It's very close. I'm sleepy. LETOUR What should I do? TERESA I can't see it. LETOUR Please. (she shrugs) Am I lucky? TERESA Yes. Don't be afraid. Go home. TERESA shuffles toward her bedroom -- the "reading" is over. LETOUR What do I owe you? TERESA Nothing. Forget it. Let me sleep. CUT TO: SNITCH Mid-morning. LETOUR, still awake, walks past towering Chelsea trash. He passes a newsstand. Tabloids feature yearbook photo of MARIANNE; the headline: "Fall from Grace." LETOUR walks to a pay phone, takes out Guidone's card, inserts a quarter, dials. POLICE SWITCHBOARD (out of shot) Ninth Precinct. LETOUR Bill Guidone, please. Homicide. POLICE SWITCHBOARD (out of shot) Hold on. JOHN, suspicious, looks around. GUIDONE speaks: GUIDONE (out of shot) Guidone. LETOUR This is John LeTour. Remember me? GUIDONE (out of shot) Laundromat. Your father's got connections. LETOUR You said I should ask around, tell you something you didn't know. GUIDONE (out of shot) I thought you'd call. LETOUR It ain't much, but it's something. GUIDONE (out of shot) Go on. LETOUR A girl died last night. Lexington Ave. GUIDONE (out of shot) The jumper. Druggie. LETOUR The news said she was alone in the apartment when she went out -- she wasn't. It's a cover-up. There was someone else. GUIDONE (out of shot) Who? LETOUR Who lives in the apartment? GUIDONE (out of shot) You there? LETOUR That's all I know. You asked me to tell you something. I told you something. Hangs up. CUT TO: A LITTLE SLEEP Noon. LETOUR enters a West Village apartment building. He presses an intercom button. Robert's voice answers: ROBERT (out of shot) Who is it? LETOUR Jack. Let me in. The door buzzes. ROBERT opens the door to his overdecorated apartment. JOHN looks around. TONY, Robert's younger, unattractive lover, sips coffee at the table. ROBERT Where have you been? We were worried. LETOUR I need some sleep -- not much. I don't want to go home just yet. A little sleep first. Can I crash here? Nice place. ROBERT It's hideous. I did it years ago. I've got to throw everything out. You haven't been here? (noticing TONY) Oh, Jack, this is Tony. I told you about him. You should talk. He's the lapidopterist -- gems. TONY (corrects him) Lapidarian. ROBERT Same thing. LETOUR Can I? ROBERT Sure. LETOUR What do you know about Tis? What's his relationship to Ann? ROBERT They go way back -- before me. Did you cross him? LETOUR No. ROBERT Don't. He's Ann's Ecstasy connection. She needs that score. What happened? LETOUR Nothing. ROBERT Don't mess with him. LETOUR Is he dangerous? ROBERT Everybody's dangerous. We heard what you did to Eddie. Ann thought it was great. She was afraid that was why you didn't come back. LETOUR It was something else. Tell me if you hear anything. ROBERT About what? LETOUR Tis. ROBERT Tis who? Ann says you want a chart done. (beat) What's wrong? LETOUR (internal) Ah... ROBERT (sympathetic) You down? LETOUR (nods) Yeah... (culling thoughts) You ever think about it? ROBERT What? LETOUR That it'd be like this -- like, your life, you... that it would turn out this way? -- ROBERT Compared to what? My thinking this or that is going to make any difference? There's a plan unfolding. "Will my plane crash?" "Does life have meaning?" -- why ask me? Thinking's a fear of living, negative living; living's something else. You're afraid. Let the plan unfold. Stop. Stop, live one day -- one day -- Words blur to jargon. LETOUR cuts in: LETOUR -- Robert -- ROBERT -- day at a time. LETOUR (touches ROBERT) You've lost your fucking brain. ROBERT (laughs) I'm a drug dealer. LETOUR Got a tub? ROBERT (gestures) Yeah. LETOUR Great. Turns to bathroom. ROBERT There's a plastic bottle of bath oil in the cabinet. Yellow. Use it -- tell me what you think. It's a new formula. CUT TO: JUMP-OFFS Six p.m. LETOUR, shaved and bathed, rides a cab uptown, past Harlem, past 158th Street. He motions to the DRIVER; the taxi stops at a blue door between retail stores begging for renovation. TEENAGE LATINOS hang out. LETOUR gives the CABBIE a twenty. LETOUR walks to the blue door; the YOUTHS stop, watch. He knocks on the door. A PUERTO RICAN DOORMAN in white leather pants and a heart-shaped diamond ring opens the door, looks him over. JOHN reaches into his pouch, removes a gram envelope, hands it to him. The DOORMAN takes a taste, buzzes him through a door hand-lettered "Jump-Offs." Inside Jump-Offs, a cocaine "spot," every eye turns to JOHN: the only Anglo in a Hispanic after-hours club. Tough young faces, each with a style and two inches of attitude. Willie Colon plays on the jukebox. Searching, LETOUR recognizes a face, walks over: LETOUR Manny. (MANUEL, thirtyish, Puerto Rican, looks closer, trying to place LETOUR) LeTour. (helping out) Jealous. "Jell." SOB's. MANUEL (remembering) Reggae night. LETOUR Burning Spear. MANUEL How'd you get in? LETOUR C-C. MANUEL You buying? LETOUR How's product? MANUEL (gesture: "primo") How much? LETOUR I got a problem. I need a piece. MANUEL Piece? Piece of what? Piece of candy? LETOUR A gun. MANUEL When? LETOUR Now. Anything. (MANUEL is silent) Am I speaking too fast? MANUEL How much you spend? LETOUR The rate. What you got? MANUEL calls over a TEENAGE DOMINICAN, explains the situation in Spanish. The DOMINICAN replies; MANUEL turns back to JOHN: MANUEL He's got a 64 Smith-son. Detective Special. Nobody wants 'em. Fresh from a cop. LETOUR How much? MANUEL (consults DOMINICAN) Four -- including me. LETOUR You're fucking me. MANUEL ("so what?") Street price. LETOUR Where is it? MANUEL Sigame. They lead him to an even darker back room. The DOMINICAN retrieves an automatic pistol from a trash pail, hands it to MANUEL. JOHN counts cash from Tis' roll; MANNY hefts the piece. MANUEL The hundreds -- Franklins. Bills and guns exchanged. LETOUR How do you use this? MANUEL Automatic. LETOUR I don't have much use for a gun. Never used one like this. MANUEL (translates for DOMINICAN) Cono! The DOMINICAN laughs; LETOUR takes his measure. LETOUR (businesslike) What do you do? MANUEL Simple. You put the bullets in -- (inserts cartridge) you point it at the bad guys, pull the trigger and they fall down! MANNY repeats this for the DOMINICAN ["bang, bang!"]; they laugh again. LETOUR eases the .38 into his crotch. MANNY turns, exchanges Latin hug: MANUEL Vaya con Dios. LETOUR -- Dios. JOHN exits, works his way through the club. CUT TO: OUT WITH THE OLD John's apartment. Seven p.m. LETOUR, sweating, bareback, tucks the .38 under his futon. He takes a bottle of cologne from the bathroom, pours it over his hair, face, and torso, rubs it in. Licking his finger, he removes Marianne's gold and onyx ring with a tug. His finger stings. He opens a window, throws the ring full force into the junk-strewn courtyard. He shakes his torso; cologne glistens. CUT TO: JOHN AND RANDI Interior, Plaza Memorial Chapel. LETOUR enters the "viewing room," motions to RANDI. She follows him. They slip into a door, enter the embalming room: stainless steel table surrounded by surgical cabinets. They embrace, disengage. JOHN looks: Randi's exhausted face mirrors his. LETOUR Have you been to the police station? RANDI (nods) She was back on drugs. Really back. They're gonna bring her here too. My God. (he comforts her) I thought she was playing for attention. LETOUR I didn't know. RANDI You're not to blame. Don't blame yourself. You weren't responsible. She was always -- she loved you. LETOUR (wipes tear from her cheek) She loved you. You were what she wanted to be. RANDI She scared me. JOHN pulls a Polaroid from his pocket. LETOUR Look. Do you recognize anyone? The picture features ANN and TIS: side by side at a dinner party. RANDI Tis. LETOUR You know him? RANDI His father's a lawyer. Did some tax things for Mom. He was at the hospital. What's that smell? LETOUR It's me. Cologne. I'm a sucker for that cheap airplane stuff. Did Marianne mention him yesterday? RANDI ("no") It was his apartment. What are you thinking? LETOUR I don't know. RANDI She jumped. (LETOUR hangs on every word) You loved her, but she -- this sounds terrible but it's true -- she was... she ruined everything... bad luck. LETOUR (heard enough) When's the funeral -- your mother's? RANDI Tomorrow. Will you come? LETOUR (vague) Well, I got this thing to do. It's -- I don't know if I can get away. RANDI Try? For me. LETOUR I'll try. CUT TO: PRODIGAL SON Ann's apartment. Eight p.m. ANN greets LETOUR with a hug. ANN The Prodigal Son. LETOUR Sorry about last night. Something came up. ANN Where were you? LETOUR T.C.T.E. ROBERT "Too Complicated To Explain." LETOUR (enters bedroom) I'm $500 short from last night. I'll get it, you can take it from my salary. ANN (stung) This is family. Are you saying that to hurt me? (LETOUR returns) It's not money. LETOUR (chagrined) Sorry. ROBERT Look at this. ("Akasha" visual) We had a graphic artist make it up -- you know, Billy, Five Towns. ANN The label for the cosmetics line. LETOUR (examines it) Classy. Sorta -- Katmandu... ANN (corrects him) Kathmandu. LETOUR I love it. ROBERT Tis called twice. He wants you to come by. LETOUR (wary) Me? ANN Yeah. Says you were supposed to show up again yesterday, but didn't. LETOUR A lie. I don't want to go. The suicide and all. Let's stay away. ANN Can't. He's the Ecstasy connect. No way I can fuck this. LETOUR C'mon... ANN This is business. LETOUR, suspicious, looks from ANN to ROBERT. He knows TIS knows he knows MARIANNE was not alone when she went out the window. LETOUR Let Robert go. ANN Tis won't deal with fags. LETOUR Since when? ANN Just is -- so he's a bigot? What's new? So's everybody else. LETOUR I don't want to go. I got a bad vibe. ROBERT He said you. ANN (to LETOUR) Why? LETOUR (to ANN) Why don't you go? He's your contact. ROBERT He is -- ANN (to ROBERT) You giving orders? ROBERT (deferential) No, Missy. LETOUR (testing her) Come with me -- the two of us. ANN (upbeat) Okay. You got it. Like old times -- Ann and Johnny. (turns to go) LETOUR Okay. ROBERT Stop it. You're breaking my heart. CUT TO: LAST RIDE Night. ANN and LETOUR side by side in the sedan. CARLOS, at the wheel, anonymous. Outside, SANITATION WORKERS toss sacks of trash into garbage trucks: the strike is over. ANN reminisces as lights flash: ANN It's going to be strange, not doing this. I mean I've had it, but sometimes... LETOUR You're gonna do it, aren't you? You're gonna quit. ANN (nods) I think so. Seal this thing with Tis, turn it -- go with the cosmetics. You gotta take a chance in life. No risk, no gain. I've already got retail connections here, London. It was great at the beginning, though. LETOUR When? ANN You know, when we first started out of the place on Greene Street. Before deliveries, when you were still using. It was open house every night but Sunday. We had everything: uppers, downers, meth, six kinds of hash, all in that trousseau, remember? You could get in for a gram, stay all night -- everybody, music people, movies, Wall Street, fashion -- even politics. I think like five marriages came out of those parties, babies -- really. God. (JOHN eyes her: why this Niagara, this nostalgia?) You stayed, you then Robert -- but he... I'da never thought you'd, what is it, twelve years? Others, lucky a year max, eight months, in, out, start using, unreliable -- nice kids. Remember when you first came: long hair, dirty fingers -- LETOUR (overlapping) You made me -- ANN -- never washed -- LETOUR -- khaki pants. ANN I should write a book someday. Did you know somebody wanted to do my story? Ghostwrite. It was impossible, of course -- my lawyer freaked I even had the meeting. People envy me. They think my life is so glamorous, but they don't know. I know. Glamorous. (beat) It was for a while. Then came crack and fucked everything. JOHN wonders: The Big Goodbye? Is she acting at Tis' behest? LETOUR I gotta stop home a second. ANN Why? It's out of the way. They're expecting you. "They're?" LETOUR You know I got a bad vibe about Tis. ANN (unconvincing) Chill. This is routine. LETOUR I want to get my lucky jacket. ANN Oh. Okay. The sedan continues south. It turns, stops in front of John's Chelsea apartment building. JOHN hops out, goes in. Inside John's apartment he -- a man possessed -- pulls his black tweed from the closet, throws it on the futon. He rolls up his shirt, reaches under the futon, removes the .38. He straps the gun to his back, wraps duct tape around his chest, end to end over the .38. He tucks in his shirt, puts on the jacket, checks the mirror to see if the gun shows: it doesn't. A pause to appreciate. LETOUR closes his diary, throws it out the window: a trifle. He slaps cologne on his cheeks -- annointing; heads toward the door. Outside, LETOUR emerges, walks quickly to the car, plops beside ANN. The sedan drives off. Back seat: ANN That took long enough. What did you do, douche while you were at it? LETOUR Ann, you got some mouth on you. ANN You don't want to know where it's been. (sniffs him) Cologne? LETOUR For you. ANN Phew. It smells like that stuff they give you on airplanes. It's no good for your skin. All chemicals. LETOUR pulls out a slip of paper, writes a name and address: "Linda Wichel, 1012B-2 A Street, Sacramento, California." ANN What's that? LETOUR Do me a favor. ANN What? LETOUR Don't ask why, just promise. ANN What is it? LETOUR (testing again) If anything happens to me -- if I should like, you know, fucking die -- write and tell her. Extends slip of paper. ANN starts to speak, stops. LETOUR It's my sister. Her husband's in San Quentin. She worries, you know. She takes the name and address. ANN (eye contact) Okay. ANN, sad, looks out the window. She touches his knee. The car pulls in front of the Pennsylvania Hotel, 34th and 7th. LETOUR I thought we were going to Tis'? ANN We are. He's here. He can't very well work out of his apartment after what happened yesterday, can he? They get out. CUT TO: SHOOT-OUT Pennsylvania lobby: a baseball card convention is in progress. ANN squeezes through, goes to the house phone. JOHN follows, scans the tacky lobby: what's up? ANN (on phone) Mathis Bruge, please. (beat) Tis? Ann. I'm here with Tour. (beat) Okay. (hangs up) LETOUR Tis there? ANN Twelve-oh-four. They go to the elevators, wait with CHATTY CARD COLLECTORS [Pete Rose this, Pete Rose that]. Twelfth floor. ANN and JOHN step out of the elevator, look for 1204. LETOUR, a step behind, is all eyes, all ears. ANN checks the number, rings the bell. THOMAS lets them in the standard issue suite, locks the door. LETOUR was right: it's a set-up. THOMAS and a TEENAGE CUBAN stand either side of them, waistbands conspicuously bulging. No TIS. JOHN turns to ANN: LETOUR (Jesus-to-Judas) Ann. ANN's confused, then furious: she had no part in the "set- up." In fact, she doesn't even know it's a set-up. Bursting rage, she turns on THOMAS, YELLS: ANN I told you greasy fucks I don't deal with guns! I see guns, I walk! How dare you? She slaps THOMAS, pulls the 9mm from his waistband, throws it to the carpet. The CUBAN watches bewildered, gun drawn, awaiting instructions. Now ANN's on him: ANN And you, beaner, whoever the fuck you are, kiss my fat ass! (she spits on his shirt, knees him in the crotch, yanks his gun, throws it beside the gut- clutching CUBAN. She crosses the room, YELLING:) That's it! TIS! Shitball! I know you're fucking there! Let this be a lesson! You wanna deal, you gonna apologize for this! (to LETOUR) Let's go. THOMAS and the CUBAN TEEN retrieve their guns; ANN unlocks the door. THOMAS (pointing gun) Hold it! Stop right there. She turns defiantly. TIS enters from bedroom: TIS (to THOMAS) No! (to ANN) Sorry about the guns. My fuck-up. I was just trying to make a point -- I apologize. TIS looks to THOMAS and the CUBAN: they lower their weapons. He only means to threaten LETOUR. TIS (about THOMAS and CUBAN) Assholes. What a nightmare. (to ANN) We'll make the deal tomorrow -- same terms. Ann. Sorry. Go on, leave, you're upset. I just need to talk to Tour a second. About a police matter. (to LETOUR) Right? LETOUR (to ANN) Go on. She hesitates. TIS Tour and I need to get our stories straight. Somebody's talking to the police. The guns were for emphasis, to make a point, dumb -- ANN gets it. Fear hits: ANN (to TIS) We came together, we're leaving together. (to LETOUR) Johnny, come with me. Opens door. TIS (a command) Thomas. THOMAS fixes his gun on ANN. TIS (to ANN) Don't be stupid. Get out. Leave. (to LETOUR) I had nothing to do with Marianne -- she jumped: she was there, then she was gone. (nods ANN to leave) Nothing will happen to Tour. ANN computes, bolts out, flees, SCREAMING at the top of her lungs: ANN (out of shot) Fire! Fire! Fire! The fire bell rings. THOMAS, TIS, and the CUBAN stare dumbfounded. LETOUR reaches behind his shirt in the confusion, yanks out the .38 with a painful rip, turning, fires point-blank into the Cuban's chest. BLAM! Shirt fabric flares, flies: the CUBAN falls with blank expression. THOMAS, off guard, wheels and fires wildly at LETOUR. JOHN fires back. Both are hit. TIS ducks into the bedroom. THOMAS and LETOUR fire again, again -- hitting, missing. A bullet hits its mark: THOMAS, frozen, grabs his blood-spurting throat, slumps to floor. LETOUR bleeds from the stomach and shoulder. His shirt soaks red; he struggles to stand. CUBAN and THOMAS -- both dead. LETOUR checks the .38: five rounds fired -- one left. LETOUR staggers into the bedroom, finds TIS frantically searching an open suitcase. Off-screen VOICES under the fire bell. TIS (desperate) I didn't -- LETOUR steps to TIS, aims, shoots him barrel to forehead. Exit debris hits the wall. He is dead. Off-screen screams of guests are countered by commands from hotel security: "Get down!" "Get back!" Fire horns and sirens reverb from the street. LETOUR, losing consciousness, sits bedside. Gun slips from his hand. Deflating, he drifts back-first to the bedspread. Blood spreads. His eyes are open. POLICE VOICES approach. FADE OUT: EVERY GRAIN OF SAND Prison waiting area. ANN, wearing a wool suit, waits among black/Hispanic FRIENDS and RELATIVES. The first scene without LETOUR: she sits quietly. A CORRECTIONS OFFICER instructs the visitors to proceed. ANN walks through a concrete corridor, finds the visiting area. LETOUR, in prison fatigues, sits at a table. He sees her, smiles. ANN sits down. This is not her first visit. LETOUR Hello. ANN Hi. Checks watch. LETOUR Twenty minutes. You look terrific. ANN I look respectable. Any news? LETOUR Sentencing's in ten days -- supposed to be. Because of the extenuating circumstances -- our cooperation -- they say it won't be more than five years -- maybe seven. With time served, good behavior, parole, I could be out in two years -- maybe. I hope. ANN It feels like forever. LETOUR It's not so bad. It's a relief in a way -- at least so far. I've been writing, reading. ANN I love your letters. (pause) LETOUR How's business? ANN Robert quit. He went back to dealing. I think he thought it would be less work, more money. It's lucky in a way I got mixed up in it -- now I have to see this thing through. So it's cosmetics after all. LETOUR (affectionate) I miss you. ANN Me too. LETOUR Did we ever fuck? ANN What do you mean? LETOUR You know, make love. ANN (thinks) There was that party when everybody was so stoned, but -- oh yeah, that night you came over and crashed and we slept together. LETOUR We were naked, but did we --? ANN You had a hard-on... LETOUR I didn't -- ANN You tried... LETOUR I was thinking about it and I realized we never really did. It's one of the things I think about. It's one of the things I look forward to. I've been looking forward. ANN Me too. LETOUR (touches her hand) Something can be right in front of you and you can't see it. ANN (kisses his hand) Strange how things work. The tableau fades. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Limey, The.txt b/unformated_scripts/Script_Limey, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..a26c7340b4353decbb941f2023b34513f2d5befc --- /dev/null +++ b/unformated_scripts/Script_Limey, The.txt @@ -0,0 +1 @@ +THE LIMEY by LEM DOBBS draft 08/03/98 NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. THEY HAVE BEEN REMOVED FROM THIS SOFT COPY. Wilson's first impression of Los Angeles was blue. He was in the sky at the time, so it was a curious reversal, looking down rather than up at the color he had always felt was nature's finest. Swimming pools. Hundreds of them. Pockmarking the landscape like miniature lakes. A flat landscape of straight streets and square blocks and sparse grass that didn't look quite green enough. As far as Wilson could remember, he had only ever seen seven or eight swimming pools in his entire life and they had been public ones. Here everyone had their own. Marvellous. There was the one at the Butlin's holiday camp where he had enjoyed his last legitimate employment -- as driver of a tour bus. And there was the one at Crystal Palace he had gone to once or twice when he was younger. He was most familiar, though, with the Chelsea Baths as he had lived for some time in a flat nearby in what he now thought of as his good years -- before he'd gone grey, went to prison, and found himself in a plane over a foreign town arriving to avenge the death of his daughter. WHOOSH! The sound of automatic doors opening and -- EXT. ARRIVALS TERMINAL. L.A. AIRPORT. AFTERNOON. WILSON steps out into the late sunlight and the heat of the day. A slow-motion moment while he gets acclimatized. He wouldn't have ever felt quite this kind of heat before. After such a rigorously air-conditioned interior. Or seen cops wearing guns on their belts. Or black cops, for that matter, with guns on their belts. Or seen people as fat as Americans on their home turf. Things someone from England notices immediately, whether consciously at first or not. CUT. EXT. MOTEL. EVENING. Wilson's not here for comfort. Shown to a shitty room, round the corner of a typical 2nd-level outside walkway. Airport close by. INT. MOTEL ROOM. EVENING. He draws a curtain open across a window in one strong easy glide. His moves are neat. His expressions just as economical, not giving much away. Outside the planes are practically on top of us. The sunset colors strange and chemical. He's only got one light bag. Unzips, unpacks a few things. Change of clothes, a travel kit, and some familiar items (shaving foam/toothpaste/deodorant} bearing unfamiliar British brand names. Goes into the bathroom. Turns on the shower in there. Comes back to sit on the bed. Takes an envelope out of his jacket. ENVELOPE Turns it over to see the return address on the back. CUT. INT. TAXI. NIGHT. Wilson in the back. Stares at the impenetrable name on the driver's posted ID. Glances at the driver. DRIVER glances back at his quiet passenger in the rearview mirror. CUT. EXT. SMALL HOUSE. NIGHT. Wilson walks up a cracked little path to the front door. Lower middle-class street. Two cars in the driveway, one behind the other. Lights on inside the house -- as he rings the bell. ED RAMA Answers it. Hispanic. Late 30's. Chairman Mao on his T- shirt notwithstanding, an easygoing sort of fellow. Not looking for any trouble -- anymore. But once did, and able to handle himself if any shows up. Which it has. WILSON Edward Rama? ED Eduardo. (rolling the R) Rama. WILSON You're home, then. He turns, waves away the taxi he's kept waiting. While Eduardo Rama waits for an introduction. WILSON My name's Wilson. Accent speaks for itself. Hard, working-class. ED Wilson? Knows the name. But just now it's unexpected. He's holding a hot TV dinner, hand protected by a dish towel. WILSON You wrote to me about my daughter. CUT. INT. ED'S HOUSE. NIGHT. Ed takes Wilson inside. ED I didn't expect anyone. WILSON No reason. ED I mean, what has it been -- six months? WILSON Round about, yeah. They've entered a cauldron of family life. TV blaring (SHOWBIZ TONIGHT!). A couple of younger KIDS yelling "Mama". Their MOTHER shouting back at them from the kitchen (in Spanish) that she only has two hands. A sullen TEENAGER walking by. ED I didn't even know who I was writing to -- just someone with the same last name. She never talked about any family. WILSON It was better than a telegram. Ed opens a screen door to the backyard. EXT. ED'S BACKYARD. NIGHT. They sit at an outdoor table. Wilson with a TV dinner in front of him now too. Sounds from inside MUTED. Even this little house has a little pool. WILSON Who done it, then? ED Huh? WILSON Snuffed her. Ed surprised at Wilson's directness. Ed stands nervously. ED Now, wait up a second, man. And paces back and forth. ED I never said nothin' about nothin' like that. No, no, no. That's not what I wrote to you. WILSON No, but between the lines, eh? Mysterious circumstances, and that. Ed stops pacing. ED Look, I sent you that newspaper clipping, all right? I told you what I know. It was an accident. I didn't say anything about anybody being "snuffed." Beat. WILSON This bloke she was bunked up with. This Terry what'sit. ED Terry Valentine. WILSON Valentine. What's he got to say for himself? ED I dunno. What's he gonna say? They had a fight that night, she drove away, she was upset? I don't even know the guy. Don't get me wrong, Jenny and me were friends, but we didn't travel in the same social circles. She had her life, I had mine. Makes a kind of scoffing gesture: and you can see what my life is. ED Valentine came into the restaurant where I work with Jenny a couple times. He's a money guy. Jenny would say, hey, here's my friend Eddie and he would shake my hand and everything, but he wouldn't even see me, you know what I mean. Wilson gazes up at the sky. Clear night. Stars. WILSON How long had she been in the States? (as if to himself, somewhat wistful) Near on ten years, wasn't it? Long enough to know her way about, I reckon. Ed leans down, palms on the tabletop, facing Wilson. ED There was an investigation, okay? The car was totalled. Jennifer was ... Her neck was broken. On impact, they said. So she wouldn't have ... felt the effects of the fire. (helpless shrug) It happens up there. Happens a lot. What more can I tell you. Wilson taps out a cigarette from a pack of "Silk Cut" he's produced from his pocket. WILSON What more is there. ED I'm just sayin' -- it was a steep hillside. There was no moon that night ... Wilson's quiet stillness is getting to him. ED Coulda happened to anyone, man. I never knew her to be reckless. I mean, sure, she would smoke a little grass, or something, have a few drinks. But that's it, nothing more than that. WILSON No, not my girl. Self-control, she had. Point of pride. (smokes) And people don't change, do they. ED I dunno ... Maybe they do. Wilson notes the tattoos on Ed's forearms. WILSON Going straight, are ya. Ed looks at him. Sits down again. Keeping his forearms under the table. ED (looks away) Boomerang. WILSON Y'what? ED I knew when I was droppin' that letter into the mail slot it was gonna come back and smack me in the face. (looks at Wilson again) I did my time, okay? My sister, her ol' man's up in Chino right now doin' eight years. WILSON (re the family inside) This ain't your lot? ED You kiddin', man? I don't need a wife and screamin' kids. I still got my youth. And yet -- he lives here. Wilson declines to pursue the matter. ED I go to work, try to keep my life together, put all that shit behind me, man. What d'you want from me. WILSON (calmly smoking) I only asked. Ed sighs. Reaches for one of Wilson's cigarettes. ED Couple weeks before she died, Jennifer asked me to drive her downtown. Said she was meeting -- her boyfriend -- Valentine. But I think she was looking for him. FLASH CUTS: ED AND JENNIFER. In a car, downtown. She has the same steely intensity as her father. Ed looks a little worried. WILSON (lighting Ed's cigarette) What, tryin' to catch him with another bird? ED That's what I thought, man. But it was not a hotel or nothin' that we went to. It was someplace else. WILSON Where abouts? FLASH CUTS: JENNIFER. Talking to a beefy SUPERVISOR. Or talking at him. Either way, he isn't happy. MEAT PUPPETS. Watch instead of working. ED. Taking all this in. ED Bad place, man. Bad people. Some guys loading some trucks. Some kinda deal goin' down. (anticipating Wilson's next question) I don't know and I don't care. Maybe they're shipping fava beans to Eskimos. WILSON Did Jenny know? ED (shrugs) Valentine wasn't even there. If he was into something, if she was involved -- who can say. (stands up again) But I'll tell you something. She stood in front of these dudes, man. Eyeballing them. Checking them out. (beat) I felt like she was covering my ass that day. Unconsciously rubbing his arms where his tattoos are. ED I drove her back to Valentine's house. FLASH CUT: VALENTINE. Standing in front of his house. His expression says: We have something to discuss. ED He was standing outside waiting for her. That's the only other time I ever saw him. (a short sad note) Last time I saw her. He meets Wilson's gaze. As hard and pointed as a drill through his skull. CUT. INT. ED'S CAR. NIGHT. Ed drives Wilson back to his motel. Wilson silent. Ed still not quite sure who he's dealing with. Is this really or merely a grieving dad? ED What you gonna do, man? You gonna go to the cops? WILSON Nah, coppers don't do nothing, do they. ED Those streets up in the hills, man. Gotta be real careful, keep your eye on the ball. Two o'clock in the morning, it's dark, your mind is all agitated, you're drivin' a little too fast ... (beat) Those curves don't kid around. Could be talking about the girl. Wilson doesn't move. But touch him, he'll explode. Out the window lights are passing, but no landmarks. He might as well be on the moon. ED You should talk to Elaine. That was her best friend. WILSON She didn't write to me, did she. ED She didn't know what to say. (shrugs) I thought someone should say something. To someone. With me it was, I don't know -- Jenny liked me for some reason. I felt like I owed her. WILSON Who'd Jenny get it off of -- this grass or whatever? ED (self-conscious again) Not me, man. I'm no drug dealer, what you think. WILSON (re Ed's tattoos) I think you didn't get that lot in the Navy, doing your National Service. ED I already told you, man. Corcoran. Know what that is? State prison. WILSON Nick's a nick, n' it? No matter what state you're in. State of remorse, most likely -- for gettin' caught. ED But that's not me anymore. That's when I was into the gang lifestyle. That's not who I am now. Five years in the joint -- that's it for me, man. Now Wilson drops the clanger. WILSON Just got out meself, didn't I. And Ed turns. Looks at Wilson. Fellow ex-con. CUT. EXT. WILSON'S MOTEL. NIGHT. Wilson out of the car, shuts the passenger door. Ed on the other side, looks over the roof at him. ED Go home, man. (plane taking off in background) Get on a plane. Wilson has other plans. WILSON I'll be needing a shooter. Makes his fingers like a gun. And a clicking sound. ED (comes quickly over) You're kiddin' me, right? WILSON What do I do, then, look in the bleedin' Yellow Pages? ED (an urgent whisper) These are not guys you can just go run a number on, man. WILSON (looking around) Thought perhaps there'd be dispensing machines, you know. Bung in your coins, come out with a .44 Magnum, fully-loaded. Ed throws up his hands, walks back to his driver's side door. ED Are you a resident of California? You gonna fill out forms, man? Do the background check? Go through a three-day waiting period? WILSON Sod that. Gotta get back before my probation officer wonders where I've skived off to. ED Probation? Man, you crazy. They shouldn't've let you outta your country, much less prison. WILSON Travelling on a dodgy passport, n' all. Walks round to come face to face with Ed once more. WILSON Which is why I thought, save some time, get what I need under the table, like. ED As if resigned and mulling the problem over: ED Under the table? CUT. INT. GUN SHOW. DAY. Hundreds of tables. Under bright lights. Displaying every kind of firearm. Handguns, rifles, shotguns, parts to make machine guns. A weapons bazaar. WILSON AND ED Walking around. Even a cool customer like Wilson can't help but be impressed by America's loving embrace of senseless mayhem. DEALERS Touting their wares. VISITORS Trying out pistol grips -- or pushing baby carriages. Guys in fatigue jackets with toddlers on their shoulders. Women in stretch pants looking for a little something in personal protection. WILSON Doesn't know where to look. At the booth featuring "Classic Cowboy Collectibles" -- or the most OBESE COUPLE he's ever seen who just walked by. PA SYSTEM Attention: the long-range vermin- shooting panel is due to commence in two minutes in the blue room at the rear of the Convention Center. ... and other anomalous oddball ANNOUNCEMENTS in the background as long as we're here. DEMONSTRATION At a booth selling laser attachments. BEAM SALESMAN BeamSight II is easily mountable on any shotgun, rifle, or sidearm and will project a small, bright red dot directly onto the point where your weapon is aimed ... For purposes of display, a smiling YOUNG WOMAN is the "target." WILSON Walking past, almost subliminally noting the Young Woman with the symbol of death on her. TABLE A .45 passed from a DEALER's hand to Wilson's. DEALER Man knows what he likes. ED (he'll talk if Wilson won't) Lookin' good. DEALER (while Wilson checks) That's a high-end item. Total reliability. ED What'd you call that -- the Protector? DEALER Yes, sir. Won't find a better CQC on the market. Wilson's eyes glance up -- but Ed asks the question. ED CQ what? DEALER Close Quarters Combat. Keep one in my own home. WILSON Trouble is, I'm not at home, see. Fancied a bit of target shooting, y'know, while I'm here -- with me mate. Nods at Ed. DEALER Oh really? Where you from? WILSON England. (sighting the weapon) Only, we saw there was a show on, thought I might pick something up for a price, type of thing. DEALER You came to the right place, sir. My wife's second cousin is English. Well, Scotch-Irish. Can I interest you in a holster? WILSON Just luck, this, really. Never been to one of these before. DEALER You're in gun country now, my friend. WILSON (picks up another, checks it out) Been to the Boat Show. DEALER (re Wilson's new selection) Packs a punch, but it's compact, has accessible features -- makes a nice concealed-carry piece. ED (playing the reluctant buyer) He don't have a concealed weapons permit. WILSON Don't have time for a lot of paperwork, y'know. Just popped over on a quick visit. DEALER I can take care of the paperwork. WILSON Yeah? DEALER No problem. If you don't have a problem with me reporting this gun stolen. A look of understanding between them. WILSON No. Not at all. (to Ed) Do we? ED Not me, man. WILSON I mean, it's already a steal, n'it -- what you said -- four hundred for this one? DEALERS Well, I'll have to add another two hundred on top of that. WILSON Oh, aye? DEALER (another look) ... for the paperwork. CUT. INT. ED'S CAR. DAY. Ed drives. Nervous at Wilson handling his new gun purchase beside him. WILSON Violation of my parole, this. (a perfect pause) -- Goin' abroad. Ed shakes his head at Wilson's sense of humor. ED You hadda show up on a weekend. This weekend. Wouldn't've even been a gun show ... for another month. WILSON Fucking out of order, that. Shouldn't be allowed. As he puts away a box of ammo. ED Now what. You gonna take your new arsenal, go visit Terry Valentine, just like that? Boom bam boom. WILSON It's only insurance. Can't be too careful. This Terry Valentine, he's probably a wonderful fella. They were together how long? ED Five years, I think. Long time. WILSON Well, there you are. Jen must've liked him. Doesn't make Ed feel any better. Nor does the way Wilson seems now to be studying Ed's driving techniques. Paying attention to the way traffic lights and left-turn lanes and cars without clutches work over here. ED (remembering) Jenny told me she met him at the beach. Got blinded by his smile. (beat) You believe that shit? Son of a bitch never smiled at me. Buried her at a "private" service. Private for who. Him? WILSON (confused) Hang about. I thought you said he come into the restaurant where you worked with Jenny. ED He came in with Jenny to the restaurant where I work. That's not where they met. WILSON And that's where you met Jenny. ED No, no -- Jenny used to work as a waitress. Before she met him. But that's not where she met me. Not in my restaurant. WILSON How'd the two of you hook up, then? ED Oh, Jenny was in my acting class. CUT. INT. RENTAL CAR. DAY. Wilson at the wheel himself. Getting the hang of L.A. Driving downtown. Along one of the major boulevards. Glances at a street sign as he goes by. Picks up the map book on the seat beside him to check his route. EXT. BOULEVARD. DAY. Wilson makes a sudden lane change to avoid getting fed in the wrong direction. Gets HONKED by another driver. EXT. A STREET DOWNTOWN. DAY. Wilson cruises past a particular building. We don't have to really clearly see it just yet (we saw it in the flash cuts) -- more important we see him seeing it. Casing it with the eyes of a professional. Sniffing it out; the instinct of a predator after prey. INT. CAR. DAY. Parks it. Produces the little leather travel kit we saw him unpack at his motel. Unzips it. Under the usual assortment of clippers, razors, etc., is a hidden layer -- storing still more personalized items: a set of select slim lockpicking/cutting tools. EXT. SIDE STREET. DAY. Wilson locks the car. Walks away. STAY with him. AROUND THE CORNER He walks down the block. A nice long walk. What we get out of it besides a sense of Wilson -- cool cat; ambling along; loner; sun beating down; not bothered; his shadow doubling him -- is this: The building approaching. The one he has his eye on. The target. It's across the street. A kind of flat windowless warehouse with adjoining loading yard. Loading yard surrounded by a chain-link fence -- topped with barbed wire. The actual geography of where he left his car in relation to this building. Safely around the corner. And how he might practically get back to it, either this same way or via a more circuitous route round another block. The sense you get in downtown L.A. on a lazy Saturday afternoon that you're in a ghost town. Particularly in this shabby kind of industrial section. EXT. THE BUILDING. Wilson crosses over to it now. From sunny to shade. Walks past the chain-link fence. The padlocked gate, big enough to accommodate the (couple of) trucks parked within the compound. Walks past the closed security door which would appear to be the building's main entrance. Round the next corner -- SEES there's a steel back door as well. Comes around this block again. Looking surreptitiously around now. Streets here utterly deserted. Not even a passing car. Crappy residential building on an opposite corner, SPANISH MUSIC blaring from one of the open windows, but not with a direct view on the loading yard fence on this side. Wilson nearing it now -- taking something out of his pocket. One of the mysterious metallic tools from his travel kit. Snaps his wrist, unfolding the tool with a CRACK. Wire cutters. He doesn't go for the gate, the padlock, like we might have thought. He suddenly drops to one knee, in shadow where the fence meets the adjoining building. SNAP, SNAP, SNAP, SNAP, SNAP -- so quick, with great dexterity, though his face grimaces with the strength he has to exert with each application of pressure -- he cuts just as many links as he knows he needs to push in a little flap of fence and roll under. Whole thing accomplished in seconds. LOADING YARD Walks fast to the cover of the trucks. Passes. Looks around. Cement loading docks and bays. Shuttered doors. He jumps up to one, puts his ear to the metal. Listens awhile. WILSON Scans the wall for any sign of an alarm box or anything. Then cocks an ear upwards... CAMERA CRANING UP to show us what he hears: an air-conditioning unit HUMMING away. Which means someone must be inside. Wilson looks back at his entry options. Not the loading doors -- but a conventional door at one end, with a conventional lock his eye zeroes in on. Gets out his tools, going over. INT. WAREHOUSE HALLWAY. A SCRATCHING at the door. It opens. He's in. Waits. Cautious. Nothing. He starts along the hallway. INT. WAREHOUSE. A SUPERVISOR (the one from the flash cuts) does a double take as Wilson passes. SUPERVISOR Hey! Wilson stops and turns. Says nothing. SUPERVISOR How'd you get in here. WILSON Walked. SUPERVISOR You walked. (coming over) What the hell are you doing here. WILSON Looking for a bloke named Valentine. Know him? MEAT PUPPETS (who we saw before as well) who work here gathering. The Supervisor and the Meat Puppets exchange glances. SUPERVISOR He's expecting you? WILSON (beat) I doubt it. The Supervisor moves toward Wilson. SUPERVISOR So why would he want to see you. WILSON I have a message for him. About Jennifer Wilson. SUPERVISOR Jennifer Wilson. More looks are exchanged. WILSON You know her? SUPERVISOR Yeah. I know her, all right. She came down here once, stirred up a shitstorm. We lost a full day's work, took me weeks to get back on schedule. If she hadn't a' been Terry's woman I would've broke her jaw. 'Course, she's nobody's problem now. Wilson stares at him. WILSON Is Valentine here? SUPERVISOR What do you think? Wilson looks at the Meat Puppets, the loading area. WILSON Where is he, then? SUPERVISOR Listen, get the fuck out of here before you get hurt. Who the fuck do you think you are, waltzing in here, asking questions? Wilson just looks at him. SUPERVISOR Do you hear me, asshole? The Supervisor shoves him. The Meat Puppets move a little in anticipation. Wilson isn't giving any indication that he's going to leave. SUPERVISOR Jesus, you really want your ass kicked, don't you? He pushes Wilson again, hard. SUPERVISOR Go on, get outta here. He pushes Wilson again. Still, Wilson won't leave. SUPERVISOR Fuckin' nut. Go on. This time he tries to slap Wilson. Wilson blocks the Supervisor's hand and then punches him, hard. The Supervisor stumbles back and falls to the floor. THE MEAT PUPPETS Move to Wilson. He tries to fend them off, but there are too many. They beat him. When they find that he's armed, they beat him harder. CUT. EXT. BUILDING. DAY. Wilson is taken outside and dumped. After a moment, he gets to his feet. Dusting himself. Reaches for ANOTHER GUN tucked in his lower back. He re-enters the building. A beat. We hear several SHOTS. Seconds later, one of the Meat Puppets comes stumbling out of the door, terrified. He runs past us, fast. A moment later, Wilson emerges, gun in hand. WILSON You tell him. You tell him I'm coming!! CUT. INT./EXT. VALENTINE'S HOUSE. DUSK. A series of images that prove Valentine (whoever he is) has taste, wealth, and influence, stretching back a good three decades at least. Walking through some of these shots is a young beauty in a bathing suit named ADHARA. She advances slowly, not entirely sure of herself, and stops to look at things just like we do. At one point she looks to see a BEEFY GUY (GORDON) sitting at the kitchen counter, flipping through a magazine. He looks her up and down, more from reflex than anything. She continues on. Eventually she emerges through sliding glass doors and on to a patio. HER POV A figure by the pool, talking on the phone. His back to us. The pool is spectacular, mosaic tile bottomed. ADHARA Approaches, then sits beside him. His voice is soothing, but with the tiniest hint of exasperation that comes with being slightly ahead of everyone. VALENTINE (into phone) Not before. Not before. Think about it. What does it mean? What -- no, I'm not. Think. Yes. See? You figured it out all by yourself. I know. Are we done? Okay. He hangs up, stands, still doesn't turn. VALENTINE Adhara. I told your father, if you're looking for a name, you can't go wrong with a constellation. ADHARA I used to hate it. Now I like it. VALENTINE Could be worse, he could've named you Reticulum. He turns and we see him for the first time. VALENTINE Polished. Handsome. Charismatic. Especially when he's smiling like he is now. He leans over and kisses her. VALENTINE Is there anything in the world that you want or need? ADHARA I want to know why you need that scary guy in your house. VALENTINE Gordon? He's been with me for years. He's not as tough as he looks. ADHARA Then what good is he? VALENTINE Is it possible that you're too young to be acquainted with the idea of loyalty? ADHARA Is that a problem? VALENTINE Not for you, clearly. ADHARA I'm loyal to things that make me happy. VALENTINE Am I a thing? ADHARA Well, you're certainly not a person. VALENTINE I'm not. ADHARA No. You're not specific enough to be a person. You're more like a vibe. VALENTINE I'm so glad we're having this chat. ADHARA It's not a knock. VALENTINE It's not a compliment. ADHARA It's an observation. Like: I'm hungry. When are we eating? VALENTINE As soon as you get dressed. ADHARA What kind of food? VALENTINE Anything but Japanese. ADHARA Why? VALENTINE I'm not into finger foods. Too fussy. ADHARA Like you. VALENTINE I don't like do-it-yourself cuisine. Buffets. Salad bars. ADHARA You demand to be served. A fork fetishist. VALENTINE It's just fuel to me. I'm not there for distractions. ADHARA For some, eating is a sensual experience. The sensual experience. VALENTINE That's what Gordon's always saying. ADHARA Oh, god. His cell phone rings. VALENTINE (into phone) Yes. He listens, then looks up at his balcony, where a MAN (AVERY) stands holding a phone, obviously talking to Valentine. VALENTINE (into phone) I'll be there as soon as I can. He hangs up. VALENTINE (cont'd) We can leave as soon as you're ready. ADHARA Okay. EXT. BALCONY. EVENING. Valentine approaches Avery. VALENTINE What. AVERY There's been some trouble downtown. VALENTINE What kind? AVERY What the papers used to call a "gangland slaying." VALENTINE Our black friends? AVERY No, Terry. They don't work like that. Jenny Wilson's father paid a little visit, left a message. VALENTINE I thought he was in prison, in England. AVERY Well, either they have a very liberal work-release program, or he's out, because he's here in L.A., looking for you. Valentine is a little ruffled. Maybe Avery likes that. VALENTINE What do we do? Beat. AVERY We wait, and we watch. Valentine just looks at him. EXT. VALENTINE'S HOUSE. POOLSIDE. EVENING. Adhara approaches Valentine, who stands staring at the pool. ADHARA Italian? VALENTINE I'm sorry. ADHARA Italian. VALENTINE Who? ADHARA Not who, food. Should we get Italian. VALENTINE Sure. Turns to her. VALENTINE (cont'd) Yes. Are you ready? ADHARA As long as I don't have to pass Gordon again. I'm never ready for that. He smiles, rises, and offers her his hand. VALENTINE No. I know another way out. She takes it. CUT. EXT. APARTMENT BUILDING. EVENING. ELAINE on her way in. Handsome woman. Intelligent, capable- looking. Passes Wilson who's leaning somewhere smoking. ELAINE Aware as a wary woman will be of a strange man's presence without necessarily having looked at him. Well aware too that he stayed where he was -- so she unworriedly unlocks the building's security gate and goes through to the inner -- COURTYARD -- and closes the gate behind her, now seeing him amble up, arriving as it CLICKS shut between them. He's looking at her a certain way. She looks back. And knows. ELAINE You're Jenny's father. And the recognition on his part: WILSON Had a feeling it was you. ELAINE You look alike. WILSON (cigarette in hand) Perhaps it was the smoke. ELAINE Not her brand. WILSON She used to pinch 'em off me. (trying to defuse Elaine's cold stare) Funny that. One thing she never tried to get me to stop. Elaine doesn't soften. ELAINE Why did you come here? WILSON Wanted to talk to you, didn't I? ELAINE No, why did you come here? America. WILSON Sort a few things out. ELAINE Been busy, have you. WILSON How d'you mean? ELAINE It's been a while. WILSON I was skint -- didn't have no money to get here. ELAINE That's not what I heard. WILSON What was that, then? ELAINE I heard you were -- what's that adorable phrase? -- "at Her Majesty's pleasure." WILSON It was the bars, then. Indicating his face, viewed by Elaine through the barred security gate that divides them. ELAINE In any case, I don't suppose the salary you make sewing mailbags is really commensurate with international airline travel. WILSON Sewing mailbags? Me? Never did an honest day's work in my life, dear. Wasn't about to start when I was in stir -- not with all that leisure time on my hands. ELAINE And not with all that buried loot you had waiting for you when you got out. From the Wembley Staduim job, wasn't it? Pink Floyd concert receipts. Jenny would've been ... fourteen at the time? WILSON (trying to conceal his surprise) Hardly buried. Earning interest, love. Earning interest in an offshore account. Tidy little premium per annum, that. ELAINE Well, that kind of security can't be bought. Must be more comforting than a daughter to greet you. She turns to walk away. WILSON Here, aren't you gonna let me in. ELAINE (without looking back) Try calling me again. INT. ELAINE'S APARTMENT. EVENING. She comes in. A modest studio apartment. Puts her bag on the kitchenette countertop. Glances at her answer machine to see if she has any messages. The phone RINGS. She sits down glumly on her couch, holds her head in her hands. EXT. ELAINE'S APARTMENT BUILDING. EVENING. Wilson gives up, starts to walk away. The gate BUZZES. INT. ELAINE'S APARTMENT. EVENING. Elaine opens the door. Wilson in the hall. ELAINE I was just going to toss some vegetable rolls in the microwave, open a can of diet soda. (beat) Want to take me out? CUT. INT. RESTAURANT. NIGHT. Wilson and Elaine at a table. WILSON ... No, I went in for more improving pastimes. Philosophy classes, language courses, European history, all that lark. Did you know that in Paris in the Eighteenth Century there were more rats in people's houses than there were people in people's houses. ELAINE Sounds like Beverly Hills. WILSON Here, are you always this sarky? ELAINE Sarcastic, moi? Maybe I'll mellow when my ship comes in. It's expected any day now. I'm all packed and ready to go. WILSON Weren't you on a television series? ELAINE (has he seen it?) If it played in England somebody owes me money. Who told you that -- Eddie? WILSON (yes) Said it went on for donkey's years. ELAINE Three seasons. They found that's the limit of human tolerance when it comes to following the adventures of a family of Mormons on the Chisum Trail. (blinks coquettishly) I was wife number three -- the ingenue. WILSON Oh, it just ended, then. ELAINE Now who's being sarcastic? WILSON When you've lost as many years as I have, love, puts things in perspective, know what I mean. ELAINE I'm sorry. I guess the rest of us have no excuse for wondering where the time went. (raises her drink) It must've been the bars. Their food arrives. ELAINE It's a kind of prison, doing a series. Early to bed, early to rise, no time off for good behavior, you grab the boodle for as long as it lasts. (the kicker) Only difference is you can't get arrested afterwards. Wilson appears fascinated by the cold glasses of water on the table. Ice cubes CLINKING as he holds his. A BUSBOY bringing them to other people, too, just like that, without anyone even asking. WILSON I can't believe Jenny told you all that. About me. She was always so embarrassed. ELAINE Not embarrassed. WILSON (correcting) Ashamed. ELAINE Not ashamed. Wilson looks at her. Okay. What then. ELAINE Disappointed. WILSON She never told Eddie, though. ELAINE She never told anyone else. (making light now) About the convict strain -- or is it stain? No, I was privileged. I was someone who helped Jenny efface her past. WILSON How'd you manage that, then. ELAINE When I'm not honing my craft in episodic television I do double-duty as a voice coach. Not that her accent would have hobbled her progress. Not with that look. WILSON Yeah, well, she started all that in London. ELAINE Modelling. WILSON Learnin' 'ow to speak proper. (putting it on a bit there. Then, upper crust:) Central School of Speech and Drama. It's no doddle gettin' in there, y'know. At seventeen. They offered her a place at RADA n' all, only she'd've had to wait till the next session and she was always in hurry to get on, was Jenny. She could talk posh without any training, when she was knee-high to a grasshopper. (indicating himself) Show up the old man, you know. Elaine smiles slightly. None of this information new to her. But warming to this man. ELAINE You weren't disappointed in her, then. WILSON In Jenny? 'Course not. How could I be. 'Course I wasn't. ELAINE She was twenty-one when she came to me. (looks at him) ... Straight from leaving you. WILSON Footloose and fancy free. ELAINE She was happy here. However the two of you might have parted. Don't think she wasn't. It's because Wilson thinks the opposite that he's here. Looks at Elaine. WILSON That's the trouble, n' it. (hard as nails again) She enjoyed life. CUT. EXT. OCEANFRONT. NIGHT. They walk along the seafront. We HEAR the ocean but can't see it. ELAINE When did you get in? WILSON Yesterday. Afternoon. ELAINE (occurs to her) You haven't been lurking outside my building all day. WILSON No, I had -- some other matters to attend to, you know. Getting a car sorted ... ELAINE I might've been away for the weekend. WILSON Well, I reckoned, Saturday night, if you were goin' out, you'd probably have to come home first. ELAINE And you've seen Eddie Rama. WILSON Yeah, saw Eddie, yeah. Me and him are muckers. Mates. Friends. Makes a kind of bonding gesture. ELAINE I should really give him a call. He's a character, isn't he. Well, not to you. I meant to us squares in the outside world. WILSON He give me your address. ELAINE I gave him yours. Said, here, you want to write, I think this is a relative. I guess I thought I was being true to Jenny. Who told me she didn't have a father -- before proceeding of course to tell me why. WILSON Well, don't suppose she did, really, most of her life. On her own after her mum died. Aunts and uncles for a time -- and then the bright lights beckoned. ELAINE Were you still married at the time -- to Jenny's mother, I mean? WILSON Nah, we split up when Jenny was six. Her second husband done a runner after she got sick. They give me compassionate leave from Parkhurst to go visit her in hospital. We were always mates, me and Jenny's mum. I like to think they're together again now. Y'know. Heavenly choir. Beat. ELAINE The address Jenny gave me, that wasn't a prison, was it? WILSON Nah, accommodation address. ELAINE What's that, like a P.O. box. WILSON Something like that, yeah. ELAINE Where you get your bank statements. Wilson gives a laugh. WILSON Well, you gotta have something permanent, don'tcha. Even if it's a hole in the wall. No matter which jug I might be transferred to, I always got someone on the out checks up on it for me, see. Anything I need to know, comes round on visitor's day -- word in my ear. Elaine pauses. ELAINE Some word. Wilson leans on the wall overlooking the black ocean. Sound of WAVES gently lapping the beach. WILSON I already knew. Knew beforehand. When was it supposed to have happened? -- two o'clock in the morning, Eddie said. ELAINE (watching him) That's what was estimated. WILSON Eight hours difference between here and London. Would've been, what, ten in the morning, my time. I was just coming out on the yard. Now, I was in the habit of saving my newspaper till then. Bit of fresh air, stretch me legs -- well, stretch the day out, really, that's what you wanna do. And I'll tell ya: I couldn't open the paper. Could not pry the pages apart -- it was like they was glued together. That's how weak my hands went. Thought I was having heart attack, only I knew I wasn't. Bloke come up to me, he says, Dave, he says, you've gone all white. I said, fuck me, I've been in prison half my life, what d'ya expect. But he was dead on, 'cause I could feel the blood drain right out of me head. And I knew ... (beat) Something had happened to Jen. They stand here a while. Listening to the BREAKERS hit the shore. CUT. INT. ELAINE'S APARTMENT. NIGHT. They come in. ELAINE Make yourself at home. Steal something. That gets her a look. ELAINE There's nothing I can't afford to lose. She goes to make coffee. Wilson looks around. ELAINE Do you even know who Terry Valentine is? WILSON Well, I gathered something from the article what Eddie sent me. Some sort of pop music producer, wasn't it. Maybe a smile from Elaine at the quaintness of "pop" music. ELAINE Rock n' roll, is what we called it. He's sort of a forgotten figure now, but back when the West Coast was the grooviest place on earth, Terry Valentine was where all the happenings happened. More of a kind of promoter, I guess, whatever that means. Just took that whole Southern California Sixties Zeitgeist and ran with it. Packaged and sold it. Made out like a bandit. FLASH CUTS: VALENTINE. At home. Watching as Adhara undresses, either deliberately for him, or just casually. She smiles as she notices he's looking. WILSON What's he done lately. That line pregnant with meaning. Elaine looks at him. Avoids answering the question actually implied there. ELAINE (brings a tray over) Lives high off the hog and waits for the next big thing. Like me -- but on a grander scale of failure. WILSON Now, you shouldn't run yourself down. My employer, Mr. Lindgren -- ELAINE -- Your employer? WILSON -- Mr. Lindgren. ELAINE Who's Mr. Lindgren? WILSON My employer. ELAINE What line is he in. WILSON Proprietor of a London firm. Of longstanding. ELAINE I see. WILSON Based in London, but with international concerns. ELAINE I bet. WILSON Various enterprises, style of thing. ELAINE I thought you said you never did an honest day's work in your life. WILSON Well, not to say Mr. Lindgren is dishonest, exactly. ELAINE (she gets the picture) Right. WILSON Anyhow, he's always saying to me, Dave, never run yourself down, son -- 'cause there'll always be plenty of people willing to do it for you. ELAINE In what capacity are you employed by this Mr. Lindgren? WILSON This and that. Y'know. Ways and means. ELAINE -- When he wants someone run down, you're willing to do it for him. They sort of come together -- in mutual understanding -- and sit down. Coffee steaming. ELAINE So what's the deal. You and Terry Valentine at twenty paces. Is that what this is about. WILSON Why not. ELAINE Are you serious. WILSON Have you ever known me not to be. Elaine looks away: ELAINE You fuckin' guys and your dicks. WILSON What'd you want me to do. Stay at home, twiddlin' me thumbs. Doing sweet F.A. [Fuck All]. ELAINE You don't believe it was a car accident. WILSON What do you think. ELAINE Terry's never going to give you satisfaction. Not the type. WILSON Depends, don' it. ELAINE On what. What makes you so certain. WILSON I'll bloody well ask him. ELAINE There's the phone. You want his number. WILSON That look again. WILSON I got his number. ELAINE Past caring. ELAINE I'm not going to help you. She goes into a bathroom. Shutting the door behind her. WILSON Sips coffee. Bites into a cookie. CUT. EXT. HILLSIDE. UNDERBRUSH. LATE AFTERNOON. Thickets part and we SEE Wilson scrambling up a rather steep hill. Coming to a ridge where he settles down to look at something O.S. His expression changes by degrees from curiosity to dawning realization to a kind of frustrated disappointment. INT. WILSON'S CAR (ON THE ROAD BELOW). LATE AFTERNOON. Ed sits in here, RADIO on. Wilson appears out of the brush, gets in. Ed turns the radio down. ED (mindful of the odd car driving past) Told you you wouldn't be able to see through that gate. WILSON Gate's open. I had a butcher's at the house. ED (alarmed) Who'd you butcher at the house? WILSON Butcher's hook. Look. (doesn't anyone speak English in this fucking country?) I don't much reckon those minders of his. ED Huh? WILSON He's brought in the heavy mob. ED What? WILSON Extra muscle. Bodyguards. ED Has he? WILSON They look a right load of wallies. Patrolling back and forth outside the gate, all ponced up like the fuckin' Household Cavalry. (ducks suddenly) Watch it. As one of the "bodyguards" runs by, only fleetingly glimpsed by us. ED That was one of them? WILSON (sits up again) See what I mean? Wearing bloomin' uniforms n' all. Off Ed's perplexed look ... EXT. HILLSIDE UNDERBRUSH. LATE AFTERNOON. Wilson settles into position again, this time with Ed. WILSON Look at that. Ed just laughs. WILSON What's so fucking funny? ED Those aren't guards. They're valets. POV Now we SEE what Wilson had mistaken for Valentine's private army. Half a dozen VALETS outside Valentine's hilltop home. Dressed in matching attire, a couple of them wielding walkie- talkies. RESUME WILSON AND ED Ed's still laughing. WILSON Valets. What d'ya mean valets. What is he, then, the Earl of fucking Doncaster? ED Valets. They park cars. He's having a party. CUT. EXT. VALENTINE'S HOUSE. LATE AFTERNOON. Wilson's car pulls up. He and Ed get out. Wilson engages in a mini tug-of-war with a Valet over his car key, it so rubs him the wrong way having to give it up. WILSON Keep it handy, mate, all right? We're not stopping long. He gestures, apparently getting the message across that he wants the car kept close by. VALET Yes, sir. WILSON Cheers. Exchanges the key for a card -- which he turns over in his hand and studies curiously as they head inside. WILSON Valets, eh? Aren't we all la-de-da. ED (nervous being here) I thought you just wanted to check out the house, man. WILSON Well, that's what we're doin', n' it. ED No one else is even here yet. WILSON First in, first out, that's me. Looking over to note the multi-car GARAGE off the main house. INT. VALENTINE'S HOUSE. AFTERNOON. Wilson and Ed are among the first to arrive. A smattering of other GUESTS. Elaborate catered cuisine. They mosey over to the wet bar. BARTENDER Gentlemen. What can I get you. WILSON (suggesting Ed take first crack) Dubonnet with a twist? Baby sham? Tomato juice and Tabasco sauce? By now his whole dynamic with Ed is a verbal tease. ED (to Bartender) Got a Coke? INT. VALENTINE'S BEDROOM. AFTERNOON. Valentine is checking himself in a full-length mirror. TV on in background, sound low (ENTERTAINMENT WEEK!). Not quite satisfied, Valentine crosses to the bathroom. BATHROOM Valentine takes one more closer look. ADHARA (O.S.) You have the same posters. Valentine turns. VALENTINE Hmm? ADHARA Is lounging in the large tub. Staring dreamily at a couple of framed posters on the walls: more 60's psychedelia. ADHARA That you have down at your office. Valentine sits on the edge of the tub. With a nostalgic air as he looks at her: the embodiment of youth. VALENTINE Different ones. He strokes her wet skin. They kiss lightly. ADHARA I like the colors. VALENTINE We all did. ADHARA It must've been a time. A golden moment. Beat. VALENTINE Have you ever dreamed of a place ... you don't really recall ever having been to ... a place that probably doesn't even exist except in your imagination ... somewhere far away, half-remembered when you wake up ... but when you were there you spoke the language, you knew your way around ... (significant pause) That was the 60's. With that exit line (practiced?), he starts to go. Then pauses, turns again. VALENTINE No, it wasn't. Wasn't either. Comes back to her. Faraway look in his eyes. VALENTINE It was '66 ... early '67. (comes back to now) That was all. He goes. INT. VALENTINE'S HOUSE. DOWNSTAIRS HALLWAY. AFTERNOON. Wilson wanders around, exploring the house. Comes to a wall of photographes. Casually scanning them as he passes slowly by, he's caught up short by one. POV A framed photo of JENNY, his daughter. WILSON A series of emotions play over his face. He turns -- SEES Valentine coming down the stairs. Valentine joins the party without noticing him. BY THE BUFFET TABLE Ed peruses the available food. Valentine comes over to check it out. Glances at Ed without recognizing him. VALENTINE Hi. And goes away. Leaving Ed more nervous than ever. INT. VALENTINE'S HOUSE. UPSTAIRS HALLWAY. AFTERNOON. Wilson has come up here. Peeks into one room. Moves along to another: the master bedroom. Opens the door gently. INT. MASTER BATHROOM. Adhara is still enjoying her bath. INT. MASTER BEDROOM. Wilson enters. Careful. Aware that someone's in the adjoining bathroom. The soft RIPPLE of WATER from in there. Perhaps he even glimpses her through the door as he boldly looks around. He notices a video camera on a tripod, a cord running to the television. Suddenly we hear the CHIRP of a cellular phone. BATHROOM Adhara reacts. ADHARA Shit. She gets out of the tub and goes for the nearest towel. Quickly wrapping herself, she exits. BEDROOM Adhara enters and goes for her purse. She pulls the RINGING phone out and answers it. ADHARA Hello? Hey! Great. You got my message? Yeah. No, Crestview Terrace, not Crestview Place. Yeah, there's like three different ways up the hill; the quick way is to bear to the right. Sure. Okay. Okay. 'Bye! She hangs up and begins toweling her hair. After a moment she stops. Something isn't right. She looks around the room, and her eyes stop on the TV. Her brow furrows, trying to place the familiar image on the screen: a girl towel- drying her hair by the bed. ADHARA That's me. She looks over to see the video camera, which has been turned on and pointed toward the bed. She's not sure if it's funny or creepy. CUT. INT. VALENTINE'S HOUSE. DOWNSTAIRS. AFTERNOON. Valentine mingling, all smiles and movement. WILSON At the foot of the stairs. Watches him, all stillness and intensity. VALENTINE Catches Wilson's eye for a nanosecond, does a subtle double take, then moves on. INT. VALENTINE'S HOUSE. UPSTAIRS HALLWAY. AFTERNOON. Adhara, dressed, looking great, exits the bedroom and heads for the stairwell. INT. VALENTINE'S HOUSE. DOWNSTAIRS. AFTERNOON. Adhara descends the stairs. WILSON Turning to SEE her as she comes down. ADHARA Makes her way across the room to Valentine. ADHARA Hey, I thought you weren't a buffet person. VALENTINE I'm a gracious host. WILSON Watching them, when -- GUY Excuse me? Wilson looks at him. Reluctantly. GUY Don't you work with Ian? WILSON Ian? GUY I could swear I met you with Ian at the EMI offices in London. WILSON Sorry. Wasn't me. GUY You sure? WILSON Unless I'm not who I think I am. GUY That's too bad. Ian's got a good thing going over there. WILSON Yeah? GUY Turned that place completely around. 180 degrees. WILSON No kidding. GUY What I like about Ian, he believes in a chain of command, but not a chain of respect, you understand what I'm saying? WILSON Right. Chain of respect. That's good, that. GUY Yeah. I really admire the guy. Well. Good to meet you. WILSON Yeah. Cheers, mate. The Guy leaves. Wilson sees that Adhara is now on the other side of the room, separated from Valentine. He heads for her. VALENTINE Still dealing with people desperate to be the focus of his attention. He notices: WILSON AND ADHARA Talking in a corner. She seems attentive. VALENTINE In a SERIES OF CUTS, still being the gracious host, still keeping his eyes on: WILSON AND ADHARA Who, in a SERIES OF CUTS, continue to talk. Finally, they separate, Wilson heading outside onto a deck. VALENTINE Excuses himself from a group of sycophants and goes to her. ADHARA Valentine approaches and begins talking to her, low. After a few moments of conversation, they both look toward: WILSON On the deck outside. Joining Ed, who's taken refuge out here with a plate of food. What Wilson can't belleve when he SEES it -- is that behind Valentine's house, which is on top of a high hill, is nothing but desolate scrub canyon. On the other side of the railing around the deck, which is surely less than regulation height, is a sheer drop into an abyss. WILSON (cont'd) (jumps back with only slightly affected vertigo) Flipping heck. Ed, a little more accustomed to L.A. architecture, nods in agreement. ED If you could afford a house like this you would buy a house like this. Wilson edges forward to the rail again. WILSON What are we standing on? ED Faith. They stand there looking out. Quite a view once you get used to it. Breeze. ED (cont'd) (nods to the hazy distance) You could see the sea from here if you could see it. WILSON Could you? But now Ed gives Wilson a nudge -- SEEING that Valentine inside the house is making his way out here. WILSON Why don't you go nick one of those little cooker what's its warming up the sausages cocktail and meet me in the garage. Look about for a toolbox while you're at it. Ed considers. His is not to reason why. ED Okay. Ed moves off. Valentine steps up, smile fully loaded. VALENTINE Hi. Terry Valentine. He extends his hand. Wilson shakes it. WILSON Pleasure. VALENTINE Have we met? There's something I can't quite -- WILSON EMI in London. I work with Ian. VALENTINE Ah. WILSON You must know Ian. VALENTINE I don't. WILSON Great bloke. Really turned things around there. 180 degrees. VALENTINE I suppose that's good, unless things were fine the way they were. WILSON Oh, I think a shake-up was in order. Definitely. Otherwise, people get lazy, don't they? Forgetful. Start thinking they can get away with things. Gotta shake 'em up now and again, make 'em pay attention. Wilson looks at him. Valentine looks back. Something about those eyes ... EXCITED GUY Terry, Terry ... The Excited Guy appears, tugging at Valentine. WILSON Glad I got to meet you. EXCITED GUY Ter ... Ter ... you gotta ... VALENTINE Thanks. You, too. WILSON Be seein' you. The Excited Guy ushers Valentine away. Wilson watches him go. EXCITED GUY Charles Grodin is here. CUT. INT. VALENTINE'S GARAGE. AFTERNOON. Ed, waiting. Wilson enters. WILSON Got it? Ed displays the Sterno. WILSON Toolbox? Ed points to a table, where a toolbox sits. Wilson crosses to it, begins going through the contents. WILSON Put the Sterno on the ground, near the center of the garage. Ed does. Wilson pulls a brace-and-bit from the toolbox and crosses to the rear of one of the cars. Dropping to the ground, he bores a hole in the gas tank. Ed raises his eyebrows and moves toward the door. Wilson crosses to the other car and puts a hole in that gas tank as well. Then he puts the brace-and-bit back in the toolbox and heads for the exit, Ed right behind him, giving a quick backward glance. THE GASOLINE Spills out, slowly but steadily, and slithers toward the garage door. EXT. BETWEEN VALENTINE'S HOUSE AND GARAGE. AFTERNOON. Wilson and Ed walk briskly along the path. WILSON (gives Ed parking ticket) Bring the motor around. Bang out in front, right? ED You goin' back inside? WILSON One thing I need. INT. VALENTINE'S HOUSE. DOWNSTAIRS. AFTERNOON. Valentine is talking to Gordon, his beefy bodyguard, and looking around. He stops as he sees Wilson once again stepping onto the deck. He points Wilson out to Gordon, who nods and heads for the deck. EXT. VALENTINE'S HOUSE. AFTERNOON. Ed hands the ticket to a Valet. He exchanges looks with a couple of the other Valets. INT. VALENTINE'S HOUSE. DOWNSTAIRS. AFTERNOON. Valentine is talking to Adhara, who is introducing her Girlfriend. As Valentine greets her, he glances outside where Gordon is approaching Wilson on the deck. EXT. DECK. Wilson SEES Gordon approaching. Gets ready to greet him. Removes cigarette from mouth, drops it to floor of deck, presses it out under his shoe. Limbers up his shoulders in a subtle way. Gordon coming towards him. As if to challenge Wilson's legitimacy as an invited guest. Closer. About to speak. But Wilson doesn't even give him a chance to do that. In quick succession: Wilson HEAD BUTTS Gordon, splintering his nose; KNEES him in the groin; then, using the knee for leverage, grabs Gordon by the lapels -- and heaves him over the railing! It happened so fast that if anyone else is nearby they probably didn't even notice -- or didn't readily grasp what they saw. INT. VALENTINE'S HOUSE. Valentine had turned his attention back to Adhara and her Girlfriend. When he glances back to the deck he's a little concerned not to see Gordon anywhere out there anymore -- just Wilson coming back in. WILSON Adjusting his jacket, walking back through the house. Behind him, people are rushing to the railing and looking over. A few yells of "Call an ambulance!" etc. are heard. VALENTINE Moves that way. WILSON Moving across the room towards the front door. They are heading right toward each other. WILSON AND VALENTINE Pass each other, eyes locked, almost dream-like. Wilson's eyes cold, though with the hint of a smile. Valentine throws a last look back before reaching the deck. EXT. DECK. Valentine pushes through to look over the railing. HIS POV Gordon -- a crumpled, inert heap way down the hill below. VALENTINE Turns to look toward the front door. Wilson not to be seen. Valentine pushes through the crowd toward the door. EXT. VALENTINE'S HOUSE. AFTERNOON. Valentine emerges in time to see Ed and Wilson pulling away. Wilson looks at him, impassive, through the passenger window. AVERY Is just arriving in his car. Valentine gestures at him. Suddenly we HEAR a loud, bass-heavy WHHUUUMMMPPP. Valentine (and a few others) turn toward the sound, which came from: THE GARAGE There is smoke coming from under the door. EXT. CANYON ROAD. AFTERNOON. Wilson's car practically tobogganing back down the hill. BOOM! We hear an explosion from back UP the hill. INT. WILSON'S CAR. Ed jumps -- though he's driving. The gas pedal his most pressing concern. Negotiating the dangerously winding road comes second. Exhilaration mixed with panic. WILSON Steady on. ED You steady on, man. What the fuck else did you do back there. EXT. ROAD. An especially sharp curve looms ahead. WILSON Flinches, grabs a handhold. CURVE Car makes it around on two side wheels. WILSON Gulps. WILSON Bloody hell. Ed regains control. AVERY In his car, takes a different turn. EXT. ROAD. CAR. Swerves some more curves. Should be some sense here that a similar skyline route would have been taken by Wilson's daughter on her final drive. INT. WILSON'S CAR. ED Why didn't you just kill him, you had the chance. WILSON That would be too easy. ED Too easy? WILSON He's gotta know why. ED You think a fuckin' guy like that ever will? What more do you want, man? Suddenly out of nowhere -- (a side street) -- BAM! -- another car shoots out to cut them off, sideswiping them. EXT. ROAD. Wilson's car SKIDS into a spin from the impact. THE OTHER CAR It's Avery. Chased them via a shortcut down the mountain. Now jumps out of his car, levels a shotgun at them and pumps off a BLAST. WILSON'S CAR BAM! -- the trunk pops open as the car rights itself. Avery FIRES again, but the upended trunk is a kind of shield, deflecting the shot. INT. WILSON'S CAR. Despite the fact that Ed is still in the driver's seat (and managed rather skillfully to avoid crashing) -- Wilson acts like he's not there, grabs the steering wheel, jams the car into reverse, virtually sitting on Ed as he pounds his own foot onto the gas pedal -- and with his ferocious eyes monitoring the door-mirror, steamrolls the car backwards towards Avery. EXT. ROAD. Wilson reverses his car like a speeding tank: SMASHING into Avery's car. Pushing it right off the edge of the road. AVERY Falls backwards to the ground as he gets the hell out of the way. WILSON Jumps out of his car. Gun drawn. Advancing on Avery with it pointed. AVERY'S CAR CRASHING through underbrush down the steep bank of the hillside. WILSON'S FACE SOUND of the divebombing car OVER. Another pointed echo of his daughter's fate. AVERY Their eyes meet momentarily. And before Wilson can shoot, Avery rolls over the edge of the road himself. ED Calls frantically to Wilson from their car. ED C'mon, man! C'mon! SIRENS in the distance. WILSON That consuming rage overtaken him again for a second. But the exigencies of the moment snap him out of it. WILSON Turns on a dime, goes back to the car. Before he's halfway in, Ed's driving them away again. Trunk at the back BANGING up and down, up and down. AVERY Pulls himself back up to the road. Brushing himself off. Looking the way they went. He gently tosses his shotgun down into some thick brush where maybe he'll retrieve it later. EXT. VALENTINE'S HOUSE. AFTERNOON. Avery returns, sweating, walking back up the road to where all the action is. Party guests milling outside, waiting for their cars so they can leave. A fire truck, a police car. SMOKE pouring out of Valentine's garage. Valentine finishes talking to a couple of COPS. Walks over to Avery. AVERY You should have let me do the talking. VALENTINE Why, because you're my security consultant? (insecure) This cocksucker nearly burnt my house down. AVERY (more concerned about police presence) What did you tell them. Valentine blows air, runs a hand through his hair. VALENTINE I told them a long-time employee flipped out. Had a drug problem, refused counselling. Set the garage on fire, then committed suicide. One of my "guests" tried to stop him -- but how do you stop Gordon. In this context meaning how did that rangy Englishman do it. VALENTINE I mean, Gordon must weigh a good four hundred pounds. AVERY Heavier than that now. But are there any drugs in that stomach to back up your story. VALENTINE As it happens. I didn't make that part up. AVERY And where is this guest? Don't they want to interview him. VALENTINE I don't know everyone here. He was so traumatized he split. (another notion) Maybe he was Gordon's pusher. Avery stares at Valentine. Impressed at him thinking on his feet. VALENTINE Where do you think he is, Mike. AVERY (already turning) We'll find him. VALENTINE (stops him) No. I mean. Not even your people should be involved. Right? It's too close now. AVERY You could use a few of my prime shitkickers up here. VALENTINE You think I'm staying? AVERY There's already gonna be talk about how people close to you keep falling into canyons. VALENTINE Well, can we make it one more. Nowhere the fuck near me. He's being glib, but he's being serious. His open-handed gesture inquiring of Avery: are you up to the task? AVERY I have other resources. He turns to go. EXT. VALENTINE'S HOUSE. CANYON. AFTERNOON. The huge dead bulk of Gordon hoisted back up to the deck by a paramedic team. INT. VALENTINE'S HOUSE. Valentine comes back in. In the living room beyond, Adhara stands anxiously, where she's been waiting for him. Cops visible outside on the deck, peering over the edge. VALENTINE Heading that way. Then stops. Backtracks. Something peripherally had caught his eye and he returns to it. His wall of photographs. AN EMPTY FRAME The one that had contained the picture of Jenny. CUT. INT. WILSON'S CAR. AFTERNOON. Safely down the hill. Driving away in traffic, Ed calmer now. WILSON Pulls the rolled-up photograph of his daughter out of his jacket and looks at it. CUT. INT. POOL HALL. NIGHT. Two characters stand, leaning, against a back wall. Staring ahead, without purpose. Halfheartedly watching a game of pool in progress. Just hanging out. Strange, threatening characters. One of them is young. Lean, hungry-looking. STACY is his name. A shrewd, scheming kid. But definitely a little unhinged. Weirder is his companion. UNCLE JOHN. The title isn't one of courtesy. He's an actual blood relative. Maybe 25 years older than Stacy. But intellectually younger. Physically, much bigger. The man is huge. Nevertheless, the safer of the two -- until Stacy tells him otherwise. Way they're standing next to each other suggests the ease they feel in each other's company. Tight bond. They're good buddies. AVERY Walks in. Stops to look around. Spots his two freaks. Walks toward them. DOORWAY A mysterious black man has followed Avery in. THOMPSON is his name. He hangs back and watches. AVERY Makes contact. AVERY Stacy. Stacy turns to see him. Uncle John looks vacantly. STACY (bored) Hey. AVERY Come over here. That was in the way of an order. He nods around the corner where it's less crowded. Stacy stops Uncle John from following, and goes after Avery. THOMPSON At the bar. Keeping his eye on them. AVERY Speaks softly. Alone with Stacy. AVERY How they goin', kid? STACY Not bad. AVERY How'd you like to kill someone for me? STACY Okay. Avery gives him an envelope. AVERY Same as last time -- the rest after. STACY (pockets it) Where do we go? AVERY When you find the guy, you'll know. STACY What shit is this. I just do it. I don't prepare it. AVERY I'll point you in the right direction, but you'll have to take it to the end- zone. He's a hit-and-run gunman -- I figure he's not cruising the Polo Lounge. STACY This is un-fucking professional. AVERY See, a successful man like me has limitations -- I lose touch at a street level. So I have to depend on a smart boy like you who's closer to the nitty and the gritty than I am. STACY Fuck you, Mr. whatever-your-name is. This is a lifestyle I embrace. AVERY That's why I'm letting you take care of this. I'm the one with appearances to maintain. But who gives a shit about you? Not even God. CUT. INT. WILSON'S MOTEL. NIGHT. Wilson on the bed. Watching TV (ACCESS HOLLYWOOD!). KNOCK at door. He turns down the TV. Takes a .45 from the springs under the bed. Looks carefully through the peephole in the door. Opens it. Elaine has come to visit. Lets her in. After closing the door resumes his position on the bed. Elaine looks around. ELAINE I was in the neighborhood. I come down here quite a bit. Watch the planes taking off. (re this motel) Study the architecture of early David Lynch. But she doesn't really have it in her to be ironic right now. Leans back against the door. Wilson remains silent. He's done the same to Elaine now that he did to Ed. Almost magically induced her to a confessional verge. Elaine, too, isn't sure she wants to be complicit in this revenge tragedy. But here goes: ELAINE Jenny was supposed to come to my place that night. She called me, asked if she could come over. She and Terry had been -- having some trouble. Lately. I don't know about what. On this occasion, it reached some sort of crisis point. WILSON She told you all about my details but not about his. Lovely. ELAINE She'd never called me like that before. She sounded more ... pissed off -- angry -- than upset or afraid. But she never turned up. I called the house but only got the answer machine. When they found her ... she'd been going the wrong way. Not the direction she'd have gone if she'd been coming to see me. Or coming straight to see me. Who knows. Maybe she just wanted to drive. She looks at Wilson. Shrugs. That's it. That's all. Isn't it? WILSON (measured) How did you come to have my address? Found it, did you. Among her things. ELAINE You think Terry gave me access to her things? Probably sold her clothes. WILSON (gently urging) And how did you get it? Elaine looks at him. ELAINE She gave me your address. Wilson nods. ELAINE (cont'd) (starting to realize) Not long before ... (realizing) She said if anything ever happened ... (realizes) That's how you know. That's why you're so sure. (realization) Jenny's telling you. She's sitting on the bed now. CUT. EXT. MEAN STREET. NIGHT. Stacy, putting on a jacket that says "Bomb Hanoi" comes out of the pool hall. Uncle John in tow. UNCLE JOHN How much. STACY Five thousand. UNCLE JOHN (impressed) Hey. STACY (taps pocket) I got half. UNCLE JOHN Makin' trouble for someone? STACY Yeah. UNCLE JOHN Which kind? STACY The forever kind. BEHIND THEM Thompson, the mysterious black man, watches them from the hall doorway. CUT. EXT. WILSON'S MOTEL. MORNING. Early. INT. WILSON'S ROOM. Wilson and Elaine. Getting dressed. She's in pantyhose. Fastening a bra. He's got trousers on, reaching for a shirt. WILSON How long've you lived here? Elaine sits on the bed, fastening her skirt. Her bra strap cuts across her bare back. ELAINE This town's been chewing my flesh since ... what we now refer to as "the early 70's." (thinks back) Christ, my past became nostalgia and no one even asked me. WILSON Early 70's. I was away. (tries to remember) Maidstone. Possibly Brixton. ELAINE These more highlights from the Zagat prison guide? Wilson looks at her: she's the one who goes to bed with ex- cons. WILSON You don't seem bothered. ELAINE You don't know how I've compromised my standards. WILSON Tell us about it. ELAINE It's too involved; a lifetime of non- involvement. Anywhere else I'd be an interesting little number, here I'm just SAG number forty-eight thousand and one. (quickly) SAG meaning Screen Actor's Guild. WILSON Oh, I was gonna say ... ELAINE Still, there have been rewards. It's sunny. And some of the producers who call even have credits. WILSON I can see the attraction. She glances up at him to try and see how he means that. Is he looking at her or out the window? ELAINE What did you do? To make them take the early 70's away from you. WILSON A jeweller's up the West End. We tunnelled our way under the shop floor from the public lavatory down the road. Filthy work. Trouble was, the bloody thing collapsed -- after we'd made the grab, 'n all. Would you Adam n' Eve it. ELAINE You mean if they'd nabbed you before you actually broke and entered you would only have been charged with making a mess. WILSON We were lucky to be nicked. Me and the lads went down there Sunday evening, we weren't discovered till the Monday. Good job we were still breathing. ELAINE It didn't discourage you, though. WILSON Hey? ELAINE From pursuing your chosen profession. WILSON I'll tell ya something: it made me a model prisoner. Put me right off any escape attempts. Tunnel my way to freedom after that experience? Not bloody likely. ELAINE I was inside once. I punched a cop at a demo. WILSON Did you. What was that in aid of? ELAINE Who remembers. WILSON Get seven years, did you? ELAINE Overnight. What about just now? WILSON Just now? (playful, goes over, ready for more) Overnight? ELAINE You have been away. (lies back, regards him carefully) Or is all this just new to you? WILSON It's true. Has to be said. I got off to a slow start. ELAINE I don't believe it. WILSON Honest. Didn't know where to look till I was 21. ELAINE Pushing the legal limit even then. He stands again, vaguely disappointing her. WILSON Me mate introduced me to a woman up the street. Funnily enough, she was married to a milkman. Straight up. I said, "Good is she? Been around?" He said, "Good? Listen, mush, it's not that she's been around, it's that she's been around hell of a long time." He laughs uproariously at that. But the point is: he's sort of complimenting both Elaine and himself. They've been around, had their knocks, they've lasted. Elaine remains unsmiling. Still leaning back on her elbows on the bed, in bra, skirt, hose, no shoes. She asks again the question Wilson avoided answering. ELAINE Your most recent incarceration. What was that for? And again he evades the answer she wants. WILSON It was for nine years. (buttoning his shirt) The last nine years. CUT. EXT. PACIFIC COAST HIGHWAY. MORNING. For the first time, we see the Pacific coastline. Impressive. And a sleek Italian sports car. Heading north. INT. SPORTS CAR. Valentine at the wheel. Adhara besides him. ADHARA I've lived in L.A. all my life, I've never done this drive. VALENTINE All your life. That happened while I swam the length of my pool. Adhara looks back over her shoulder. Checking the road behind. VALENTINE What's the matter? ADHARA Nothing. I guess it's hard to pass on this road. VALENTINE The freeway's faster, but lacks a certain majesty. ADHARA Just feels like the car behind has been following us the longest time. VALENTINE I sure hope so. INT. THE CAR BEHIND. A big utility vehicle. With Avery in the front passenger seat. And three bodyguards he's brought along to protect Valentine. RICK driving, TOM and LARRY in the back. TOM All I'm sayin' is travel time shouldn't be the same rate. Travel time is down time, right? I mean, we're not even in the same car as the client. (to Avery) You told me the job was at the house. When we get to it. Well, are we shadowing the client right now or are we just going the same way? The company I was with in Seattle, these distinctions were made. Now, I don't dispute him getting the full whack. (he means Rick, who's older) Seniority and all that. But if I'm getting paid the same hourly rate when we're at the house as I am in this car, that doesn't sit well with me and I feel obliged to say so. 'Cause in Seattle what you're paying now for so-called travel time was half what we got for actual clock-time with the client. So I just feel we should get more when the job actually commences. After this spineless whining weak-willed sob story, Larry just turns to him and says: LARRY ... I'd really like to eat your pussy. CUT. EXT. ELAINE'S NEIGHBORHOOD. DAY. Stacy and Uncle John sitting on a bench in a beach setting (though we still don't see the ocean). Or on some grass, maybe, in a little park -- opposite Elaine's building. People-watching. In their own unique way. Stacy commenting on fellow humanity all around them. TIME CUTS between each comment: STACY (after laughing loudly at a handicapped person) I believe in mocking the afflicted. Good for 'em. Makes 'em stronger. Uncle John picks at the grass or sand. As they kill the day. STACY (spotting a woman with a dog) Ever take a look at the women who work in pet stores? Wow. STACY (as a fat jogger passes) Good luck. STACY (watching someone else go by) Jesus, are you gay enough or what. STACY (barely out of earshot of a black woman with dyed blonde hair) Very attractive. Good idea. Now I really want to fuck you. STACY (after a long time in silence, just staring at someone) ... you can always tell the ones who'll do anal. STACY (regarding some other beachgoers) Kinda makes you wonder why more people don't put a bullet through their fuckin' skulls, doesn't it. STACY (reading a newspaper) Looks like they just airbrushed the dick out of his mouth. STACY (leaning back on his elbows) Why don't they have TV shows about people whose daily lives you'd be interested in watching. Y'know. Like SKINNY LITTLE WEAKLING. Or BIG FAT GUY. SICK OLD MAN. FAMILY OF LOSERS. Wouldn't that be good? STACY (sitting up) Two blacks and a Mexican in a car. Who's driving? UNCLE JOHN I don't know. STACY The L.A.P.D. STACY (observing a "fast-walker") Oh yeah, keep doing that. That's really healthy. STACY (his gaze following another unfortunate) Can't you do something about your ass? STACY (his head turning after someone else) Other people's lives scare the shit out of me. STACY (watching some guy rooting in a trash bin) "Homeless" people. Fuck them. Remember when they were just bums? Everyone with an axe to grind. Like to grind in their face. Pretty soon there'll be shit-in- your-pants rights groups. Stupidity activists. STACY (glad he's who he is and not who he's looking at) Wonder what it's like being a dumb guy in a dumb suit trying to cross the street. STACY (staring at another sad couple) Life sure is a minefield. STACY (clocking another female) Look at that one. She's really been used. STACY (in a contemplative mode) I'd love to be famous so I could snub ordinary people. Imagine, you're famous, you're sitting in a restaurant, some fool comes up to you, wants you to sign your name on his napkin, his wife is there, it would be something these poor saps would cherish the rest of their lives, talk about to their cretin friends. Bam! You tell 'em to FUCK OFF! God, I'd love that. Suddenly Uncle John speaks. UNCLE JOHN Is that her? I bet that's her. Stacy turns. POV Across the street, Elaine comes out of her building. (We're supposing this is an apartment building somewhat worth living in that has outdoor parking of some kind, visible from the street, or only street parking.) CUT. EXT. SOME STREET. DAY. Elaine's car on the move. Stacy and Uncle John in a car following. INT. ELAINE'S CAR. Going somewhere. Unaware of the creeps in her wake. INT. STACY/UNCLE JOHN'S CAR. An "8x10" of Elaine on their back seat. Another picture of her on a page torn from a "Player's Directory." UNCLE JOHN Maybe she doesn't even know the English guy. STACY (driving) Avery said she was tight with his daughter. UNCLE JOHN That don't mean nothin'. Stacy knows better than to argue with a moron. UNCLE JOHN She's nice lookin'. STACY So what. UNCLE JOHN I dunno. I just said she's nice lookin'. STACY And I said so what. You think she's any happier? UNCLE JOHN What d'you mean, any happier? STACY Any happier than any other asshole in life. Pause. UNCLE JOHN I dunno. I never met her. CUT. INT. SOUND STUDIO. DAY. On screen: A BEAUTIFUL MODEL -- but speaking in ELAINE'S VOICE. ELAINE At a mic. Wearing headphones. Matching her voice to the model's lip movements. Looping this commercial or whatever it is. INT. HALLWAY. Wilson. Comes to a window where he can see Elaine inside in the sound-proofed studio. CUT. INT. SOUND STUDIO. DAY. Wilson and Elaine talk while technicians change reels. ELAINE -- they want Southern, I do Southern, they want Midwest, I do Midwest, they want tall, blonde, and twenty-two, I'm shit out of luck. (pauses) One thing I can't do is English. Americans can't. Shouldn't even try. And Laurence Olivier couldn't do us. WILSON You ever been to London? ELAINE Only in the movies. WILSON I've 'ardly ever left it. ELAINE Yeah, well, you're here now -- (re Wilson's accent) -- where hurricanes hardly ever happen. WILSON I've got the hang of the driving. Found this place all right. ELAINE Stick with me, kid. Looks big when you get here but you can cover it in five minutes. Beat. ELAINE (cont'd) So, is there anybody in your family who's not a criminal? WILSON Not that I recall. ELAINE What about your grandmother? WILSON Nah -- she was married to me grandad -- he was as bent as a boomerang -- used to make knuckle-dusters down the shop. Crafty old sod. ELAINE He alive to see this? WILSON (shakes head) Dropped dead in the stalls in the Odeon, Muswell Hill. Watching Doris Day. ELAINE What'd your father do? WILSON Black market during the war. Elaine shakes her head. ELAINE I guess you're just habitual. WILSON You sound like my fucking probation officer. ELAINE Won't he be looking for you about now? WILSON Good luck to him. He couldn't find his prick if he didn't wear Y-fronts. ELAINE Minor officials bother you, don't they? WILSON Do us a favor. Can't even go have a slash without 'em saying, what're you going in there for? EXT. ELAINE'S BUILDING. DAY. Elaine and Wilson enter. Stacy not far behind. Catches outside gate before it slams shut. CUT. INT. ELAINE'S BUILDING. DAY. Wilson and Elaine turn the corner into the corridor approaching her apartment door. Pause to kiss. Walk closer. And Stacy appears at the other end of the hall. Both arms stretched out with the .38 at the end of them. STACY Hi, kids. Starts to squeeze off a shot. As Wilson pushes Elaine to the floor. As another SHOT rings out from further along the hall behind Stacy. Catching him across the cheek. Only skimming him. But knocking him down. Bullet chipping the wall. UNCLE JOHN Across from Stacy. Freezes, his own gun in hand. AT THE STAIRS Three BLACK GUYS. Including Thompson. They approach. Guns pointed at Stacy and Uncle John. WILSON Hand on his .45 now. But a fourth Black Guy coming up behind him. Wilson lowers the .45. ELAINE Flattened herself back against a wall. Petrified. STACY Sits on the floor. Holds his hurt face. Thompson walks over and picks up Stacy's gun. One of the other blacks relieves a reluctant Uncle John of his. THOMPSON (stops at Wilson) Come with us. If there's any doubt whether Wilson will -- one of the blacks gently puts the muzzle of a gun to Elaine's head. Cocks the hammer. They all go off down the stairwell. Except Stacy and Uncle John. Hit men wondering what hit them. CUT. INT. ROOM. DAY. Like Wilson's motel room, another version of a cell. A small window, high up. Bricks and debris around the floor. And Wilson and Elaine. Sitting, leaning against opposite stone walls. ELAINE Tell me you wouldn't prefer a steady income. Wilson takes a cigarette pack from a pocket. Lights himself one. Then tosses the stuff over to Elaine. WILSON I got a steady income -- I'm on the dole. ELAINE (lights up) A leech on the welfare state in addition. You don't miss a trick. WILSON I fiddle it. They got me down as an immigrant with five kids. Elaine sort of shares a laugh at that. ELAINE Yeah ... Jenny spoke fondly of her imaginary siblings. Though real ones might have been nice. This an unspoken thought between them. ELAINE (cont'd) Do you remember the last time you saw her? WILSON Last time might as well've been the first. I remember all the times, don't I. Watching her grow up -- (finding the word) in increments. ELAINE She told me you were a ghost in her life. Daddy the friendly ghost. Coming back to haunt her. WILSON Well, she twigged by the time she was eight or nine that daddy wasn't in the Royal Marines or doing scientific research in the jungles of Borneo or playing Iago in a worldwide tour of OTHELLO. ELAINE Still, you could never ... do what she wanted. Wilson shakes his head. WILSON She used to tell me she'd turn me in. (tries to laugh about it) Little kid. Ten year old. "If you're naughty, Dad, I'll tell on ya." She didn't want me sent down again, see. When I was planning some job. "I'll tell 'em, Dad, I promise I will. Here, look, I'm calling the Old Bill right now" -- picking up the telephone. I can see her, the phone in her hand. Became a sort of joke between us. Only it wasn't a joke. ELAINE She never would have turned you in, not in a million years. WILSON I know that. But as time went on ... well, it wasn't a joke, was it? She had a feeling about it -- about the last job -- how long I'd get the hook for. Said she wouldn't be there this time when I got out. DOOR opens. Thompson. Gun in hand. CUT. INT. HALLWAY. DAY. Thompson leads Wilson past a row of windows. Dockyards, harbor activity outside. Toward a door with things stencilled on it. One of them: US DEPT. OF CUSTOMS. INT. OFFICE. A man named FEATHER. Black. Half sitting on the edge of a table. Wilson is shown in. Wilson at the door. Sizes Feather up at a glance. WILSON This is where I come in. He walks confidently in. Outside, through the window, an image of a foreign sports car being hoisted in the air by a crane. There's a chair. Wilson sits in it. Feather squints a little. Seems ready to listen to whatever Wilson has to say. WILSON (cont'd) How's it going, squire, all right? Now listen -- when I was in the nick -- second time, it was -- no, third. Third stretch, yeah. There was this screw had it in for me. That geezer was top of my list. Two years after I was slung, I saw him. He was sitting on a bench in Holland Park. There was no one else about. I coulda gone up behind him and snapped his fucking neck. But I left it. Coulda nobbled him, but I didn't. 'Cos what I thought I wanted wasn't what I wanted. What I thought I was thinking about was something else. This berk on the bench wasn't worth my time. See what I mean? It didn't matter. It meant sod all in the end. Feather has been listening to this, expressionless. Now he raises a finger as if there's a point he wants clarified. FEATHER There's one thing I don't understand. (wants to make this clear) The thing I don't understand ... is every motherfucking thing you're saying. WILSON Look, mush, you're the guv'nor here, I can see that, I'm on your manor now, right. So there's no need to get out of your pram. I'm Johnny-come-lately to all this. Whatever the bollocks between you and this slag Valentine, it's got nothing to do with me. I don't wanna know. FEATHER Well, I'll tell you. I believe this Valentine screwed me out of a fair sum of money. WILSON I can well believe it. I'm sure he has done, son. He's about as straight as a dog's hind leg. FEATHER But I can't be sure. I don't even know who he is. He's too insulated. Too many layers around him. WILSON Your guess is as good as mine, mate. I'm here on another matter entirely. FEATHER (moves to window) Yeah, I guess you are. WILSON Good job your lot showed up when they did or it would've been me for the high jump. FEATHER That dude who works for Valentine. He's the one sent those guys after you. You know that. WILSON Yeah. Shouldn't wonder. Must've done. FEATHER So what's your beef, pal? WILSON Nothing financial. Strictly personal. (moves to window) I can see how all this import-export malarkey might give rise to confusion where I'm concerned. A foreigner, showing up unexpectedly, like. FEATHER (looks at him) It was you. Downtown. WILSON (all innocent) Eh? FEATHER Because that wasn't anything to do with me. And suspicion has been cast in my direction. (pondering) Didn't make any sense. Choosing those shitheads over me, cutting me out of the deal, then screwing them over too. WILSON No, I can reassure you on that point. Valentine was just as surprised by that turn of events as you. FEATHER He'd already grabbed more than his allotted cut. Didn't think he'd be so bold as to take all of it. WILSON All of what? FEATHER Of the deal, man. WILSON Oh, yeah, right. The deal. FEATHER But if you're mad at him too and he's mad at you ... that must make us pals. WILSON As you prefer, squire. As you prefer. FEATHER (weary of his life) In which case I'll just do what I usually do. WILSON And that is? FEATHER What am I doing? He's standing at the window, staring out. As if Wilson isn't even in the room any more. A ship being loaded out there. Inspectors with clipboards. Trucks like the ones we saw at that warehouse downtown. WILSON Looking the other way. (turns to go) Gotcha. CUT. EXT. INN. DAY. Along the way up the coast. Through a window we SEE Valentine and Adhara enjoying a pleasant lunch. The bodyguards hang out by the cars outside with fast food bags and drinks. TOM (to Rick) I mean, how much are you getting? Just as a point of interest. See, I didn't realize there was a sliding scale. AVERY At a payphone. His idiots in the background. Dials a number. INT. POOL HALL. DAY. Stacy. Nasty bruise on his cheek. Takes a cue off the rack. Chalks up. STACY Straight rotation, no shit, call your shot. UNCLE JOHN Lemme break. They're playing against a couple of other creeps. CREEP You broke last time. STACY Let him break - he likes to break. CREEP Fuck you. STACY I wouldn't talk. CREEP Huh? STACY I saw your mother on the Strip last night. She went up to three guys, said she'd like 'em to stick one in each, know what I mean? Creep rushes Stacy. But doesn't get past Uncle John. Who drops him with one punch. Flooring him between two pool tables. Stacy then goes over. Supports himself with a hand on each table, swings his boot into the thug's face. BARTENDER (calls) Stacy. Stacy looks. Bartender holds up phone. Stacy goes over. BARTENDER (cont'd) I can do without you inhibiting my business. Stacy just scowls, takes the phone. STACY (into phone) Yeah. UNCLE JOHN Breaks. STACY Hangs up. Goes back to Uncle John. Picks up his cue again. STACY (cont'd) We've been fired. CUT. EXT. VALENTINE'S HOUSE. L.A. DAY Someone we've never seen before and will never see again stands in Valentine's driveway. His name is FIELDING. A car comes up. Another guy, GRAMMS, sits in it. He waits. Eventually Fielding walks over. GRAMMS (re: the burnt garage) Valentine had himself a party, I hear. FIELDING (by rote) My client has already given a statement regarding yesterday's events. GRAMMS A statement? I wouldn't mind getting a statement. You see, my client -- the United States Government -- would love to get a statement about a few of the deals going down with your client. FIELDING Deals? My client is involved in any number of deals at any given moment. You'd have to be more specific. GRAMMS Your client have a deal in Long Beach? How about downtown? There's some folks there -- oh, wait, they're all dead. Any of this ring a bell? FIELDING My client is an entrepreneur. I am his lawyer, not his business manager. GRAMMS So you wouldn't have any idea how your client continues to make so much fucking money. FIELDING He's always been very forward-thinking. He invested wisely. GRAMMS Where is he now? FIELDING He had urgent business in the north. Gramms just laughs. Just laughs and laughs. And we leave him laughing. And Fielding not. CUT. INT. RESTAURANT. KITCHEN. DAY. Ed takes off an apron, heads out the door. It's clear that he's not the head chef here -- because the HEAD CHEF, an Anglo, turns, wondering where he's going. Over this we hear: WILSON (over) Where's Big Sur? ELAINE (over) Up the coast. WILSON (over) How far? ELAINE (over) I don't know -- few hours, I guess. WILSON (over) Fancy it? ELAINE (over) I could use a vacation. Of course, I keep forgetting, for you this is a vacation. WILSON (over) Never thought of that. (grunt of laughter) Busman's holiday. ELAINE (over) What's in Big Sur? WILSON (over) That's where Valentine's scarpered. ELAINE (over) How do you know? WILSON (over) Bloke told me. Beat. WILSON (cont'd) (over) You shouldn't go back to your place. Not till ... this is resolved. Another beat. ELAINE (over) I hear it's a nice drive. CUT. EXT. RESTAURANT. BACK ALLEY. Ed gets into Wilson's car. Elaine in there too. CUT. EXT. COAST HIGHWAY. DAY. Wilson's rented car. Heading for Big Sur. INT. CAR. Ed drives. Wilson beside him. Elaine in the back. ED What d'you say, Elaine? ELAINE Not much -- you? ED Same. ELAINE Uh-huh. ED Last time I saw you, weren't you up for some equity-waiver thing? ELAINE Probably. ED I was gonna be in that Michael Mann movie, you know -- with Pacino and DeNiro. Got three callbacks. ELAINE Really. ED Didn't get it. ELAINE Well, those are the breaks. ED Not no more, they ain't. I quit that acting shit, man. ELAINE You just cooking then? ED Hell, no. I started writing. Elaine and Wilson exchange glances. EXT. HIGHWAY. DAY. Onwards. CUT. INT. BAR. DAY. Stacy and Uncle John sit and drink. Uncle John lamenting their monetary loss. Stacy thinking to himself. UNCLE JOHN We coulda used the other two-and-a-half grand. STACY There's more than a measly few grand in this. UNCLE JOHN There is? STACY Something's on. UNCLE JOHN What? STACY I happen to know more about Mr. Whatever- his-name-is than he thinks I know about him and his operation. UNCLE JOHN You do? STACY You bet. UNCLE JOHN Like what. STACY Like he'd never hire me for real. Not week-to-week. I don't have the credentials. He thinks I'm just a sociopath, someone he can turn to when he needs "plausible denial." UNCLE JOHN Well, we blew it, didn't we? He ain't wrong. STACY (savage mimicry) "He ain't wrong." Listen, I know this asshole who did just go to work for him. Full-time. And this dickhead's parents just told me he took a road trip up the coast. That's the type of individual gets hired, someone who'll shoot his mouth off to his family while on the job. UNCLE JOHN I don't get it. STACY I don't know who that English guy is. Some kind of -- (finding the word) -- courier or something. Maybe a seller. Maybe a buyer. But Mr. Avery wanted him, those jigs wanted him -- and I betcha there's a briefcase somewhere. UNCLE JOHN What's in it? STACY (shrugs) Drugs? Cash? Both if we're lucky. UNCLE JOHN How we gonna get that lucky? STACY While they're all fucking each other over ... couple of parties like us could move right in. CUT. EXT. HIGHWAY. DAY. Wilson's car. Closer to Big Sur. Scenery more magnificent. INT. WILSON'S CAR. Ed still driving. Wilson next to him. Opening a new cigarette pack. ED I've been wondering something. WILSON Again? ED Do you have any friends, man? WILSON Yeah, I suppose. Call 'em that, yeah. Down the boozer Saturday night. Meet some of the lads. ELAINE (a little more pointed) Friends and colleagues. WILSON You can't count on very many people, that's the trouble. Number of times a decent job's been cocked up ... ELAINE Poor baby. Little back-seat sarcasm there. Wilson looks kind of bitter. WILSON Useless gits. I was gonna do the Post Office once. ED What post office? WILSON The lot. The whole British bloody Post Office. I had a brilliant plan -- all worked out -- work of genius, it was. Could I get anybody interested? No -- they're too busy pinching orange squash from the milkman. Lazy sods. Jumble sale on in Watford, they'll be up at the crack of dawn. ELAINE You're just on a higher plane, Wilson. WILSON Too bleeding true, 'n' it. Flicks some cigarette pack paper out the window. EXT. HIGHWAY. The car speeds along. CUT. EXT. HOUSE. BIG SUR. DAY. An impressive clifftop dwelling. Isolated on a winding road. On a beautiful promontory overlooking the sea. Valentine RINGS the DOORBELL (actually CHIME). It's opened by his ex- wife. SUSAN. Very well-maintained. 50-something. Surprised to see him. But not overjoyed. VALENTINE Hello there. SUSAN What are you doing here? VALENTINE Exercising my visitation rights. SUSAN Since when? VALENTINE I miss my kids. SUSAN They're at college. Or doesn't your accountant even tell you where the money goes anymore. Valentine goes inside. INT. HOUSE. He looks around. She doesn't shut the door. VALENTINE You've made it ... brighter. SUSAN I don't want you here, Terry. VALENTINE Sure you do. He turns to look at her. Smiles. Somehow it doesn't work on her. One of the reasons she divorced him. Just one. She sighs. Resigned to his presence. Starts to close the door. VALENTINE (cont'd) Don't shut the door -- I have people with me. Now she gets it. SUSAN What kind of trouble are you in? VALENTINE No trouble. Susan SEES Adhara get out of the sporty car parked in the drive and stand against it in a posture of younger chick defiance. SUSAN Surely you can think of somewhere else to take one of your chippies for a quick getaway. VALENTINE Susan. He actually puts his hands on her arms. To hold her firm while he locks onto her eyes. And doesn't smile. VALENTINE (cont'd) I just need ... somewhere remote. Away from L.A. For a couple of days. (now the kicker) I pay for this house too. Susan reads him. He's not claiming ownership rights. He's telling her this house, because of the connection to him, is a target of some kind. SUSAN What have you done? The Land Cruiser pulls up outside. Avery emerges, comes over, comes in. Susan notes the bodyguards out there as well. AVERY (to Valentine) We weren't followed. (to Susan) Susan. Valentine lets Susan go. Knowing she's now speechless at what's turned into, as far as she's concerned, a home invasion. VALENTINE (moving, looking around) Where's ... what's-his-name -- Fred -- SUSAN -- You know his name is Frank. VALENTINE Is he here? SUSAN You know I don't live with him. VALENTINE Go to him. Go to his studio, or writers workshop or artists colony, Esselin retreat, nudist camp -- SUSAN Are you finished? VALENTINE In a couple of days this whole thing -- SUSAN Who's looking for you? VALENTINE Go now. Encouraging, if not in fact ushering, her towards a bedroom. SUSAN It's been five minutes and I'm packing to leave again. I can't believe this. VALENTINE That's right, your life is Shit, and I'm to blame. It's that simple. That does it. Susan turns on him. SUSAN It is that simple. I blame you for everything. Losing inhibitions and chicks without bras didn't have to lead to hardcore porno in every American household: that was you. The first on your block to turn on a camera in a hot tub and peddle it to your friends. A little recreational pot didn't inevitably have to lead to the eventual devastation of the inner cities: you made that happen, the first time you bought a bigger stash than you yourself meant to smoke. It happened when you made your first buck hyping some so-called "event" that was over before it began or marketed some "product" whose only value was its instant disposability. You were the first person to see there was a lot of money to be made selling Navajo rugs -- you've even stolen from the fucking Indians! You looked at Charlie Manson when all he had to show for himself was a guitar instead of a knife and saw another merry prankster, the freedom of the frontier. Your pal here -- (Avery) -- He saw gated communities. Rich people coming to him with their money, terrified of what people like you had left of this society. Why invest in a marriage and children when you had him? He's your oracle. But you couldn't even trust in friendship, could you? Still he's the dog you call for its dinner. Because everything that might once have been fun or nice or sweet you had to turn mean and cold and sour. That was your "genius," Terry. Haven't you read your own press? CUT. EXT. MOTEL. EVENING. Wilson and his friends pull in. Get out of the car. Stretch. ELAINE (finding herself at another shithole) What is it, you just like the reassuring smell of disinfectant? Wilson just heads for the motel office. Elaine and Ed follow a little distance behind. ED Hey, Elaine. You even know what he's saying half the time? ELAINE No, but I know what he means. CUT. EXT. DECK. BIG SUR HOUSE. NIGHT. Adhara sways in a hammock. Staring at Valentine. Wanting to know what the hell is going on. Valentine stands smoking at the rail, looking out over the dark sea. Ignoring Adhara. Avery sits at a table. Bodyguards visible inside the house. VALENTINE (finally, to Avery) Do any of these guys cook? CUT. EXT. MOTEL PORCH. EVENING. Wilson at the car. Elaine and Ed watching. Ed has gathered that something has developed between Wilson and Elaine. The way she's looking at Wilson. ED ... Reminds me of Jennifer. ELAINE (barely perceptible nod) Hard to miss. Ed sighs. Awkward. ED I thought maybe you just came for the ride. ELAINE I'd rather be with him than without him. I don't want to be found dead in L.A. Wilson walks back to them. Looking at Ed as if to say, ready to go? At her as if to say ... maybe farewell. EXT. VALENTINE HOUSE. NIGHT. Tableau. Evening has descended. Surfaces glisten from a light drizzling rain. INT. VALENTINE HOUSE, BEDROOM. NIGHT. Adhara, dressing. Behind her, outside, way out of focus, a figure slithers by. INT. VALENTINE HOUSE, LIVING ROOM. NIGHT. Valentine and Avery sit watching TV (CELEBRITY REPORT!). Tom is behind them in the kitchen, flipping through Marie Claire magazine. VALENTINE Turns to look through the sliding glass doors. HIS POV Beyond the deck stands Larry, his back to us, facing the ocean. EXT. VALENTINE HOUSE. BACK YARD. NIGHT. Looking toward the house, Larry in the foreground, facing us. He takes a bite from a cinnamon granola bar, then looks at it unhappily as he chews. LARRY Fuck. EXT. VALENTINE HOUSE, ANOTHER ANGLE. NIGHT. Looking at the house from the top of the hill. Rick stands in the driveway next to Valentine's car, smoking a cigarette. REVERSE ANGLE Wilson and Ed watching him. Wilson nods his head to the left, and Ed moves in that direction. Wilson moves quietly off to the right. INT. VALENTINE HOUSE. LIVING ROOM. NIGHT. Valentine and Avery, still watching TV. VALENTINE (re: the channel) Check the news. Avery starts looking around. AVERY Where's the remote? Suddenly, we hear a CAR ALARM. Tom looks up from his magazine. Valentine looks to Avery, who shakes his head: It's nothing. EXT. BIG SUR HOUSE. DRIVEWAY. NIGHT. Rick turns and looks up the driveway toward the sound. He puts his cigarette out. EXT. BIG SUR HOUSE. BACK YARD. NIGHT. Larry has turned toward the sound as well. Through a partially obscured side entrance, he sees Rick walking up the driveway. EXT. BIG SUR HOUSE. DRIVEWAY. NIGHT. Rick walks away from us, toward the vehicle (the Land Cruiser they drove here) parked up the driveway. We lose sight of him as he crosses to the driver's side. The alarm goes off. We hold for several beats. He doesn't emerge. INT. BIG SUR HOUSE. LIVING ROOM. NIGHT. Valentine and Avery are still looking for the remote. Avery stops, his attention drawn to the fact that he hasn't heard anything from Larry. He crosses to the window. HIS POV The driveway, car at the top partially visible. No sign of Rick. AVERY His brow furrows. VALENTINE Notices this, looks out toward the backyard. HIS POV Same as before, except Larry isn't there. VALENTINE Moves to the sliding glass door to get a better look at the deck and back yard. Still no Larry. VALENTINE Where's Larry? AVERY Leaves the window and moves to Valentine. Tom has joined them. After a beat: AVERY Turn all the lights out. I'll get Adhara. Tom begins looking for the light switches. VALENTINE What's happening? Avery is already heading for the bedroom. AVERY Stay away from the windows. EXT. BIG SUR HOUSE. BACK YARD. NIGHT. Tableau. Avery exits the kitchen and takes the surrounding porch to the bedroom. Are we seeing this from someone's POV? INT. BIG SUR HOUSE. BEDROOM. NIGHT. Adhara, finished dressing, looking at herself in the mirror. The lights behind her go off. She turns to see Avery coming toward her to turn off the lights by the mirror. ADHARA Uh, you've heard of knocking? AVERY I need you to come with me. ADHARA Why, what -- He takes her by the arm. Firmly, but not roughly. AVERY Please. She sees in his expression that something is up. ADHARA Okay. INT. BIG SUR HOUSE. LIVING ROOM. NIGHT. Tom and Valentine have finally found the light switches, and the room is dark. Valentine moves slowly to the window, takes a tentative peek. HIS POV The driveway. Hard to see. Is there something moving out by the shed? AVERY (off) I thought I said stay away from the window. AVERY Entering the kitchen with Adhara in tow. He brings her around behind the counter. AVERY Everybody in the kitchen. Valentine and Tom move to join Avery and Adhara. AVERY Behind the counter. Everyone moves behind the large counter in the center of the kitchen and crouches down. They have a wall behind them and all the windows in front of them. ADHARA (scared) What's going on? Avery and Tom have drawn their guns. VALENTINE We think someone is here. ADHARA We think? VALENTINE We can't find ... (what are their names?) ... two of our guys. TOM (fucking typical) Larry and Rick. ADHARA Did somebody call the cops? Tom snorts. Avery looks at Valentine: Haven't you told this girl anything? VALENTINE No. ADHARA Why not? VALENTINE Because -- AVERY Because I'm taking care of it. ADHARA You guys are fucking nuts, I'm calling -- She starts to stand. Valentine pulls her down. ADHARA Hey. TOM Mr. Avery. Avery looks to Tom, who nods toward the back porch. THEIR POV A silhouetted figure is tentatively making its way along the porch, trying not to be seen. We don't get a very clear glimpse. AVERY Draws his gun and takes aim. THE FIGURE Careful not to become fully visible, but growing more courageous with each step. AVERY Locked on him, waiting. VALENTINE Puts Adhara's hand to her ears. THE FIGURE We see a little more now than we have before. AVERY He sees enough. Squeezes off a series of SHOTS, the muzzle flash strobing the kitchen area like a flashbulb, Adhara and Valentine flinching. THE FIGURE Hit. Spinning and collapsing to the ground. AVERY Lowers his gun. Turns to Tom. AVERY Watch my back. Avery moves out from behind the counter and heads for the body. EXT. BIG SUR HOUSE. BACK PORCH. NIGHT. Avery makes his way to the figure, which is on its stomach and writhing slightly. AVERY Careful. Takes the gun and turns the body over. STACY Stares up at him, choking on his last few breaths. AVERY Puzzled. What the hell is this guy doing here? He starts feeling around Stacy's jacket for anything useful, but is interrupted when his hand EXPLODES, accompanied by the sound of a gunshot. He screams in pain. INT. BIG SUR HOUSE. KITCHEN. NIGHT. Valentine and Adhara drop to the floor. Tom, gun raised and pointing, tries to see who shot Avery. EXT. BIG SUR HOUSE. BACK PORCH. NIGHT. Avery is turning toward his assailant, but not fast enough. A shot rings out and part of his neck disappears in a blossom of blood. Stunned, he falls on his side, gasping. AVERY'S POV Uncle John. Close by, huddled by the lip of the cliff. He starts to move cautiously toward Avery and Stacy. INT. BIG SUR HOUSE. KITCHEN. NIGHT. Tom squints, trying to see. TOM Fuck. VALENTINE What? TOM Avery's down. TOM'S POV A piece of Uncle John's silhouette appears. TOM Fires at it. Didn't hit anything. TOM Fuck this. Tom jumps up and runs for the living room, firing his gun in front of him toward where he last saw Uncle John's silhouette. LIVING AREA Tom runs through and reaches the sliding doors to the back porch. A portion of the frame SPLINTERS from a gun shot as he gains access to the other side of the back porch. EXT. BIG SUR HOUSE. BACK PORCH. NIGHT. Tom is through the sliding doors and trying to make his way around to the driveway. UNCLE JOHN Crouched behind the opposite end of the porch, sticks his head up. HIS POV Tom crossing to the steps, slips on the damp wood, tries to right himself. UNCLE JOHN Squeezes off two shots. TOM Is shot in the ankle as he is about to reach the steps. He yelps in pain, tries to raise his gun. UNCLE JOHN Crouched down. A shot flies over his head. TOM Stops shooting. Tries dragging his shattered ankle to the steps. UNCLE JOHN Looks over the edge of the porch. HIS POV Tom turning toward the steps. UNCLE JOHN Fires at him. TOM Screams again as his elbow of his gun hand disintegrates. He slips on the first step and tumbles down, the gun bouncing beside him. UNCLE JOHN Sees this. Stands up to cross the back porch. Takes a step forward but is stopped by a bullet in the chest (about the only clean shot anybody makes). He looks down at himself. UNCLE JOHN Shit. He looks up to SEE: AVERY Near death. Gun in his good hand. He squeezes the trigger again. UNCLE JOHN A small black hole appears in his cheek. He blinks, begins to raise his hand to his face, and collapses. AVERY Exhales and rolls over. TOM Still trying to get to his feet. He gives up and just lies there, panting. A HAND Reaches for the gun beside Tom. Tilt up with it to reveal: ED He puts the gun in his jacket and slides away. INT. BIG SUR HOUSE. KITCHEN. NIGHT. Valentine and Adhara are still stuck behind the counter. Valentine sees the shadowy shape of Ed slipping behind the back porch. VALENTINE Decides to make a run for it, following Tom's route, away from Ed. ADHARA Where are you going? LIVING ROOM Valentine runs to the sliding door, smack into: WILSON Standing there. Wet. Mad. He grabs Valentine by the shirt and pushes him back into the room. VALENTINE Bounces off the couch and onto the floor. WILSON Comes toward him. VALENTINE Grabs a lamp off an end table and hurls it at Wilson. It careens off Wilson's arm and shatters. WILSON Is almost on him now. VALENTINE Tries to scramble away. Throwing anything he can get his hands on at. WILSON Who keeps coming. He grabs Valentine, pulls him up, then throws him into the television. VALENTINE Crashes into the TV face first and bounces to the floor. WILSON Goes to him, grabs him by the neck with one hand and pulls out his gun with the other. He seems about to speak when suddenly he screams instead. WILSON AAAAGGGGHHHH! ADHARA Has just stuck a kitchen knife into Wilson's back. WILSON Turns instinctively and whips the pistol around, smashing Adhara in the mouth. ADHARA Hits the ground. She won't be retaliating. WILSON In agony, spinning, trying to reach the knife in his back, but IT'S JUST BEYOND HIS REACH. VALENTINE Scrambles through the sliding glass door. EXT. BIG SUR HOUSE. BACK PORCH. NIGHT. Valentine stumbles out. Notices Avery slumped on the deck, mortally wounded. Goes to him -- as if concerned -- but actually just to take the gun. Then runs off the porch toward the STEPS that lead down to the sea. WILSON Comes out after him, the knife still in his back. So intent on catching Valentine he fails at first to notice Avery lying in the shadows. AVERY Has just barely managed to reach Stacy's pistol. Raises it weakly. Points it at Wilson. WILSON Seems to feel it. Turns. Locks eyes with Avery. Avery could already have shot him. But there's a momentary sense of recognition: both of them just foot soldiers for fat cats -- and Avery's is not worth saving. AVERY Lowers the gun. Nods in the direction Valentine went. AVERY ... that way ... Wilson moves on. Avery just lies there, presumably to die. EXT. BIG SUR HOUSE. STEPS. NIGHT. Valentine hurries down the rickety steps. Trying not to slip in the darkness, though there are tiny Malibu lights illuminating the steep and winding wooden framework. EXT. BEACH. NIGHT. A rocky cove. Valentine looks back up the way he came, HEARING the FOOTSTEPS coming down after him. Backs away a few paces on the slippery rocks. Falls. Lands on the crumpled, dead body of LARRY, the bodyguard, who was thrown off the cliff. Valentine recoils. When Wilson appears, Valentine FIRES at him. A wild shot that only makes Wilson duck momentarily. Valentine scrambles to his feet, runs on. WILSON Jumps down from the steps. Stops for a moment and leans his back against the railing. Bends at the knees slightly. THE KNIFE The handle is forced upward just enough to be reachable now. WILSON Grimacing, pulls the knife out and discards it. FURTHER DOWN THE BEACH Valentine runs. Or tries to. It's dark and the ground is treacherous. The beach runs out pretty soon. Now just rocks. Maybe he thought he could get around the rocks on the point at the other end. But he can't see very far ahead. And the tide is in, water making any escape extremely difficult. He tries to scramble over some rocks. They're wet, slippery. He falls, cries out as he literally breaks an ankle. WILSON A dark figure. Coming into focus. Walking inexorably this way. VALENTINE Painfully rights himself. A small bone protrudes from his broken ankle. He FIRES at Wilson, gun in one hand, other hand gripping his wrist to try and steady it. Doing his best to aim. But the SHOTS miss their mark. WILSON Steadily coming. VALENTINE Out of bullets now. Gun CLICKING crazily on empty. He simply drops it. WILSON Now stands before him. THE TWO OF THEM Both breathing hard. WILSON Tell me. This is not what Valentine expected. VALENTINE What. WILSON Tell me. VALENTINE Tell you ... WILSON About Jenny. (closer) Tell me about Jenny. (closer) About the deal. Whatever fucking deal you had to kill my daughter for when she found out about it, you bastard. Wilson drops to the ground too, in a passionate fury, starts strangling Valentine. WILSON Tell me. Tell me about it, you fucking bastard. Easing up just enough for Valentine to sputter out a response. VALENTINE She could've had the deal! I would've handed it to her if she wanted. I would have given her everything. WILSON Why then. Why did you do it! They're locked in a kind of embrace. Sprayed by the waves crashing into the rocks. Sweating and gasping and exhausted and hurt and furious. VALENTINE She didn't want to share it, she wanted to stop it. To stop me. She said she'd turn me in. WILSON Shock of recognition on his face. At those words. VALENTINE She said, "You go ahead with this, I'll turn you in, Terry." Wilson sits back. Panting. Totally spent. The two of them. Both on the ground now. Whatever energy they had left drained -- Valentine from his confession, Wilson from hearing it. Valentine shaking, sobbing. Still not realizing the pathetic folly of his actions. VALENTINE She was serious. She would have done it. She had the phone in her hand. She was going to do it. WILSON Knows that the girl he loved ... loved Valentine, too. Having heard the truth, the last vestige of revenge has vanished. He gets up and walks away. Leaving the quivering shell of Valentine behind. CUT. INT. BIG SUR HOUSE. LIVING ROOM. NIGHT. Adhara wakes up. Hand to her smashed cheek and mouth. But it's not her hand. It's Valentine's. She sort of shuffles away from him along the floor. Sits against a wall holding her face. Valentine sits back against an opposite wall. They stare at each other. CUT. INT. PLANE. DAY. Wilson, lost in thought. Accepts a drink from a FLIGHT ATTENDANT. We can see it pains him to reach for it. WILSON Ta. After setting the glass down, his other hand goes to the shoulder where his stab wound was no doubt only temporarily dealt with. FLASH CUTS: WILSON. At the roadside hotel, grimacing. ELAINE. Cleaning his wound. Wilson rubs his shoulder. The AMERICAN LADY in the seat beside him heard the way he said thanks to the Flight Attendant. LADY You're English. A small beat (which he takes each time he responds). WILSON Yeah, that's right. LADY I can never decide what I like better. Leaving home, or coming back. WILSON Takes this in. FLASH CUTS: WILSON. Shaving in the mirror at his L.A. motel. He stops. WILSON. In the car leaving Valentine's house. Fingering the picture of Jenny. WILSON I would have preferred staying home, me. LADY You're a reluctant traveller, then. Wilson nods. FLASH CUTS: WILSON. In the car with Elaine and Ed, driving back from Big Sur. Everyone in their own world. WILSON. At Ed's house. Saying goodbye. WILSON AND ED. Shake hands. ED. Watching him get into Elaine's car. WILSON Got called out to L.A., unexpected like, to do a job of work. FLASH CUTS: WILSON. At the airport, staring at Elaine. ELAINE. Staring back. WILSON AND ELAINE. She embraces him. ELAINE. She watches him leave. WILSON. Disappearing into the terminal. LADY You'll be looking forward to getting back, then. WILSON Yeah. Another little matter needs attending to soon as I return. LADY No rest for the wicked. Wilson nods, exhales. FLASH CUT: WILSON. In the cab on the way to Ed's, at the beginning of the film. Watching the lights go by. WILSON Been away a lot. LADY Where else? Longer beat. He actually turns to look at her now. Takes her in, then looks forward again. WILSON Out on a oil rig. In the North Sea. Nine years. LADY Nine years? (laughs) Is that legal? WILSON Well, time off for good behavior, you know. I shouldn't have even been there -- it was these other blokes who shoulda gone in my place. I got lumbered with the job they were responsible for. I don't mind pulling me own cart, but not someone else's, know what I mean. LADY But you stuck it out, anyway, all that time. WILSON I had to, didn't I. Nothing else for it. Then just when I'd finished my nine years -- my contract -- wallop, I had to bugger off to the States. LADY (reacting slightly to his "colorful" language) Sounds like you need a rest. WILSON Could do, yeah. Another beat. WILSON But first I gotta give these lads a talking to, these geezers what sent me up the river, in a manner of speaking. LADY The ones whose burden you took upon your own shoulders. WILSON Yeah. And he turns away, to the window. Looks at the blue sky. Sips his drink. Then, hard: WILSON Them next. CUT TO BLACK. THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Limitless.txt b/unformated_scripts/Script_Limitless.txt new file mode 100644 index 0000000000000000000000000000000000000000..3257d360152eaf9e771283fbf4c8612585e0d256 --- /dev/null +++ b/unformated_scripts/Script_Limitless.txt @@ -0,0 +1 @@ + LIMITLESS Written by Leslie Dixon Based on the novel by Alan Glynn December 21, 2009 INT. A BLACK SCREEN EDDIE (V.0.) They found me. INT. CLOSE 0N - A HIGH-TECH RESIDENTIAL STEEL DOOR being POUNDED in. WHAM! WHAM! Whoever's trying to get in is serious. The door shudders but doesn't give. It's state-of- the-art residential protection. EDDIE (V.0.) I might have five minutes. We hear the WHRRRRR of POWER TOOLS going to work on his door. These people are determined. Professional. And prepared. EDDIE (V.0.) ( (CONT'D) I'll never know how they got past security in a half-billion dollar building. EXT. THE CELESTIAL - LOOKING INTO THE LOBBY - NIGHT The sleek lobby is deserted. We SEE, through the GLASS, lying on the floor, the barest glimpse of the FEET of what are presumably TWO DEAD SECURITY GUARDS -- although their bodies are largely hidden behind their massive curly walnut desk. All the security monitors are BLACK -- the feeds clearly cut. EDDIE (V.O.) They've become sophisticated. Before they couldn't have done this. But now...? The CAMERA RISES, breathlessly, in a blur, up all 80 floors of this stunning new building, coming to rest on... EDDIE MORGAN, 30's, lean and stylish, standing on the exterior ledge of his multimillion-dollar terrace. New York City looms around him, beneath him. His hands are outstretched. Balancing. He is calm, but fatalistic. He's clearly going to jump. EDDIE (V.O.) (CONT'D) I will never let them touch me. His attention is CAUGHT by the SOUNDS of a commotion in the next apartment. He looks over, at- 2. THE ADJOINING TERRACE Through the gauzy curtains of the window, TWO MEN force A MIDDLE-AGED MAN towards the windows... there is arguing. EDDIE (V.0.) My neighbor must've heard the noise. Opened his door to complain. Two MUFFLED SHOTS - the neighbor drops. The door is pounded again. It doesn't give. EDDIE (V.0.) (CONT'D) He bought me half a minute. I wish he hadn't. Last thoughts are self- pitying and mine are no exception: the waste. The waste of it all. I mean, how many of us ever know what it is to become... the perfect version of ourselves. I'd come that close. To having an impact on the world. The pounding intensifies. EDDIE (V.O.) (CONT'D) And now, the only thing I'd have an impact on... He looks over the railing... EDDIE (V.O.) (CONT'D) ... was the sidewalk. His smile is bitter, as we CUT TO: EXT. NEW YORK CITY STREET - DAY EDDIE (V.0.) Not so long ago, this was me. Eddie is walking down the street, messily eating a street falafel. His hair is longer, his clothes schlumpier, his face rounder --he's out of shape. A belly bulges against his belt. He wears jeans and that worn-out corduroy "writer's" sport coat --the one that your girlfriend fights to give to the Salvation Army. (CONTINUED) 3. CONTINUED: EDDIE (V.0.) (CONT'D) I was a writer. Two years after my copywriting job at Dexter & Kerr came to a non-mutual end, I had, in an extraordinary burst of desperate energy, bullshitted my way into my first book contract. This was it: INT. EDDIE'S RATTY RENT-CONTROLLED APARTMENT ON AVENUE A- DAY Eddie, slumped in his desk chair, is playing COMPUTER SCRABBLE. EDDIE (V.0.) Now, at last, I was ready to write. QUICK CUTS: --Eddie sprawled on the couch, eating takeout and watching TV, the sink in the foreground full of dishes. -- Eddie shooting baskets into a toy hoop. EDDIE (V.0.) (CONT'D) Gearing up, that's all. --Eddie sleeping in his bed, sacked out, the clock beside him clicking to 11:59 a.m. EDDIE (V.0.) (CONT'D) Getting psyched. --Eddie sitting on the john, playing a game on his childhood Game Boy. EDDIE (V.O.) (CONT'D) A few days did pass this way... maybe a few months... --Eddie at his desk. He glances at his LAND LINE. The message light is unblinkingly green. No one's called. EDDIE (V.O.) (CONT'D) Friends fled. His POV PANS to the FOOT HIGH STACK OF UNPAID bills next to the answering machine. EDDIE (CONT'D) And banks became attentive. But just in case you think nothing ever happened to me.... 4. INT. A MIDTOWN COFFEE SHOP - DAY A FEMALE HAND slides a KEY across the counter to EDDIE. Eddie stares in disbelief at his (now ex) girlfriend, LINDY, an attractive, real-looking girl, late 20's. She's dressed in a professional suit. She looks very sad. LINDY I don't think I can keep this. Eddie is broadsided. Hurt. EDDIE Just like that. She shoots him a look of almost intolerable sympathy. EDDIE (CONT'D) I was kind of under the impression you cared a little more than just-- LINDY If I didn't care, maybe I'd be able to stand to watch you do this. EDDIE Look, I'm going to give 90 pages to Mark on Friday. If you could just wait, see what he says- LINDY Stop. You think I don't know what you do all day? I've loved you. I know the good stuff, and I know the shit. EDDIE And it's all shit to you now? LINDY You're the one living it. (SYMPATHETICALLY) Don't think I don't know it's worse for you. EDDIE Then you know I could use a friend. He tries to push the key back. He cares about her, but he's also "working" her sympathy, which she instantly smells. LINDY Don't you dare try that shit on me! (CONTINUED) 5. CONTINUED: She pierces Eddie with a look. Doesn't take the key. EDDIE Well -- what'll work, then? They both almost laugh. They know each other so well. But she looks away, steeling herself. LINDY I see where it's going. You'll lose your apartment. And then what? You'll move in with me-- EDDIE Not with that enthusiastic invite-- LINDY --And then it'll go on this way, and I'll rag on you, and finally boot you out -- and then what? I mean, have you run the film? EDDIE (V.0.) She knew what was beckoning: the lower bunk in my childhood bedroom in Newark. We'd even had sex on it once. And it was a thing to be pitied and avoided. Eddie sighs. Drops the glib tone. Looks at her, finally mustering the honesty she deserves. EDDIE (CONT'D) Lindy. I really thought I had it in me to do something. --I wasn't getting around it, but it was fucking there. And now, I, ah... don't think it is. There. --Anything. At all. Lindy looks at him, clear-eyed, seeing him as he is, and loving him anyway. LINDY You know what...? I'd have had you move in anyway... if... EDDIE If, what? She looks away. Its hard for her to admit this: (CONTINUED) 6. CONTINUED: (2) LINDY If it was me you wanted. And not Melissa. EDDIE I never think about Melissa--! FLASH! INT. BEDROOM - NIGHT We are in Eddie's mind, in his POV, and we are seeing a LOVELY, WILLOWY BRUNETTE, wearing an undershirt, bending seductively over him... INT. MIDTOWN COFFEE SHOP - DAY From Eddie's eyes we can tell the memory is still fresh. She shakes her head, looks away. It's clearly over. She gets up. He follows. LINDY I have to get back. EDDIE --Hey, well -- wait -- you didn't tell me what happened yesterday. We can see on Lindy's face that she's still vulnerably pleased that Eddie remembered to ask. LINDY I got it. EDDIE You got it--?! LINDY Yeah. I'll have my own assistant. You believe that? EDDIE (GENUINE) You deserve it, Lindy. LINDY Yeah, thanks. I do. She smiles weakly, breaks eye contact. No good to keep looking. It's over. Eddie makes an attempt to reach for the check, which Lindy grabs. (CONTINUED) 7. CONTINUED: LINDY (CONT'D) Oh, please. He knows she knows he can't pay. EXT. MIDTOWN STREET - DAY Eddie is walking home, eying the homeless on the street, feeling his dismal future breathing down his neck. EDDIE (V.0.) She was right. I was almost 35. No one talks about "potential" at 35. I had missed the on-ramp. Soon I'd be sleeping in the lower bunk of my childhood bedroom... my father happy to welcome me into the challenging field of dental supply inventory... He's interrupted by A VOICE - calm, amused: VOICE Eddie. Morgan. VERNON GANT looks him over with condescending bemusment. He's 30, wears an expensive suit, looks like he comes from money. EDDIE (V.0.) Of all the useless relationships better forgotten and put away in mothballs, is there any more useless than... the ex-brother-in- law? VERNON Shit! It's gotta be-- 9 years--? EDDIE But who's counting. VERNON (taking him in) Hey, you!!! He genially whacks the sides of Eddie's arms. Eddie halfheartedly whacks back. Vernon sizes Eddie up. VERNON (CONT'D) Jesus, Eddie, pack it on, why don't you? (CONTINUED) 8. CONTINUED: Eddie didn't need that. He's very self-conscious about his weight. EDDIE Sedentary job, you know... VERN So you're still trying to write? EDDIE As a matter of fact, I've got a book contract. Vern looks half suspicious, half impressed. EDDIE (CONT'D) How about you? (POINTEDLY) Still dealing, Vernon? VERNON (SMUGLY) Do I look like I'm still dealing? Eddie sizes him up: the suit, shoes, watch, haircut. EDDIE No. VERNON Come on, let's get a drink. I wanna hear about this book. EDDIE Nah, I should go-- VERN You can't tell me you're a health nut, now. Not with that tire- EDDIE (ANNOYED) Enticing invitation. Thanks. Vern plucks the pack of cigarettes from Eddie's upper jacket pocket. VERN C'mon, c'mon, one beer. Or I won't give `em back. He holds the cigarettes just out of Eddie's reach. (CONTINUED) 9. CONTINUED: (2) EDDIE It's one o'clock in the afternoon, Vern. VERN When's that ever stopped you? EDDIE (SIGHS) Fuck. INT. BAR - DAY A BARTENDER brings beers to Eddie and Vernon who sit at the bar. Eddie clearly wishes he were elsewhere. EDDIE So... how's Melissa? VERNON Ah-hah. That's why you agreed to the beer. EDDIE I'm making conversation, Vern. VERNON Well, I don't know how Melissa is. INT. A BEDROOM - NIGHT (AN ALMOST SUBLIMINAL FLASH) Melissa, naked, silhouetted in the bathroom door. BACK TO: INT. BAR - DAY EDDIE How don't you know? You're her brother. VERNON I don't see her. She lives upstate now, she's got some kinda internet home sales kinda job... a couple of kids... This is unfathomable to Eddie. He tries to keep his voice casual. EDDIE A couple of kids... FLASH! 10. INT. SAME APARTMENT - LIVING ROOM Melissa, her lovely face over a mirror, doing lines. BACK TO: INT. BAR - DAY EDDIE Who's the husband? VERNON What are you, jealous? EDDIE It's just a question, Vern. Vernon can sense his emotion. VERNON Walked out on her, if you really want to know. But what do you care? You guys weren't even married six months, were you--? I mean, it was just a coke thing, right? EDDIE Is that what she said--?! "A coke thing." It unexpectedly hurts Eddie. Maybe it's just a bummer day. Or there's a deeper wound than he knew. VERNON But I wanna know about this book. How's it going? EDDIE (considering the question) How's it going... Well... I'm behind. I'm behind on my book, and it's pretty well polluting my days and nights if you really want to know. VERNON How much have you written of it? A beat. EDDIE Not one fucking word, Vern. (CONTINUED) 11. CONTINUED: VERNON Wow. Creative problem, huh? Vern appraises him. VERNON (CONT'D) I think I have something that can help you. He reaches into his pocket. Eddie thinks he knows what's coming. EDDIE Oh, no-- no, no, no- VERNON You don't even know what it is. EDDIE You're still dealing. VERNON No -- yeah --will you listen?! This isn't recreational. I've been doing some consulting for a PHARMACEUTICAL COMPANY-- EDDIE You mean a lab in some little Yalie's basement? Give me a-- VERNON No, this is an exclusive product coming on-stream next year, they've had clinical trials, and it's FDA approved. A long beat. Eddie bites. EDDIE Okay, what is it? Vern reaches into his jacket, produces a tiny plastic sachet with his right hand, tapping something out into the palm of his left. He holds this up for Eddie to see... a TINY WHITE UNMARKED TABLET. EDDIE (CONT'D) What's in it? Vern puts the little white tablet on the bar. (CONTINUED) 12. CONTINUED: (2) VERN Just take it. Get you over the hump. EDDIE I'm too old for this, Vernon. VERNON Look, they've identified these receptors in the brain that activate specific circuits, and-- you know how they say you can only access like 20 percent of your brain? Well, what this does-- EDDIE Vernon. Look at me. Do I look good? I smoke too much: my chest is sore. A fucking corpse has more energy than I do, I've got weird aches, possible lumps, rashes, maybe they're a condition, or a network of conditions. One of these days they're all going to hold hands, light up, and I'll keel over dead. My life's in the crapper, and I DON'T think it's going to take a sudden upswing into the stratosphere if I do some brand new, shiny designer DRUG! Vern's phone rings. He holds up his index finger --shh! -and takes the call. VERN (INTO PHONE) Gant. (beat, getting agitated) When. --I know, but when? (looking at his watch) Tell him we can't do that. He knows that's out of the question. We absolutely can't do that. Vern is edgy. Very tense. He continues: VERN (CONT'D) No, I'm not going to tell him! You tell him -- no, now! He turns off his phone, gets up. (CONTINUED) 13. CONTINUED: (3) VERN (CONT'D) Fucking people. I'm afraid I'm going to have to leave you here, Eddie. But let's hang out again, have another beer. He takes out his business card, and places it carefully next to the little white tablet on the bench. VERN (CONT'D) By the way, that's on the house. EDDIE I don't want it, Vern. Vern smiles at him. VERN Don't be ungrateful, now. You know how much these things cost? Eddie shakes his head. VERN (CONT'D) Eight hundred bucks a pop. He pats Eddie on the shoulder and goes. Eddie is still looking at the pill. Which seems to be looking back at him. EXT. THE STREET - DUSK Eddie makes his way home, a little tipsy and filled with self- loathing. EDDIE (V.O.) All the way home she was back on my mind ... Melissa. FLASH! A memory -- Melissa's face as she's talking, laughing. EDDIE (V.O.) She'd been so smart. Smarter than anyone around her. And oh, how she loved to provoke people... 14. INT. A DOWNTOWN PARTY - PARTY - NIGHT Melissa, sparkling, beautiful, surrounded by people, in intense conversation with a bunch of downtown types. MELISSA --Oh, please, you think professional women mentor one another? You think there's some mutually supportive empathetic touch-feely network of kindly pie- bakers? --Those bitches hate each other! Quick, who was the worst boss you ever had? A woman, right?! We can't delegate, we can't command -- I mean, there's a reason we're not generals--! The men gasp, shocked and titillated. The women are furious. Melissa smiles to herself --she's trying not to crack up. EDDIE (V.0.) I thought, by now, she'd be curing cancer, directing movies, running for the Senate... We HOLD ON MELISSA'S LOVELY, CONFIDENT FACE as her voice fades down and Eddie's fades in. EDDIE (V.0.) (CONT'D) What had happened? Her life made no sense. I mean, I could see a direct, plausible link between this Eddie, broke and buzzed at three o'clock in the afternoon, and an earlier Eddie... INT. A DISTINGUISHED GENTLEMAN BEHIND A DESK - DAY --getting SPLATTERED by some ochre liquid from an offscreen source. EDDIE (V.0.) ...vomiting on his boss' desk during a presentation... INT. A BEDROOM - NIGHT A YOUNGER, THINNER EDDIE rifles through a bureau, an old lady in bed, sleeping, behind him --an oxygen mask on her. She's clearly terminal. (CONTINUED) 15. CONTINUED: EDDIE (V.0.) ... or stealing his dying Aunt's Percocet. EXT. THE STREET - DUSK Eddie walks, pensive. EDDIE (V.0.) But there was no link between my Melissa and this upstate Melissa dumped, cold-calling people from her living room. EXT. EDDIE'S BUILDING - DUSK An edgy neighborhood on the furthest edge of lower Manhattan. This block may never be gentrified. EDDIE (V.O.) 40 long blocks later I was "home." He digs in his pocket for the keys and comes up with... THE LITTLE WHITE PILL INT. EDDIE'S BUILDING - STAIRWELL - DUSK It's a former tenement, fourth-floor walk-up. Eddie trudges up the old stairs, the tiny tiles worn away in spots, the Victorian moldings disfigured from a hundred and twenty years of paint. Eddie is suddenly seized by a racking cough -- a horrible smoker's cough that makes him double over. He sounds like he's 80 years old. He finally gets it under control, gets a glimpse of himself in the storefront window. He looks bad, and he knows he looks bad. He reaches into his pocket. THE PILL sits teasingly in the palm of his hand, looking up at him. EDDIE (V.0.) Well. There was less than nothing to lose. Quickly, impulsively, he swallows it. 16. INT. THE LANDING - DUSK As Eddie passes, a neighbor's door swings open. Eddie tries walking faster. EDDIE (V.0.) I didn't want to see anybody. VALERIE, 26 and attractive, emerges, dressed to go out. EDDIE (V.0.) (CONT'D) Especially not my landlord's nasty young wife. She is immediately soured at the sight of Eddie. Eddie knows what she's thinking. EDDIE (CONT'D) Tuesday. VALERIE Look, enough, okay--? EDDIE Just tell him- VALERIE Steve handles the rents. So feed your fucking bullshit to him. EDDIE (V.0.) I suddenly had extra reason to get away from her. I had thoughtlessly ingested a substance. Valerie's tirade FADES up or down, depending on when we're hearing Eddie. VALERIE --Like the rent's not low enough--! EDDIE (V.0.) I had gotten remarkably little information from Vernon about what this drug would do. VALERIE You could be a bike messenger and come up with that! Eddie continues up the stairs. But she follows, getting in front of him. (CONTINUED) 17. CONTINUED: EDDIE (V.O.) ...What if it was a hallucinogen... oh my God... listening to her rag, if I were tripping...? I'd jump out a fucking window. VALERIE'S voice fades up. VALERIE --Look, I'm just telling you, he's been talking about calling these people he knows from the club to muscle you out -- I've told him not to do that, but he's really pissed. We PUSH IN on Eddie's face, into his eyes... where we see his pupils contract just slightly. A flicker. EDDIE (V.0.) And then... I felt it. EDDIE'S POV - THE APARTMENT UPPER HALL... The room is changing... springing into sharper focus. EDDIE (V.0.) Levels more, layers more, 3-D more... galactically more. But the same. Just the depth and beauty... of clarity. There seems to be more definition, more dimension, a little more light -- he can see more clearly. The SOUND drops out for a moment; he can see VALERIE'S FACE, mouth contorted, continuing to heap the abuse, but there's something in her eyes that's not mean... something anxious.He looks at her with a sudden keen intelligence. And sympathy. EDDIE (CONT'D) What's wrong? She's taken aback. VALERIE W-What? His eyes go to THE BOOK BAG in her arms. EDDIE "I was blind but now I see." (CONTINUED) 18. CONTINUED: On a gut instinct, Eddie takes a shot, pushing his words forward with a new, sharp, penetrating intimacy, articulateness. EDDIE (CONT'D) You don't like me, and I don't blame you -- you see a schlumpy energy- sucking defeated sack of shit sponging off your husband. You're hoping I'll blow my brains out. But my existence shouldn't make you this upset. What is it? He's hit a nerve. VALERIE Look, that's none of your- EDDIE Something wrong at school? VALERIE How do you know I'm in school! His eyes flick down at her bag. EDDIE People who aren't don't usually carry dry, academic constipated out of print books about Dorothea Lange. VALERIE Are you some kind of creep? Have you been following me?! EDDIE I just saw the book-- VALERIE You can only see a corner of it. How did you know? He looks down. She's right --only a corner of the book is visible. Eddie realizes: EDDIE I've seen it before. EDDIE (V.0.) (CONT'D) It was true. 12 years ago. In college... 19. INT. DORM ROOM - NIGHT A slightly younger Eddie is flipping through the Lange book. EDDIE (V.O.) ...sitting on the couch of a T.A. I was trying to make, waiting for her to come back out of the bathroom... hoping she'd have a condom... BACK TO: INT. EDDIE'S BUILDING - LANDING - DAY EDDIE (V.0.) Somehow, my unconscious had served that up... a memory I'd never even recorded. Or was it there the whole time... and all I needed... was the access? ON EDDIE'S FACE - CLOSE As it sinks in: EDDIE (V.0.) Vern was right. This was no recreational drug. Eddie's eyes flick to the laptop in her bag, his manner suddenly intimate, confident. EDDIE (CONT'D) If you're writing a paper, that's not the book I'd use. VALERIE Well, who asked y- EDDIE Cal Berkeley has her oral history. I'd start there. Her son is still alive. You could Google him. Sons of famous people always want to dish dirt about their parents. You'd get something no one else has, and you'd've gone the extra mile, a nice little apple for the professor. During this speech, MUSIC COMES UP and the sound goes down... SEVERAL QUICK CUTS... (CONTINUED) 20. CONTINUED: Eddie and Valerie's mouths are moving... she's asking questions... he's supplying answers, lots of them... EDDIE (V.0.) (CONT'D) Information from the odd museum show, a half-read article, some PBS documentary, was all bubbling up to my frontal lobes, mixing itself together into a sparkling cocktail of useful information. Valerie's whole posture is relaxing, the look in her eyes becoming... friendly. EDDIE (V.0.) (CONT'D) She didn't have a chance. INT. THE DOWNSTAIRS APARTMENT FROM EDDIE'S - NIGHT A mirror image of Eddie's, but considerably nicer. We HEAR the SOUNDS of two people -- Valerie and Eddie -- HAVING WILD, mutually satisfying SEX from the other room. EDDIE (V.0.) We'd really worked on her paper, too. In 45 minutes it was a polished gem. She was pleased. We see the laptop set up, books scattered -- then, obviously abandoned for a more pleasurable pursuit. EDDIE (V.0.) (CONT'D) One nice little side effect...? I stayed hard for hours. We HEAR female groans of pleasure. Laughter. INT. EDDIE'S APARTMENT - NIGHT A dishevelled Eddie opens the door to his apartment. He enters, looks around. EDDIE (V.O.) Happy and sore, I returned home. EDDIE'S POV - HIS LIVING ROOM It's the first wide shot we've seen of it, and it hammers home: what a mess. Books scattered across the floor, dirty dishes, broken Venetian blind sashes. The nest of a slob. (CONTINUED) 21. CONTINUED: EDDIE (V.0.) ... But it couldn't be my home, could it? Who would live like this? MONTAGE: Speeded-up shots of Eddie sifting through his books and tapes. Cleaning up the kitchen. The bathroom. Picks up books. He starts moving the sofa. QUICK CUTS: the living room, rapidly whipped into shape. If not stylish, habitable. Final shot: he's sitting on the (repositioned) couch. Thinking. EDDIE (V.0.) (CONT'D) What was this drug? I couldn't stay messy on it, I hadn't had a cigarette in six hours... He stares at the pack in his hands. It looks alien. EDDIE (V.0.) (CONT'D) ...hadn't eaten... So. Abstemious and tidy. What was this -- a drug for people who want to get anal? He gets up. Paces. EDDIE (V.0.) (CONT'D) I wasn't high, wasn't wired --just clear. What I needed to do. And how to do it. His eye falls on his COMPUTER. The MONTAGE CONTINUES: Eddie flipping through research books, typing onto his keyboard, the printer printing, doing Internet searches... pages and pages spit out of the printer. INT. EDDIE'S BEDROOM - MORNING Eddie, in his underwear, is sleeping soundly. He stirs, rolls over, cracks open an eye. He gets up, schlumps to the mirror, looks at his unshaven face. The penetrating gleam is no longer in his eyes. EDDIE (V.0.) The next morning, I sent a little probe down into my brain. No surge of brilliance came up to greet me. I felt thick and stupid -- a shuffling zombie without my coffee and cigarette. In short... (CONTINUED) 22. CONTINUED: CLOSE UP -- EDDIE'S UNDERWEAR is tossed at the hamper - missing it by about a foot. The underwear remain on the floor. EDDIE (V.0.) (CONT'D) I was back. INT. EDDIE'S LIVING ROOM - MORNING Eddie lies on the couch. (Already the room shows signs of being messed up again.) His eye suddenly falls on his desk. EDDIE (V.0.) But something remained. INT. EDITOR'S OFFICE - DAY Eddie drops A STACK OF FRESH PAGES on the desk of MARK SUTTON. Mark looks skeptically at Eddie, then the pages. MARK You're kidding. EDDIE No. MARK (SARCASTIC) Words have appeared on paper. EDDIE Yes. MARK SUTTON Written by you. Eddie knows he's on thin ice. EDDIE Three pages. That's all you have to read. If you read them in the next hour, and you don't want to keep reading I'll give back the advance. EXT. FLATIRON DISTRICT - DAY Eddie standing on the street, the crowd flowing around him. He turns this way and that, clearly anxious, impatient. Where to go? What to do to kill the time? 23. EXT. STREET - DAY - THREE SHOTS: 1. Eddie orders a PRETZEL from a food cart. He is having to dig into his pockets to come up with the change. The VENDOR becomes so impatient he won't give him the pretzel, and serves another customer first. Eddie looks at HIS CELL PHONE. Makes sure it's on. No call. 2. Eddie sits on a stoop, slowly nibbling on his pretzel, his eye glued to his phone. No call. 3. Eddie tosses the finished pretzel's wrapper and SHAKES HIS PHONE in frustration. A RING! Eddie jumps up, fumbles with his phone just as a passing male WALL STREET SHARK pulls out his phone and answers. The ring wasn't for Eddie. INT. EDDIE'S APARTMENT - NIGHT Eddie comes in, then notices something's different. His ANSWERING MACHINE has a blinking red light. Eddie clicks the button, breathless. MARK SUTTON'S VOICE Eddie... give me a call when you get in... (BEEP) The second message is from Mark too. MARK SUTTON'S VOICE (CONT'D) Eddie, I'm 40 pages further in... call me... it's a little grandiose, but I'm still reading... A third message - BEEP! MARK SUTTON'S VOICE (CONT'D) Okay, how did you do this? I'd, uh, I'd really like to -- shit, just call me the minute you get in, call. Okay? Okay. (BEEP!) Eddie jumps up, gleeful-- he knew it! Then his smile fades. Reality hits. EDDIE (V.O.) But how would I finish? It was "enhanced" Eddie who displayed all that brilliance. Not me. EXT. VERN'S APARTMENT BUILDING - DAY Eddie, holding Vern's card, buzzes the buzzer. There's no answer. Eddie buzzes again and again. Finally: (CONTINUED) 24. CONTINUED: VERN'S VOICE (GROGGY) Yeah? EDDIE Vern! It's Eddie. VERN'S VOICE Bad time, okay--? EDDIE Vern -- last night 90 pages just wrote themselves! I totally chucked the novel I pitched them --I suddenly SAW, Vern, how this whole societal economic class struggle -- and its solution -- didn't have to be futuristic or fictional -- it was actually ACHIEVABLE here, in our lifetime -- and I could just lay it out, like, like a manifesto, or something, like Mein Kampf except not by a crazy racist fuck! (no response, realizing) Okay, I won't talk any more about this if you let me in. The buzzer buzzes. INT. VERN'S APARTMENT DOOR - DAY The door opens. And Eddie is taken aback. Vern has been beaten up. Really worked over. His lip is split, his face puffy and bruised. His right hand is bandaged. VERN Well, that was fast. EDDIE WHAT HAP- VERN Don't ask. Leaving the door open, Vern turns around and motions at Eddie with his left hand to come in. The place is all mismatched antique furniture -- the possessions of someone who collected once, with enthusiasm, but who's letting it all go to hell. Vern sits, keeping his injured arm elevated. VERN (CONT'D) So, Eddie. I guess you're interested after all. (CONTINUED) 25. CONTINUED: EDDIE Yeah. That stuff's amazing. VERNON It works better if you're already smart. Eddie can't get over how bad Vernon looks. EDDIE VERN- VERN You don't want to know. And Eddie wants the drug more than he wants to know what happened. EDDIE What's... um... what's it called? VERN It doesn't have a street name yet, because it doesn't have a street profile. And that's the way we want it to stay. The boys in the kitchen are calling it MDT-48. EDDIE "The boys in the kitchen...?" Vern, that doesn't sound FDA approved. VERN "FDA-approved," that's a laugh. Did you really believe that shit? Eddie stares at Vern as he pours himself a coffee. EDDIE (V.0.) Okay, so what did we have here? Some unknown, untested, possibly dangerous drug scammed out of some unidentified lab somewhere, given to me by a highly unreliable guy I hadn't seen in years. VERN So you want some more of it? EDDIE Yes. Definitely. Vern chuckles. He knew it. (CONTINUED) 26. CONTINUED: (2) VERN We'll talk about it. But first maybe you can do me a little favor. EDDIE Uh... sure. Eddie wants to get on with it and get out of there, but Vern clearly has him by the balls. VERN You can see, I'm in no shape to go out right now. Will you hop down to the dry cleaners and get my suit? And maybe pick me up a little breakfast...? Eddie sighs. Vern tosses him a set of KEYS. INT. A DRY CLEANER'S AUTOMATED CLOTHING RACK - DAY As the plastic-wrapped clothes spin towards us... EDDIE (V.0.) It was amazing how quickly it all slotted back into place... INT. A DINER GRIDDLE - DAY As two eggs are flipped, over easy. EDDIE (V.0.) ..the dealer-client dynamic...... INT. VERNON'S BUILDING - HALLWAY - DAY And here comes Eddie, carrying Vernon's suit, and greasy bag of breakfast... EDDIE (V.0.) ...the easy sacrificing of dignity for the guaranteed return of a dime bag, or a gram, or in this case a little pill that was going to cost me a month's rent. He arrives at Vernon's door. He takes out the keys Vern gave him, but he doesn't need them. The DOOR is AJAR. 27. INT. VERN'S APARTMENT - DAY - EDDIE'S POV As Eddie pushes the door open, he can see Vernon sitting, quite normally, on the couch. As he enters the room, though, he sees that the place has been RANSACKED. Destroyed. Eddie wheels back to ask Vern what the fuck. And then sees it. VERN'S FACE -CLOSE In the center of his forehead is a neat little BULLET HOLE. EDDIE is no tough guy, and sweat springs to his brow. He starts shaking... then, seized with horror that they might still be in here, he edges to the bedroom. We hear THE POUNDING OF HIS HEART as he peeks in... INT. EDDIE'S POV - VERN'S BEDROOM It's been ransacked, too. Torn to shreds, bureau drawers opened and dumped, pillows ripped open with knives. But no one is there. INT. VERNON'S DESK - DAY Eddie's shaking hand can barely hold the phone. EDDIE Yes... I... I need to report a murder. Eddie. Morgan. --Edward J. I won't. He puts down the phone, puts his head in his hands. VARIOUS CUTS OF: Eddie sitting. Shifting his butt in various positions. Holding a BASEBALL BAT he's found --just in case "they" come back. EDDIE (V.0.) (CONT'D) It took them forever. And the longer I sat there, the clearer I saw... Vern had known whoever had done this. He'd opened the door. CLOSE ON - EDDIE'S FACE EDDIE (V.0.) And one guess what they'd been looking for. 28. INT. VERN'S BEDROOM - DAY Eddie, cleverly wearing kitchen gloves, is now furiously tearing through the rubble the thieves have left behind, the scattered clothes, under the bed... INT. BATHROOM -. DAY Eddie pokes quickly through the medicine cabinet -- nothing but Tylenol. INT. VERN'S LIVING ROOM - DAY Eddie sits on the couch with (dead) Vern, staring at him, as if a corpse could give up a secret. He looks down at VERN'S BREAKFAST CONTAINER. EDDIE At least you got your last meal. There are lots of takeout containers around. EDDIE (CONT'D) You never did like to cook... Eddie's eye falls on VERN'S STOVE. Unlike the rest of the kitchen area, it's pristine. Unspattered. Eddie jumps up. VERN'S STOVE - CLOSE Eddie opens it. The inside is as clean as the outside. We HEAR SIRENS now -- the cops are finally coming, and Eddie must rush. Eddie pulls out THE BROILER - CLOSE Taped to the inside is A LARGE BROWN PADDED ENVELOPE. Slowly, Eddie pulls out the package, reaches into it. EDDIE'S HANDS - CLOSE He is holding about TWENTY THOUSAND DOLLARS in cash. But that's not all. He reaches in again... there's something else inside... Eddie's hand pulls out a LITTLE BLACK ADDRESS BOOK. But there's still something else.. he reaches in again. And now Eddie's hand pulls out A PLASTIC CONTAINER WITH AN AIR- LOCK SEAL... he pries the seal off... Inside are FIVE HUNDRED OF THE LITTLE WHITE PILLS. Eddie HEARS THE THUD OF APPROACHING FEET, voices. Making a decision, he quickly tucks the envelope into his jacket, jumps down from the chair... JUST AS A COP pushes through the door. (CONTINUED) 29. CONTINUED: He sees Eddie, spins, POINTS HIS GUN right at him. COP Let me see your hands. Eddie throws his arms in the air. EDDIE Heyheyhey! I'm the one that called you! INT. POLICE PRECINCT - DAY Eddie sits, making his statement to an overweight DETECTIVE. EDDIE ... No, ex-wife's brother. I just ran into him on the street and he invited me up to, you know... The Detective looks at him suspiciously. DETECTIVE Buy some drugs? EDDIE Wha-- No! Talk! What're you -- DETECTIVE Okay, fine, what did this guy do? EDDIE He was -- I don't know, I heard he was sort of an antiques dealer. DETECTIVE A dealer? CLOSE ON THE ENVELOPE hidden in his jacket, burning a hole in his side. Eddie tries to stay calm. EDDIE Yeah... of, uh... Viennese kind of... chairs... sort of curlicue leg kind of things-- The phone is ringing. The detective picks it up. DETECTIVE (INTO PHONE) Yeah. That is correct. An Edward Morgan. He's here. (CONTINUED) 30. CONTINUED: Mysteriously, the Detective hands the phone to Eddie. DETECTIVE (CONT'D) The victim's sister. FLASH! EXT. A BEACH - DAY Eddie sees young, beautiful Melissa, laughing, in the surf. INT. POLICE PRECINCT - DAY Eddie can't believe it. He stares at the phone, then finally speaks into it. EDDIE Melissa? MELISSA'S VOICE Eddie. You were there? EDDIE (V.O.) I hadn't heard her voice in 10 years. EDDIE (CONT'D) Right before. I'd just run into him on the street. MELISSA'S VOICE God. (BROKEN) This is all so weird... EDDIE Melissa --you don't think I had anything to do with- MELISSA No, no, no, Eddie, I know that. I wish I was more surprised. He was... involved in some stuff... I better not say any more. EDDIE Not on this line, no. A beat. Eddie still can't believe he's talking to her. EDDIE (CONT'D) Melissa... maybe... (a deep breath) (MORE) (CONTINUED) 31. CONTINUED: EDDIE (CONT'D) Do you want to... meet somewhere, or...? He lets it hang in the air for a moment. MELISSA'S VOICE Eddie, I've got to do the funeral. And God knows what else. I just... we can't meet, okay? EDDIE Then... I'll see you at the funeral. MELISSA No. I don't want that - please don't... I'll call you at some point, when this is over. Okay? EDDIE Okay. A beat. Melissa's voice is wan, vulnerable. MELISSA'S VOICE Okay. She's hung up. Gone. Eddie turns back to the detective who's staring intently at him. DETECTIVE Something doesn't jell here. Eddie tries not to look panicked. The cop looks up, taking in the entrance of THREE newly arrested HIGH CLASS HOOKERS. They are young. They are blond. They are wearing very short skirts and fuck-me heels. The cop eyes them appreciatively. EDDIE (V.O.) But I knew, when his attention wandered to something more pressing, that he was going to let me go. EXT. PRECINCT - DAY Eddie walks down the stairs, shaken up but profoundly relieved. Even a little giddy. Then he stops. (CONTINUED) 32. CONTINUED: EDDIE (V.0.) Only then did it occur to me that someone could have followed me from Vern's apartment. EXT. THE STREET - DAY Eddie walks, trying to cast inconspicuous glances over his shoulder. EDDIE'S POV - THE STREET Is this guy following him? That guy? They all look innocuous. They all look threatening. He has no idea. INT. EDDIE'S APARTMENT - DAY EDDIE (V.0.) Probably not. Hopefully not. Worth the risk? Eddie enters, and, casting a surreptitious look around, closes the door behind him. INT. EDDIE'S DINING TABLE - DAY The cash, the address book, and the bottle of pills are all laid out on the table. Eddie sits, looking at them, realizing that his life is now about to be jump-started. Yeah. Worth the risk. A smile twitches at the corner of his mouth. MUSIC UP UNDER: EXT. MADISON AVENUE - DAY Eddie is walking down the street, a brisk confidence in his step, that penetrating gleam of intelligence back in his eyes. We know right away that he's on MDT. EDDIE (V.0.) Back on MDT, it was obvious what I should do. INT. A HIP DOWNTOWN MENS STORE - DAY Eddie is being fitted for a sharp looking jacket. The camera moves to the mirror and we are suddenly (CONTINUOUS SHOT) in-- INT. TRENDY DOWNTOWN SALON - DAY A hip, pretty girl is giving Eddie a haircut. (CONTINUED) 33. CONTINUED: EDDIE (V.0.) Vern's cash... THE CAMERA CONTINUES TO PAN... but instead of finding him the chair we are... INT. GYM - DAY Eddie's doing crunches, getting in shape. EDDIE (V.0.) ...combined with an unprecedented surge of motivation... THE CAMERA PANS to the mirror... but sees a reflection of... INT. EDDIE'S APARTMENT - DAY He sits at his computer, a salad beside him. His printer spits out page after page of manuscript. EDDIE ...enabled me to finish the book in four days. INT. MARK SUTTON'S OFFICE - DAY Eddie puts down a thicker manila envelope on Mark's desk. Mark is astonished. INT. A SUGAR BOWL ON EDDIE'S TABLE - DAY It contains ten tablets of MDT. Eddie's fingers reach in, take one. EDDIE (V.0.) A tablet a day... kept the torpor away. And what I could do with my day... was limitless. INT. THE MET - DAY Eddie surveys paintings. EDDIE (V.O.) I now had cultural appetites. INT. A PIANO CONCERT - DAY Eddie sits attentively in the audience, reading the score along with the music. (CONTINUED) 34. CONTINUED: EDDIE Learned to read music in a week... INT. THE EAST RIVER - DAY Eddie runs, earphones on his head. We HEAR, dimly, French phrases. EDDIE V.0. Even half-listening to any language, I became fluent... Eddie becomes aware that there's ANOTHER RUNNER --a powerful- looking man, gaining on him, closer behind than makes him comfortable. Eddie flicks a glance over his shoulder. EDDIE (V.0.) The only cloud was the nagging feeling I was being followed. With a surge of effort, Eddie speeds up, sprinting across the street just after the light changes. WHIZZING TRAFFIC cuts the mysterious runner off, stops him from following. He remains, panting, at the light. EDDIE (V.0.) (CONT'D) Was I? Or did MDT create paranoia? INT. EDDIE'S APARTMENT - DAY - (SERIES OF SHOTS) EDDIE (V.0.) The focal point of my existence quickly became... protecting my stash. CLOSE ON: the plastic baggie of pills being DUCT TAPED inside the top of EDDIE'S BROILER. He SLAMS the broiler closed. EDDIE (V.0.) (CONT'D) Call it a homage. INT. A BAR - NIGHT Eddie stands there, in his new clothes, holding court. He has an entirely new aura. It's commanding. EDDIE (V.0.) I had a new, improved game. He banters flirtatiously with a BEAUTIFUL WOMAN. (CONTINUED) 35. CONTINUED: EDDIE (V.0.) (CONT'D) (PLAYFULLY) So you're saying that any author who's commandeered adjective status, "Orwellian, Dickensian--"? BEAUTIFUL WOMAN --is prosaic. Yes. EDDIE Which means a prosaic author's work rests on a foundation of acclaim- BEAUTIFUL WOMAN OR ZEITGEIST- EDDIE So you're saying praise and fame are unrelated to achievement, that the greatest hits CD cannot possibly contain good songs? That Shakespeare's catchiness belies mediocrity? BEAUTIFUL WOMAN I... She breaks off, shrugs, smiles. EDDIE Well, then I'd guess you'd rather not hear about what I, personally, think could launch a thousand ships? He puts a finger under her chin. He means her face, of course. The woman smiles, and blushes. EDDIE (V.0.) (CONT'D) Fish in a barrel. INT. UPSCALE BAR BATHROOM - (UNISEX, FOR ONE PERSON) NIGHT TIGHT SHOT (LEGS ONLY) OF this regal, upscale women's panties down around her high heels and Eddie's legs between hers, pumping. A VASE shatters to the floor beside their feet, spilling its pricey orchids. EDDIE (V.0.) And it wasn't just women. I was, for the first time in my life, a presence... 36. INT. ANOTHER BAR - ANOTHER NIGHT The CAMERA circles around a European-looking crowd... that's clustered around Eddie. He's finishing a long story -in French. EDDIE (V.O.) Of course, all this seemed to work better with people I didn't know... than with people who knew me... INT. A MODEST QUEENS LIVING ROOM - DAY Eddie's MOTHER and FATHER, working class schlubs, sit on the floral sofa, staring at their now-dapper son, who is waving some paperwork in their faces. EDDIE ...so, Mom, your 401 K is totally mis-invested -- these guys are have done ONLY the most Pliocine era fundamental analysis and paid no attention to eye candy psychology surrounding the stock -- (realizing they're lost) Okay, remember when I explained default flops? Did any of that stick? (THEY'RE LOST) CDS's? CDO's CBO's? His parents stare at him. They don't know what to make of any of this. EDDIE (V.0.) (CONT'D) I quickly returned to the unfamiliar audience. INT. ANOTHER UPSCALE BAR - NIGHT A sizable crowd is around Eddie, including finance types in suits. EDDIE --Sure you get a short term spike, but wouldn't that rapid expansion devalue the stock completely in two years? A well-dressed broker - KEVIN DOYLE - shakes his head. KEVIN DOYLE No, no, there are safeguards-- (CONTINUED) 37. CONTINUED: EDDIE Against aggressive over-expansion? There aren't, because there are no safeguards in human nature. Eddie's tone isn't aggressive -- it's genial, amusing. EDDIE (CONT'D) We're wired to overreach -- you look at history, I mean, all the countries that ruled the world? Portugal? With its big, butch navy? All that's left is salt cod and cheap condos -- the Brits? Now they just sit on their dank little island, fussing over their suits. Nobody stops and thinks, hey, we're doing pretty well, we've got Poland and France, and a big Swiss bank account -- let's not invade Russia in the winter! Let's go home and pop a beer and live off the interest! The crowd laughs. Eddie takes a swallow of his drink. KEVIN DOYLE (smiles, gets it) Yeah. It'll all happen again. Eddie toasts him. EDDIE Hey, I want in on it! Kevin Doyle, wishing Eddie was right, clinks his glass. EDDIE (V.0.) (CONT'D) My brain was just pouring this stuff out. Everything I'd ever read, heard, seen, was now organized and available --here it is, here you go.. EXT. THE BAR - NIGHT Eddie leaves with several people. Kevin Doyle presses a card into Eddie's hand. KEVIN DOYLE You must have a portfolio, but if you don't, I'd be very interested in working with you. (CONTINUED) 38. CONTINUED: Eddie politely takes his card. Smiles charmingly. EDDIE Thank you so much. EDDIE (V.0.) (CONT'D) "I must have a portfolio." Very well -- if I must, I must. INT. EDDIE'S APARTMENT - NIGHT Eddie pulls out the broiler and removes the ENVELOPE OF CASH he's taped in there. It's much thinner. EDDIE (V.O.) But Vern's cash was low. And it takes cash to make cash... INT. MARK SUTTON'S OFFICE - DAY Eddie stands opposite Mark's desk. EDDIE (V.O.) But it takes cash to make cash... Another ELEGANT MAN is there too, Mark's boss, DUNHAM. EDDIE (CONT'D) I'd like to re-negotiate my advance. DUNHAM Well... sit down, we'll be discussing that. MARK SUTTON First, ah... I want to apologize, Eddie, if I in any way communicated a lack of faith in your abilities. Eddie smiles coolly. In control. It's Mark who's a little nervous. MARK SUTTON (CONT'D) Mr. Dunham has read your pages, and we're prepared to make you what I hope will be a very exciting offer. DUNHAM What would you say to ten thousand more and another forty down the road? (CONTINUED) 39. CONTINUED: Eddie holds there gaze, expressionless, but says nothing. After an uncomfortable moment, Dunham continues. DUNHAM (CONT'D) We think this could be an important title, maybe one in a series. I have to say, you came out of nowhere, but the good ones always DO- EDDIE (INTERRUPTING HIM) This isn't going to work. DUNHAM What's not going to work? The money? MARK SUTTON Eddie, we take you very seriously as a writer. Eddie sounds almost regretful. EDDIE Yes, but I now see that writing, as a profession, is for marginalized whiners not fit for anything else. Sutton thinks Eddie's kidding. He laughs nervously. EDDIE (CONT'D) No, I mean it, look at the life. Incarceration, loneliness, burrowing down into your own psyche, increasingly insulated from any truth, because you're not in the currents of the world any more, you're rattling around inside the cage of your brain, self- cannibalizing... Dunham realizes he's losing Eddie, and jumps in. DUNHAM You don't think a best-selling author would disagree? (CONTINUED) 40. CONTINUED: (2) EDDIE Oh, if you're good, there's some remuneration, eventually, after paperbacks, but at best your career'll be oozing along like a snail, a few thousand more copies, whoop-dee-doo, you're "developing a readership," -- for what? So you can end up in Phoenix on a Saturday night reading from your own work at some holdout indie book store to a bored audience of ten? --Half of them there for the wine and cheese? MARK SUTTON Yes, but if your goal is to have a VOICE- EDDIE (INTERRUPTING) I don't think any goal will be really achievable, Mark, until I'm sitting on a large pile of cash. The mens' mouths open. Then shut. INT. EDDIE'S LIVING ROOM - NIGHT Financial reading material covers every square inch of floor. Eddie now has three monitors operating side-by-side in his living room, all spewing forth financial information as he works the keyboard... EDDIE (V.0.) I would have to start very, very small... in a down market. No one was making money. But no one had MDT... INT. AT A COMPUTER (LAFAYETTE TRADING FIRM) - DAY Eddie stands behind a DAY TRADER who's spewing out an explanation of his work. DAY TRADER You've got your quantitive analysis - "quants..." Algorhythms to find minute price discrepancies... you're looking at numbers only. Price and volume patterns... Eddie is staring at the screen, blocks of information forming and connecting in his mind. 41. INT. EDDIE'S APARTMENT - DAY Eddie now sits, riveted to his laptop, keying. EDDIE Armed with Vern's last 800 dollars, I made 4000 in a day. (BEAT) It was too slow. TIME/DAY CUT TO: Eddie, differently dressed, surrounded by stacks of research, again keying away... EDDIE (V.O.) (CONT'D) Next day: $7,500.00 (BEAT) Still too slow. I needed more capital... INT. A COFFEE SHOP - DAY Eddie sits across from a sinister-looking young Russian in his early 30's. This is GENNADY. EDDIE Why not? The two men stare at each other. GENNADY Because I don't see you before. And I don't fucking like you already. Why do I give you 100 thousand dollars? EDDIE Because I quintupled my money four days in a row. Gennady barely glances at the papers Eddie pushes in front of him and snorts, half amused, before pushing them back. GENNADY You're lucky. EDDIE It's not luck. GENNADY Okay, you tricked their computer, you got some fix on the game. (CONTINUED) 42. CONTINUED: Eddie now sees that it's better not to admit that he came by the money legally. EDDIE You think? Gennady smiles. GENNADY So you're a crook. EDDIE And that's a problem for you because--? Gennady laughs for a second. Eddie's not wrong about that. Gennady looks in Eddie's eyes for a moment, calculating. GENNADY You people all get caught. EDDIE I won't. And what if I do? You think I keep detailed records of my investors? You'll have your money back long before they figure out what happened. Gennady just looks at Eddie, thinking it over. INT. WASHINGTON SQUARE PARK - DAY Eddie sits on a bench, waiting. Gennady appears. Hands Eddie a large paper bag. Eddie reaches for it; Gennady holds it aloft for one last second. GENNADY Okay, you take this... you mine. You don't pay, you know what we do? We cut you around the waist, peel your skin, pull it up over your head and tie knot in it. And you don't die from that. You suffocate. He lets the full picture sink in for a moment. Then: INT. LAFAYETTE TRADING - DAY Cubicle after cubicle of GUYS - all guys - at computers, rolling the dice on the stockmarket. (CONTINUED) 43. CONTINUED: EDDIE (V.0.) My new friend, Kevin Doyle, showed me how you could leverage two and a half times your cash at a day- trading firm... Eddie alone in a stall. He takes TWO MDT TABLETS out of his wallet, downs them. EDDIE (V.0.) (CONT'D) I'd been upping the dose for over a week. It seemed to cut my learning curve. OVERLAPPING DISSOLVES of Eddie working at a furious pace. Another trader stands behind Eddie, watching. Second shot: three traders are watching. Third shot: nine traders are watching him, awed. EDDIE (V.0.) (CONT'D) It was instinct. But informed instinct -- instinct based on huge amounts of research, which, thanks to MDT, was conducted more rapidly and comprehensively than anyone at Lafayette Day Trading would ever know... TRADER BEHIND HIM Why are you buying that? The CEO just got indicted... EDDIE But not for the big fat defense contract he bribed his way into. That's still on. Should be announced in a week. The trader shakes his head. How did Eddie know that? EDDIE (V.0.) (CONT'D) At the end of the week my brokerage account contained... over a million dollars. INT. LAFAYTTE DAY TRADING - OVERHEAD SHOT OF ROOM -- "GOD SHOT"- As still more people drift over to where Eddie is sitting... (CONTINUED) 44. CONTINUED: EDDIE (V.O.) I'd heard the old metaphors about the stock market: it was a collective nervous system, a global brain, a numerical representation of the will of God... EDDIE - CLOSE Eyes taking in data, fingers reacting on the keyboard... EDDIE (V.O.) Whatever it was, I was jacked in, booted up - my mind was living tissue inside the greater, functioning whole. (BEAT) By the end of the second week I had 2.6 in the bank.... INT. LAFAYETTE DAY TRADING BUILDING - DAY Eddie at the computer, soaking up information, making trades. Kevin Doyle stands behind Eddie, flabbergasted as he watches. EDDIE (V.0.) The word quickly got out. INT. EDDIE'S LIVING ROOM - DUSK Quick cuts of Eddie playing back his messages: EDDIE'S MACHINE You have... 19 messages. EDDIE (V.0.) Four job offers... my bank, raising my line of credit... a reporter... FEMALE VOICE Listen, return my call, Mr. Morgan, this article's about you's gonna get written with or without your cooperation... (BEEP!) EDDIE (V.0.) (SARDONIC) All my new friends. GENNADY'S VOICE ...you stupid shit, I be there Thursday for the money, ten o'clock! (CONTINUED) 45. CONTINUED: Eddie makes a jerk-off motion, crosses to his window, looks down. EXT. EDDIE'S POV - HIS STREET - DUSK There is a MYSTERIOUS BLACK CAR just sitting at the curb, in front of his building. No one gets in or out. Eddie turns back to his machine. EDDIE (V.0.) And finally, Kevin Doyle, trying to sound casual. KEVIN DOYLE'S VOICE Eddie, I was having drinks with a friend of mine, and... ah, you won't believe this... INT. A FANCY ITALIAN RESTAURANT - NIGHT Lindy, Eddie's ex-girlfriend, is sitting across the table from Eddie. She peers at him, confused. Is this dapper stranger really her shlumpy ex? LINDY Carl Van Loon wants to meet you? EDDIE Apparently he does. She is pleased for him, but flabbergasted. LINDY But you're not in the finance game. What can you do for Carl Van Loon? (shaking her head, MYSTIFIED) Eddie-- I -- THE BEAUTIFUL HOSTESS appears at Eddie's side. They have a brief conversation in Italian. Lindy stares, confused, as the hostess leaves. LINDY (CONT'D) Since when do you speak... what happened to you? EDDIE Self-improvement month. Someone gave me a wake-up call. (CONTINUED) 46. CONTINUED: LINDY God, Eddie -- I felt so bad about that. EDDIE Why? It stuck, didn't it? Lindy eyes him, half pleased, half apprehensive. He seems so different. LINDY You didn't do all this for me. EDDIE Who says I didn't? So what -- it's not getting over? Is that it? Lindy looks away, blushes. Sighs. LINDY All right, all right -- boy, you are really begging for it. EDDIE Begging for what. LINDY "I'm proud of you." EDDIE Gosh. This is so unexpected. LINDY I'm actually... more than proud. I'm a little... Eddie waits for her words, happily expectant. LINDY (CONT'D) ... intimidated. They smile at each other. A lot of affection flooding back. EDDIE (V.0.) Of course, we started up again. INT. LINDY'S APARTMENT - NIGHT Eddie is making out with her on her couch. EDDIE (V.0.) Her place... 47. INT. EDDIE'S APARTMENT - NIGHT EDDIE (V.O.) My place... His apartment has been seriously transformed. Of course, it's nothing but a renovated tenement, but there are some new furnishings, rugs, lighting-- the total effect is now one of stylish prosperity. She and Eddie sit on the rug in front of the coffee table, drinking expensive wine. INT. THE BACK SEAT OF A CAB - NIGHT Eddie and Lindy, dressed to the nines, are clearly returning from a fancy party... and passionately entwined, at the point of having hot sex, driver or no driver! EDDIE (V.0.) Every place. INT. EDDIE'S BEDROOM - NIGHT Eddie stands, naked, at the window, looking out. LINDY What are you doing, hon? EDDIE Nothing. He walks back over to her, looks down. She is snuggled up in Eddie's pillow, looking very pretty and vulnerable. LINDY What, you think somebody's watching? EDDIE No. He's lying. He's not sure. LINDY Is there anything you want to tell me, Eddie? Now's the time. He looks back at her, eyes unreadable. He shrugs. EDDIE With success comes enemies. LINDY Old Chinese proverb? (CONTINUED) 48. CONTINUED: EDDIE No proverb. An inevitability. LINDY You should sleep. Isn't your Van Loon meeting tomorrow? Eddie nods, sighs, turns away from the window. Then stops. He turns pale. Is sweating. LINDY (CONT'D) What. What. Eddie takes a step. And suddenly... He's across the room. Boom. A skip in time. EDDIE (V.0.) Then... I found myself at the door. With no consciousness that I had moved. He puts his hand on a table, steadies himself. He catches a look, in the mirror, of this lean, handsome, dapper shark he has become. LINDY Are you all right? He doesn't look all right. LINDA When was the last time you ate something? Dully the realization penetrates Eddie's fog: EDDIE (V.O.) It had been three days. INT. THE ORPHEUS ROOM - NIGHT Eddie sits at a table, discreetly wolfing a few appetizers. Kevin Doyle arrives, looking a little nervous. KEVIN Hey. He sits, launches in. KEVIN (CONT'D) He'll be here in ten. Now look, since we have a minute, be warned: Van Loon's mercurial. (MORE) (CONTINUED) 49. CONTINUED: KEVIN (CONT'D) One minute your best friend, the next...you're a leper. And he needs direct answers... anything tentative and you've lost him forever. I think we should rehearse a few scenarios.. EDDIE I'm eating, Kevin. There is so much quiet authority in Eddie's tone that Kevin just shuts up. But a moment later, looking at the sweat on Eddie's brow, Kevin is pecking at him again. KEVIN You up for this? You sure? Because I've got a little bit on the line HERE- EDDIE Have a toast point. Brazening it out again. Because Eddie isn't sure he can pull this off either. ACROSS THE ROOM - LATER There is that little stir from the hostess and staff that can only mean the entrance of a very rich and powerful man. EDDIE'S TABLE -LATER The martini is put down on the table. We tilt up to CARL VAN LOON, a young 50, no less vital and intense than the hungriest 27-year-old shark on the make. But he affects geniality. He sits; the middle-aged man with him, PIERCE, does the same. VAN LOON So. Eddie Morgan. He looks Eddie directly in the eyes. VAN LOON (CONT'D) What's your secret? A beat. Eddie looks at him back, directly in the eyes. EDDIE Medication. I'm on special medication. Another beat. And Van Loon laughs. Pierce doesn't. 50. ANOTHER ANGLE - LATER - THAT NIGHT Eddie is in mid-spiel, Van Loon listening intently. EDDIE --Yes, that's partially what I'm SAYING-- PIERCE (CONTEMPTUOUSLY) Pattern recognition? So that's your snake-oil? Look, if there's one thing we all understand, it's understanding itself --that's how the business works... (SCOFFING) Pattern recognition. Please. EDDIE (POINTEDLY) Of course, not everyone can understand the patterns. Kevin sucks in his breath. Pierce is annoyed. Van Loon is mildly amused, but not necessarily impressed. Eddie continues with his unstoppable, MDT-fueled insights: EDDIE (CONT'D) Look, there's no time for human judgement anymore. You see a chance, you blink, and it's gone. We entered the age of decentralized, online decision- making, with the decisions being made by hundreds of millions of individual investors around the world, people who don't even know each other -- making a killing in less time than it takes to sneeze. PIERCE Until they weren't. EDDIE Same rules, even in a panic. It's not understanding how companies work. It's understanding how mass psychology works. PIERCE (SCOFFING) And you have a formula. (CONTINUED) 51. CONTINUED: KEVIN (MEDIATING) Well, from 12 thousand to two point eight million in ten days-- EDDIE Yes. I do have a formula, Mr. Pierce. PIERCE (SNORTING) Delusions of grandeur. EDDIE I don't have delusions of grandeur. A beat, as we PUSH IN on Eddie's face. EDDIE (CONT'D) I have an actual recipe for grandeur. Kevin stares in horror. Van Loon still says nothing. EXT. THE ORPHEUS ROOM - NIGHT Eddie simply stands there coolly; Kevin is nervously saying goodbye to Van Loon and Pierce, making small talk. KEVIN ..and, oh, you know, she's on the wait list... Rosemary's pretty devastated... VAN LOON My daughter went there. I'll call the school for you. Kevin blubbers with gratitude. Van Loon's car pulls up. Kevin pumps his hand. Van Loon looks past Kevin -- to Eddie. VAN LOON (CONT'D) Eddie. Ride? It's the first real acknowledgement that he's taken Eddie seriously. INT. VAN LOON'S LIMO - MOVING - NIGHT Eddie and Van Loon regard each other. Finally, Van Loon speaks. (CONTINUED) 52. CONTINUED: VAN LOON I don't know who you are, Eddie, or what your game is, but I'm sure of one thing: you don't work in this business. I'm up to my ass in investment guys, and you don't have their half-cocky, half-terrified line of bullshit. Which is not to say I like yours any better. He picks up a file, hands it to Eddie. VAN LOON (CONT'D) But you obviously pick your stocks in a way I haven't seen. So tell me. We're thinking of acquiring these companies. Take a few minutes. What's your take on them? EXT. EDDIE'S APARTMENT BUILDING - NIGHT Van Loon's limo pulls up. INT. VAN LOON'S LIMO - NIGHT Eddie snaps the file shut, hands Van Loon back his pen flashlight. EDDIE But these companies aren't the question, are they? VAN LOON What do you mean? EDDIE Well -- you're upmarket energy -- what do you want with these little solar/windmill/hippie outfits? Van Loon's gaze is expressionless. EDDIE (CONT'D) --Unless you wanted to play both sides of the fence, control the whole energy enchilada. But these wouldn't get you there in emerging markets. You'd need... He eyes Van Loon, who is sitting up straighter. Eddie's hit a nerve. He smiels, whistles. (CONTINUED) 53. CONTINUED: EDDIE (CONT'D) Whoa, whoa. This must be some big- ass merger you're contemplating. A flicker in Van Loon's eyes. Bullseye. EDDIE (CONT'D) And there's really only one company with enough bling to justify a merger with Van Loon Associates... VAN LOON Have you been talking to somebody-? EDDIE Carl, it's just rationalization. He says it like it's the simplest thing in the world. Which, to a person on MDT, it is. Van Loon grinds his teeth. Wanting to talk about it, but too skittish. EDDIE (CONT'D) Is Hank Atwood going to go for it? A long beat. VAN LOON You are either an amazing con artist or a very smart young man. EDDIE Come on -- the two of you together? The world would have to come to you begging for energy like Oliver Twist with his little bowl of gruel. A beat as the two men stare at each other. VAN LOON You realize that if the press got one whisper of -- I can't fucking believe I'm even discussing this-- EDDIE It doesn't matter. It won't come off. Now Van Loon chuckles, amused by Eddie's audacity. (CONTINUED) 54. CONTINUED: (2) VAN LOON The word "brazen" does not even begin to go there. EDDIE You'd have to back off Libya. VAN LOON Why? He's come this far-- Eddie suddenly pulls back the bait. EDDIE I don't think you'd want to hear about it from some shmuck who needs a ride home. VAN LOON You're a gusty little prick, Eddie. EDDIE Ooh. Now you're curious. VAN LOON Yeah. I must admit. You've hit a couple pretty big buttons. Go on. Tell me what you think. EDDIE (DISMISSIVE) It's getting late. Van Loon laughs. VAN LOON All right. You get your shot. Come to my office, tomorrow at ten, and tell me just exactly how the schmuck who needs the ride would re- structure this deal. Eddie nods. VAN LOON (CONT'D) And you better be prepared. EDDIE I'm at your disposal. Eddie opens the car door. Van Loon eyes his building, scoffs. VAN LOON You don't really live here...? (CONTINUED) 55. CONTINUED: (3) Eddie smiles. EDDIE The Spartans weren't big on amenities. VAN LOON Yeah. And they eventually got their asses kicked. He gets out. Van Loon drives off. EXT. EDDIE'S BLOCK - NIGHT EDDIE (V.0.) I didn't go in. Eddie keeps walking by his building. EDDIE (V.0.) (CONT'D) I wanted to walk, move, digest, ingest... His stride picks up, buoyantly. EDDIE (V.0.) (CONT'D) There are moments in life, moments when you know you've crossed a bridge, your old life is over. Van Loon was my bridge. One week, two weeks from now, I would be hobnobbing with ambassadors, flying to Dubai for meetings, blowing off supermodels, vacationing in Medici villas... And that too, was only a bridge... He steps off the curb. EDDIE (V.0.) (CONT'D) Suddenly... A SHARP, JARRING CUT TO: EXT. HOUSTON STREET - NIGHT Eddie is stepping off another curb, God knows where. EDDIE (V.0.) There was another skip. (CONTINUED) 56. CONTINUED: He stops, rocked. EDDIE (V.0.) (CONT'D) How had I gone that last 20 blocks? I got another ten... ON EDDIE WALKING... EDDIE (V.0.) ... then... ...in mid-step... EXT. UPPER 5TH AVENUE - NIGHT Eddie is walking past the Metropolitan Museum. EDDIE (V.0.) I was back uptown. A SHARP, JARRING CUT TO: INT. A CLUB - NIGHT Eddie is suddenly sitting at a bar, picking up a drink, people around him... EDDIE (V.0.) What bar was this? Was it Harlem...? A SHARP, JARRING CUT TO: Eddie is dancing with a BEAUTIFUL BLACK WOMAN... EDDIE (V.0.) Same bar? Different bar? How long had passed...? He breaks away from her, starts for the door... A SHARP, JARRING CUT TO: INT. A CLUB LADIES ROOM - NIGHT Eddie comes to in the act of banging THE BEAUTIFUL BLACK WOMAN savagely, against the stall door. EDDIE (V.0.) And it happened again-- A SHARP, JARRING CUT TO: 57. EXT. HARLEM STREET IN FRONT OF BAR Bam! A LARGE BLACK MAN crumples in front of Eddie -- goes down, hit, blood pouring from his nose. (Could he be the boyfriend of the girl Eddie's just banged?) Eddie stares at his bloody fist. It hurts--! EDDIE (V.0.) And again... INT. A LOFT - NIGHT EDDIE (V.0.) And again... Eddie sits on a plush sofa with several MIDDLE-AGED INTERNATIONAL TYPES, some chattering in Italian. He has a drink in his hand. There are paintbrushes, paints and canvasses strewn around... a live/work space. EDDIE (V.0.) (CONT'D) And again... A SHARP, JARRING CUT TO: (And now the images are speeding up:) INT. A HOTEL CORRIDOR - NIGHT Eddie is walking down the plush corridor with an ATTRACTIVE MIDDLE-AGED LATIN WOMAN we saw at the artist's loft... Now it's just FLASHES --skimming stones of consciousness-A WINE CORK being popped. A PLATE OF MUSSELS swimming in wine sauce. Rumpled SHEETS. And then...A BLUR OF MOTION -- bodies, a swirl of riotous color -- A FRENZY OF SHOTS: A CAB STOPPING. A GARGOYLE ON A BUILDING. A DOG LEASH ABANDONED IN A PUDDLE. No rhyme, no reason, just image, image, image... And then blackness. EXT. THE BROOKLYN BRIDGE - DAWN Eddie is walking, now with a limp. He stops. Looks back. The familiar postcard view of Manhattan is ahead of him, looking like it always looks. EDDIE (V.0.) When it finally stopped, I couldn't account for the last eight hours of my life. (CONTINUED) 58. CONTINUED: He notices his foot hurts when he puts it down. He has a limp. EDDIE (V.0.) (CONT'D) There was nothing to do but walk home. He turns around and limps back towards the island. INT. EDDIE'S BEDROOM - MORNING Eddie is sleeping in all his clothes. EDDIE (V.0.) It was my first sleep in two days. INT. EDDIE'S LIVING ROOM - DAY Eddie, looking very groggy, is holding a THICK PACKET marked "Van Loon Associates, -BY COURIER." The files Carl Van Loon sent. Sitting on the dining table is an MDT tablets. He stares at them. EDDIE (V.0.) Should I? Would I start "skipping time" again? He pushes the tablets away. Doesn't take them. ANOTHER ANGLE - TIME CUT Eddie is sitting in his reading chair, exhausted, going through the paperwork. EDDIE (V.0.) Even off MDT, I decided to give Van Loon's files a shot. VAN LOON'S FILES - CLOSE Eddie leafs through them... pieces of paper charting corporate growth, covered with charts, graphs, and mind- numbing statistics. PUSH IN ON Eddie's face, as he realizes... EDDIE (V.0.) They were fucking hieroglyphs. INT. A WALL STREET OFFICE - DAY The phone rings. Kevin Doyle picks it up. (CONTINUED) 59. CONTINUED: KEVIN Hello--? Eddie--? What are you talking about? And we CROSS-CUT between them: EDDIE I can't make the meeting, I'm, uh... I'm sick. It's a lame excuse, it sounds lame as he says it, but then, he's off MDT. KEVIN Yeah, well, you can't have the fucking flu right now -- he'll never give you this chance again! EDDIE I need to, ah, analyze this data- We see the two men continue to talk, Kevin growing more agitated, Eddie growing more sheepish as we HEAR: EDDIE (O.S.) (CONT'D) Already I recognized it... the thick tongue, the leaden synapses. It was regular Eddie - the Eddie that, now, was unbearable to be. We FADE UP THE SOUND on the two men: KEVIN ... Don't you get it?! This is your test--! EDDIE Well, I can't pass a fucking test right now! KEVIN And how am I going to look if you don't? Eddie looks pretty bad. He massages his temples. EDDIE Okay, Kevin. Okay. He hands up on a still-yammering Doyle. He picks up the MDT pill, looks at it. (CONTINUED) 60. CONTINUED: (2) EDDIE (V.0.) (CONT'D) It was my first morning off MDT in a month. The beginnings of a headache was curling around my head like a big fat, greasy python. Again, he looks at the MDT tablet, weighing his options. EDDIE (V.0.) (CONT'D) But the time-skips had me scared. He puts the tablet back down on the table. INT. THE REGENCY HOTEL RESTAURANT - DAY Eddie walks in, much more tentative in his stride, fear in his eyes. This is the real Eddie, the non-MDT Eddie and he feels suddenly out of place with the curly maple paneling antique Persian carpets. EDDIE (V.O.) My thought -- such as I had one -- was to tap dance with Van Loon until I could find out more about MDT. INT. BAR AREA - DAY Eddie sits on a couch, Pierce on another chair, Van Loon opposite, watching him. VAN LOON What do you know about Hank Atwood? EDDIE Uh... iconoclast... owns, um, a lot of Colorado... He's struggling. VAN LOON Uh-huh. So this is "prepared," Eddie? He shoots Eddie a look of withering contempt. Eddie holds the stare and shoots a look back. EDDIE What is this, Atwood 101? Everyone knows about Atwood. VAN LOON Where was he two years ago? (CONTINUED) 61. CONTINUED: A flash of panic in Eddie's eyes. What's the right answer? EDDIE Nowhere. An agonizing pause. Then Van Loon nods. VAN LOON Two years ago Forbes didn't even have him on the radar. EDDIE Yeah, his Great Leap Forward. Eddie is faking it. Pierce is looking at him intently. But Eddie's staying afloat. VAN LOON The guy comes on, out of nowhere, so fucking strong he has me on the run. Beat me out of two properties, invests in bumfuck countries with no oil, places I wouldn't go near, sextuples his money. Eddie's glance flicks to the TV behind the bar. A WOMAN'S PICTURE flashes on the TV screen -- and he recognizes it. It's the ITALIAN WOMAN he met last night! VAN LOON (CONT'D) ...Always picks green technologies, invests in them, and a year later he owns them. Eddie strains to hear the ANCHORWOMAN'S VOICE... ANCHORWOMAN ... found dead in her hotel room last night, victim of foul play. Eddie tries to keep his face immobile. Van Loon's voice drones on, distorted now, as we HEAR Eddie's heart pounding. VAN LOON ...100 billion if he has a nickel... and I have to convince him, somehow, that I can raise his game. ANCHORWOMAN An unidentified eyewitness has reported seeing a man with a limp leaving the scene. (MORE) (CONTINUED) 62. CONTINUED: (2) ANCHORWOMAN (CONT'D) Anyone with information should contact local law enforcement authorities. --Steve? Eddie bolts upright. VAN LOON You can't tell me he's in this to improve the fucking planet. He owns a ball team. Eddie is pale, sweaty, faint. There's only one thing to do: EDDIE Excuse me. Eddie dashes out. Van Loon and Pierce look at each other. EXT. THE REGENCY - NIGHT Eddie bursts from the door, VOMITS into the gutter. EDDIE (V.0.) I couldn't have. He leans against a street sign, trying to right himself. He gasps for breath. EDDIE (V.0.) (CONT'D) ...or could I? INT. EDDIE'S LIVING ROOM - DAY Eddie comes in, breathing wildly, panicked. EDDIE (V.O.) If I could walk, talk, conduct business, seduce a woman, fight-- with no memory... could I kill someone? Was it even me? Who was I?! Immediately the PHONE RINGS. He nearly jumps out of his skin. He can't answer. He sits on the couch, head in his hands, rocking, as it rings. Finally, the machine picks up. MELISSA'S VOICE Hi, Eddie... it's Melissa. Listen, call me back as soon as you-- Eddie lunges for the phone, picks it up. (CONTINUED) 63. CONTINUED: EDDIE Melissa--? MELISSA (surprised he picked up) Eddie--? EDDIE Melissa, I want to talk to you. Please. Meet me somewhere... MELISSA We're talking now. EDDIE Nonono -- at Charlie's, across the street. At two. MELISSA You can't see me, Eddie. EDDIE Please. Melissa -- it's important, please come -- you have to tell me what you're talking about! But she's already hung up. CLOSE ON - EDDIE'S DRESSER DRAWER - DAY Eddie's hands rummage through everything... EDDIE (V.0.) I realized that there were other people who might know about MDT... His hands find what they're looking for. Vernon's LITTLE BLACK BOOK. EDDIE (V.0.) (CONT'D) Vernon's other clients. INT. EDDIE'S BEDROOM - DAY Eddie sits on the bed, the black book open on his knees. Eddie looks at the page, then reaches for the telephone. Picks it up. Hears STRANGE CLICKS over the dial tone. He puts down the phone, fear on his face. 64. EXT. DOWNTOWN STREET - DAY Eddie walks, slipping through the crowd, trying to suppress his limp... he looks nervously behind him... is that MAN in the TAN RAINCOAT following him? He tries to walk faster, but it makes his limp more pronounced. He turns the corner. He seems to have lost the guy. EXT. WASHINGTON SQUARE PARK - DAY Eddie sits on a park bench, making calls on his cell phone. EDDIE Hello, may I speak to Paul Kaplan, please? WOMAN'S VOICE (SUSPICIOUS) Who is this? EDDIE I'm a journalist. From Electronics Today magazine. WOMAN'S VOICE Look... my husband died three days ago. Eddie is floored. EDDIE I'm... I'm so sorry. Goodbye. SMASH CUT TO: Eddie has dialled another number. EDDIE (CONT'D) I, ah, may I speak to Jerry Brady? MALE VOICE Jerry's in -- who's this? EDDIE Uh-- Bill Johnson. MALE VOICE Well Bill... Jerry's in the hospital... (VOICE QUAKING) ...and he's really sick. (CONTINUED) 65. CONTINUED: EDDIE Oh my God. What's wrong with him? MALE VOICE We don't know. He just started getting these headaches a couple of weeks ago...? Then, uh, last Wednesday he collapsed at work... SMASH CUT TO: Eddie turns to the last page of Vernon's book. EDDIE (V.O.) Of all the people I called, three were dead, and the rest were sick. Eddie dials the last number. Instantly, there is a RING. We RACK FOCUS TO-The MAN in the TAN COAT, sitting a discreet distance from Eddie. His phone is ringing. Eddie turns white. The man takes out his cell phone and answers. MAN'S VOICE Hello...? Hello...? The man suddenly looks up. Locks eyes with Eddie. Knows that he knows. Eddie leaps up, begins to run. The man leaps up and follows. EXT. DOWNTOWN STREET - DAY Eddie runs desperately, as fast as a person off MDT possibly can. He still has the limp from his blackout escapade, too. He can't run fast. Tan Coat is gaining. Eddie collides with pedestrians, steps on street sunglass displays, sends a saxophonist sprawling. EDDIE (V.0.) In the end, my stupidity saved me. Eddie, panicked, not looking, runs for the crosswalk. EDDIE'S POV - A HUGE TRUCK is barrelling, unstoppably, right towards him--! (CONTINUED) 66. CONTINUED: EDDIE is frozen. The TRUCK SWERVES, up on the curb. Tan Coat must dive out of the way, knocking down pedestrians like bowling pins, as the TRUCK hits a STREETLIGHT, mangling it -- then is WHACKED -- twice -- by TWO CABS piling up behind it. When Tan Coat extracts himself from the pile of prone pedestrians, his last glimpse is of- EDDIE - DOWN THE BLOCK disappearing down into a Subway entrance. Swallowed by a crowd. TAN COAT hesitates, but knows that he can't catch up. Eddie's given him the slip. This time. INT. CHARLIE'S COFFEE SHOP - DAY Eddie, limping, enters, looking around anxiously. EDDIE (V.0.) What was I dealing with? Who could tell me? I hoped against hope... that Melissa would show. EDDIE'S POV - SCANNING THE PLACE Not one person in it could possibly be Melissa. Eddie sighs. Turns to go. FEMALE VOICE (O.S.) Eddie...? Eddie turns back. There, sitting at a booth, is a thick- waisted, short-haired brunette middle-aged woman, wearing a large, shapeless sweater. Eddie had looked right at her... and not recognized her. She bears no relationship to the siren Melissa of his memories. Eddie tries to hide the shock on his face. EDDIE Melissa...? He goes to her, sits. Yes, it's the same person, but dramatically, tragically changed. Her face is puffy, her pallor blotchy. There are lines under her eyes and around her mouth, lines brought on by more than the passage of a few years. Eddie tries to conceal his shock. (CONTINUED) 67. CONTINUED: EDDIE (CONT'D) You... how are you doing? Melissa responds with a cynical shrug. Then, she eyes him. MELISSA Don't tell me I look good, because I know I don't. I didn't want you to see me this way... (BEAT) You look good. EDDIE I guess I lost some weight... MELISSA Yeah, well, MDT'll do that to you. They regard each other for minute, unsure of where to start. Old emotions. New emotions. Shock. Dismay. Affection. MELISSA (CONT'D) I know you've been doing it. I just read the Post. Eddie. Short-selling stocks? Second-guessing the markets? You? Come on. Eddie doesn't know what to say. EDDIE Since when do you read the Post? MELISSA These days, the Post's about all I can read. EDDIE Melissa, what do you mean? MELISSA I mean, I did it too. And I only took nine or ten hits. Vernon didn't tell you any of this, did he? EDDIE No. Melissa snorts as if to say, typical. MELISSA Well, when he told me about this amazing new drug... (MORE) (CONTINUED) 68. CONTINUED: (2) MELISSA (CONT'D) I was like, down the hatch. And it was amazing. I read Brian Greene's The Elegant Universe in 45 minutes and understood it. My work rate increased... just, insanely, overnight. My boss started to hate me -- they offered me his job. And then I got scared. EDDIE Why? MELISSA I'm not stupid. I mean, nobody can keep up that level of mental activity and not crash. I stopped taking it. EDDIE And...? MELISSA I got sick. Headaches, throwing up... I went back to Vernon to see if I maybe shouldn't take another hit, or half a hit, and then he told me about... about the people who were dying. One guy didn't die, but he's a vegetable, his mother has to sponge him down every day... (BEAT) How much have you been taking, Eddie? A long beat as they look into each other's eyes. EDDIE A lot. MELISSA Well, maybe they've worked out the bugs. Maybe... maybe this isn't the same batch... Eddie hates the look in her eyes. His hands are at his temples. MELISSA (CONT'D) You're off it right now, aren't you? EDDIE Yeah. (CONTINUED) 69. CONTINUED: (3) MELISSA Are you getting a headache? EDDIE Finish your story. MELISSA Well, I didn't take more. And I didn't die. But after a while I found I couldn't concentrate on anything for longer than ten minutes. I missed deadlines. I got lazy... and slow... put on weight... the magazine let me go. My husband checked out. Sex? Get out of here. She leans back, looks him in the eyes. MELISSA (CONT'D) That was two years ago, and I haven't been the same since. I can't read any more -- I mean, the fucking New York Post? Eddie feels ill, physically ill, hearing this. MELISSA (CONT'D) After this, I'm going to have a migraine for three days. And I've got to pee. Which is another thing. She gets up... goes to the Ladies room. And now Eddie sees -- she wears a LEG BRACE. Like a kid, from the old days, with Polio. EDDIE (V.0.) How many times had I thought of her, my first real love... We see FLASHES OF YOUNG MELISSA... EDDIE (V.0.) (CONT'D) But that Melissa had unraveled in time and space -- she was a ghost now. I was never going to see her again, never bump into her in the street... The tears gather behind Eddie's eyes. He can't help it. He puts his hand to his face to hide his emotions. 70. EXT. COFFEE SHOP - DAY Eddie leaves with Melissa. He is controlling his tears -- barely. MELISSA You have some left? Good. Go home and take it. Take the dose down, but don't just stop -- you'll die if you just stop. Try to taper off. Otherwise, the headache's just the beginning... I have to go-- Eddie, indeed, is rubbing his temples. EDDIE But when I run out-- MELISSA I don't know. I have to go-- Eddie catches her arm. EDDIE Who invented MDT? MELISSA I don't know-- (BEAT) Goodbye, Eddie. He lets go of her arm. A puffy, crippled woman about to cry. She turns her back and moves away from him, stiffly, limping, without looking back. EXT. EDDIE'S POV - HIS APARTMENT BUILDING - DAY EDDIE (V.O.) No one seemed to be watching my apartment, maybe I could chance it. ON EDDIE He glances around - the coast is clear - and sets off across the street. He looks weak, ill - his breathing labored. He stumbles - catches himself EDDIE (V.O.) (CONT'D) I was getting sicker by the moment. Luckily I had one pill on me... He pulls it from his pocket. (CONTINUED) 71. CONTINUED: WHAM! He's pushed up against the wall of his building. Not by Tan Coat. By GENNADY THE RUSSIAN. GENNADY You fucking forget about me? Huh? Eddie is stunned -- Gennady whacked his head against the building pretty hard. He still clutches the MDT tablet tight in his fist. EDDIE I... I... ahh... GENNADY One o'clock? And you not here?! Eddie tries to catch his breath. EDDIE I'm here now! INT. EDDIE'S LIVING ROOM - ON THE DOOR They come into his apartment, Eddie using all his energy to stay upright. EDDIE I'll get you a check. Gennady turns to ice. GENNADY A check? A check?! You out of your fucking mind?! What you think we are, some financial institution? Eddie realizes his brain isn't working --of course Gennady can't take a check. EDDIE Gennady, look- GENNADY I cut your balls off! EDDIE I wasn't thinking. Look, we just need to go to my bank- OOF! Gennady has punched him in the stomach. Harder than he's ever been punched. Eddie gasps for breath... holds his fist to his body, protecting the pill. Gennady notices. (CONTINUED) 72. CONTINUED: GENNADY What you got there? EDDIE NOTHING-- Gennady grabs Eddie's wrist and wrenches his hand open. EDDIE (CONT'D) It's aspirin. Gennady snatches the pill away from him. Examines it. GENNADY Don't look like no aspirin I ever see! His voice drips with crude contempt. GENNADY (CONT'D) What is it? Something good, eh? In one swift motion, Gennady pops it in his mouth and swallows it! Eddie is mute with shock. INT. A BANK - CLOSE ON Eddie's shaking hands are handing Gennady a thick envelope. EDDIE That's the whole thing, plus twenty. He looks desperately ill. He can barely stand. Gennady, meanwhile, is coming on to MDT. GENNADY I feel good. What in that shit? EDDIE Aspirin and vitamins. GENNADY You fucking full of shit, Morgan. I know you lie about the movie script too. He wants to hit Eddie again, but thinks the better of it with all the bank cameras. 73. THE MONITOR - We see Gennady give the camera a gay little wave, then turn and walk out. EXT. THE STREET - DAY Eddie lurches along the street, staggering like a drunk, barely able to walk. People avoid him, veering away. EDDIE (V.O.) I had to get my stash. INT. LINDY'S OFFICE - DAY Lindy clearly has a mid-level executive job; her office is better than a cubicle and she has a bit of a view. There is a KNOCK. A FEMALE ASSISTANT appears in the door. FEMALE ASSISTANT Lindy...? I wouldn't have let him in, but I know you know him... EDDIE appears in the door, looking deathly ill. LINDY It's all right, Lisa. The girl goes. Lindy, sensing something dire, leaps up and closes the door. Eddie immediately collapses on the floor. Lindy kneels down to help him - competent, trying to stay calm. LINDY (CONT'D) Eddie-- What is it--? EDDIE I'm sorry -- I'm sick. I wasn't going to make it home- LINDY Okay. Okay, I'll get you to a DOCTOR-- EDDIE IT WON'T HELP--! I need to get-- it's very simple: I need my pills. LINDY What kind of pills? (CONTINUED) 74. CONTINUED: EDDIE They're... for my headaches... LINDY What headaches? What are you--? (beat, realizing) Are you on some drug? EDDIE It's... complicated. LINDY Oh. Oh. So all this energy of yours, all this focus... has been some drug, Eddie? EDDIE Not... the way you... LINDY You need a doctor. EDDIE No. That won't-- Eddie's PHONE rings. He and Lindy look at each other. He answers it. EDDIE (CONT'D) Hello? INT. VALERIE (HIS LANDLADY'S) APARTMENT - DAY Valerie is on the phone. And we CROSS-CUT BETWEEN THEM: VALERIE What the hell are you doing up there? EDDIE W-what? There are, indeed, LOUD NOISES coming from above her. VALERIE Are you tearing up your floor or something?! Understanding in Eddie's pained eyes. He clicks off the phone. EDDIE (V.0.) I knew what was going on. 75. INT. EDDIE'S APARTMENT -A SERIES OF QUICK SHOTS -DAY MALE HANDS are ripping the place to pieces. Pulling the toilet from the wall. Cutting open the mattress. Taking apart Eddie's computer. INT. LINDY'S OFFICE - DAY LINDY ...a smart drug...? EDDIE It was supposed to be legal. LINDY Oh, Eddie... you jerk. EDDIE I have a supply... stashed... LINDY (knows what's coming) No. EDDIE I just need... to get it... LINDY And I'm supposed to just GO?! In the middle of my work day?! To your APARTMENT to get you more DRUGS? INT. EDDIE'S APARTMENT - DAY The MALE HANDS have found Eddie's hiding place. They LIFT the old BROILER of the STOVE... ...and... The MDT IS NOT THERE. The broiler is slammed down in anger. INT. LINDY'S OFFICE - DAY EDDIE Not to my apartment. I moved it. LINDY You did--? Why?! EDDIE I was smart. I was on MDT. LINDY Then where did you keep it--? (CONTINUED) 76. CONTINUED: He looks at her, guiltily. LINDY (CONT'D) Oh, you prick. INT. LINDY'S LIVING ROOM - DAY Lindy enters. Tense, panicked. She walks to a SQUARE END TABLE, takes the lamp off it. The table is actually a box -- she lifts the lid. She reaches in... and pulls out the PACKET OF MDT. LINDY You asshole... in my fucking HOUSE?! Furious, she stuffs it into her purse and goes for the door. EXT. LINDY'S BUILDING - DAY As she leaves, we see that we are in the POV of... A MAN across the street. He clicks open a CELL PHONE. INT. LINDY'S OFFICE - DAY There is a KNOCK on the DOOR. Lying on the floor, trying to breathe, Eddie ignores it. His PHONE rings again. It takes a lot of effort just to answer it. EDDIE Hi -- Have you got it? And we CROSS-CUT BETWEEN: INT. A MOVING CAB - DAY Lindy is on the phone. Her voice is tense, terrified. LINDY Yes. --Eddie, there's someone following me. EDDIE Are you sure? LINDY He got into the cab behind me, and they're making every turn I'm making! (CONTINUED) 77. CONTINUED: EDDIE Don't get out. LINDY What the fuck did you put me in the middle of--?! EDDIE Call the cops. LINDY (PANICKING) There's traffic. We're slowing down... (to the driver) Go around him! Go around! (TO EDDIE) Shit! We're stopped dead. (A GASP) He's getting out, Eddie -- he's walking over here- Eddie, helpless on the floor, can do nothing. EDDIE LINDY--!!! EXT. FIFTH AVENUE - DAY Lindy bolts from the cab just as TAN COAT puts his hand on the opposite door. She takes off into Central Park. And he's after her like a shot. EXT. CENTRAL PARK - DAY Lindy veers off the path, through the trees, zig-zagging, trying to find a place not to be seen. TAN COAT Zig-zags too, not far behind her. LINDY Begins to scream, desperate: LINDY Help! Help!! Up ahead, miraculously, A COP ON HORSEBACK. He steps the horse toward her. She races over and presses her body against the side of the horse. (CONTINUED) 78. CONTINUED: She's so panicked and out of breath she can barely speak. LINDY (CONT'D) There's... a... man... chasing me. He has a long, tan -- The cop seems to be paying attention, then suddenly GRUNTS and TWITCHES, his eyes flutter, glaze... and HE TOPPLES OFF HIS HORSE to the ground... ...revealing TAN COAT, on the other side of the horse. The BLADE in his hand is bloody. LINDY runs.... tries to lose herself in a WEDDING PARTY... comes to a section of huge, decorative BOULDERS and ROCKS. Dives behind one of them. Ahead, she can see the outdoor ICE SKATERS, couples, families, enjoying the ice. It seems surreal. Several yards behind her is TAN COAT, looking behind every tree, every trash bin. Lindy picks up the phone, keeping her voice low, although she's hyperventilating. LINDY (CONT'D) Are you still there? And we CROSS-CUT BETWEEN: INT. LINDY'S OFFICE - DAY EDDIE Yes. What's happening? LINDY I'm hiding, but I'm stuck. He'll find me! EDDIE Just be still, stop talking. LINDY He killed a cop-- EDDIE What? LINDY He's going to kill me, Eddie! EDDIE Listen to me. Can he see you? LINDY (CRYING) You fucking asshole-- (CONTINUED) 79. CONTINUED: EDDIE Can he see you?! LINDY Not yet. --I don't know what to do! What do I do--! EDDIE There is something. LINDY What?! EDDIE Listen to me. Reach into the bag and take one of the pills. LINDY S-swallow one of those things?! EDDIE Yes. Tan Coat is getting closer. EDDIE (CONT'D) You will know what do to, Lindy. Take one, and you'll know. LINDY He's got a knife -- I can't think my way out of a knife--! EDDIE You'll come on in thirty seconds. And yes, you will think your way out, that's what it does. Are you taking it--? She swallows the pill. LINDY (A BEAT) Yes. He's getting closer. EDDIE Lindy. I love you. (A BEAT) --Lindy? Are you there? A beat. We PUSH IN on Lindy's eyes. Which are changing. Growing more steely. Determined. (CONTINUED) 80. CONTINUED: (2) LINDY Eddie...? I feel it. She hangs up. Eddie is left looking at the phone. EXT. CENTRAL PARK - DAY Tan Coat is perhaps five yards behind Lindy and getting closer. But she's not crying any more. She's looking at-THE ICE SKATING RINK, and the skaters, whirling across the ice. LINDY'S eyes flash. She knows what to do. Suddenly, she BOLTS from her hiding place behind the rock, tearing down the hill as fast as she can. Tan Coat is behind her like a shot. EXT. THE ICE SKATING RINK - DAY Lindy races down the hill, pushing past the line of people, and onto the ice... Tan Coat is clearly desperate --he doesn't give a shit who sees him chasing her. In a flash, he's on the ice after Lindy, running and sliding. People collide with him, he pushes skaters aside, sending them sprawling... Just as he's closing in on Lindy... Lindy wheels around, grabs a SIX YEAR OLD GIRL under the arms, and HOISTS HER INTO THE AIR, swinging her legs at Tan Coat as hard she can! The little girl's skates arc through the air --whoosh! -and connect, CUTTING Tan Coat's FACE. Badly. He sinks to his knees, hand to his cheek, welling blood. People scream and scatter. Lindy keeps her wits about her. She runs, sliding across the ice, and leaping the fence, with surprising grace. She's gone. INT. LINDY'S OFFICE - DAY - ON EDDIE'S HAND - CLOSE as an MDT pill is put into it. A WIDER SHOT shows Eddie swallowing it with a glass of water. LINDY sits across the room, looking at him, her expression cool and composed. They look at each other, a look of understanding. 81. INT. W HOTEL - LOBBY - DAY Eddie finishes checking in, Lindy beside him. He seems completely restored to his sharp, snappy self. The desk clerk gives him a key. He puts his arm around her, leads her to the elevators. INT. W HOTEL - ROOM - NIGHT Eddie takes Lindy's hands, sits her on the bed. EDDIE We'll stay here for a couple of days. We'll be powered up, we'll be able to think our way out of this... He kisses her hands. Looks into her eyes. EDDIE (CONT'D) I'm back. All right? Lindy looks at him for a long moment. LINDY Who's back, Eddie? EDDIE I can take care of you now. LINDY That was never what I wanted. EDDIE A lot's going to happen for us. And everything that I will have... I will share with you. I will love you. Lindy's head comes up. She looks at him, steely. LINDY You know... you were always smart. You could have done this. Not this... but some of these things... maybe a third of these things... without any smart drug at all. A third of all this... to most people...? ...would be plenty. She gets up, turns away from him. (CONTINUED) 82. CONTINUED: LINDY (CONT'D) I understand that stuff now, Eddie. And I don't blame you for taking it. No one could ever tell you, till you take it, what it can do. Invincibility in a bottle. And I know I'm going to think about taking it again every day for the rest of my life. There's eerie quiet to her tone that Eddie hasn't heard before. A matter-of-fact chill. LINDY (CONT'D) But once you can see everything that way, mapped out like that, on a grid... and always be right...? Who'd want to wing it? Who'd want to fuck up? Who'd want to be human? She heads for the door. LINDY (CONT'D) I just came up to say goodbye. I don't ever want to see you again. I'm not even going to stay in New York. Don't try to find me, and don't try to help me. She goes. He knows there's no point in stopping her. She's done with him. EXT. W HOTEL - LATER Eddie at the WINDOW, looking down... EXT. EDDIE'S POV - THE STREET He sees Lindy briskly walking away. RACK FOCUS as Lindy passes... GENNADY. Leaning against a sign post. Lighting a cigarette. And looking up at Eddie's hotel. Waiting. EXT. W HOTEL - DAY Gennady stands there, looking up at the hotel. So he's a little surprised to find EDDIE walking right up to him. EDDIE Looking for me? Gennady quickly gets aggressive: (CONTINUED) 83. CONTINUED: GENNADY You think you can run out on me? You think I don't know where you are? EDDIE I was under the impression that our business was settled. Something is jammed into Eddie's ribs. Something under Gennady's coat. Eddie doesn't blink. GENNADY Walk. Gennady walks him around the corner, down some stairs, to the (deserted) ground entrance of someone's apartment. Eddie remains cool. EDDIE So now you're going to rob me? I thought you were a businessman. GENNADY I want some more of that shit. EDDIE What shit. GENNADY The pills. He whacks Eddie, hard, across the face. Eddie, stoic, on MDT, doesn't react. EDDIE Well, so do I. You took the last one. GENNADY So you get me more. EDDIE I can't get more -- the dealer's dead. Now Gennady smiles. GENNADY Oh. Well. Too bad for you. Because how you gonna go to those fancy meetings with your nose fed to my dog? (CONTINUED) 84. CONTINUED: (2) Eddie doesn't like that Gennady knows anything about his business life. But he stands his ground. EDDIE Nothing. I. Can. Do. GENNADY Make some calls. One hundred pills. EDDIE A hundred can't happen. The dealer's dead, I have to call three people to even get a line on-- The gun barrel is brought up beneath Eddie's chin. GENNADY You know I don't really do this. So clean, like this. What I do to you, I do in stages. EDDIE I might... be able to get ten. GENNADY Ten. Fuck your ten. EDDIE (holding his ground) Ten. And no guarantee there's more. Gennady looks at him for a long, menacing moment. GENNADY Oh, I think guarantee. But he's accepted the ten. For now. He PUSHES Eddie against the wall, hard, knocking the wind out of him. EDDIE (V.0.) Self-pity and MDT were not compatible. One has to go on... INT. HOTEL LOBBY - CLOSE ON - A SMALL ENVELOPE being put into Gennady's hand. A wider shot reveals Eddie, watching Gennady with contempt as he grabs a fistful of nuts off a bar table as he goes. Pig. EDDIE (V.0.) ...Patch up what's left... 85. INT. CARL VAN LOON'S OFFICE - DAY VAN LOON I won't deny you pissed me off, Eddie. EDDIE I was sick. I shouldn't have gone to the meeting. I tried to cancel, but Kevin imploded on me-- Van Loon looks at Eddie penetratingly. VAN LOON I didn't know who or what I was talking to. EDDIE A hundred and five, is what you were talking to, Carl. Delirium. VAN LOON Look, there can't be any instability. Not when you're playing at this level. EDDIE I sent over my revised projections-- VAN LOON I didn't ask for your projections. EDDIE I know, but I think if you look at THEM- VAN LOON I already have. A long beat as the two men size each other up. Van Loon looks away, but a tiny smile creases the corner of his mouth. VAN LOON (CONT'D) As a matter of fact, there were firings over your projections. EDDIE I'm sorry. VAN LOON ...some things my team missed. So, oddly enough, I find myself... needing to fill a position. (CONTINUED) 86. CONTINUED: Eddie stays cool. He's in. INT. VAN LOON CONFERENCE ROOM - DAY EDDIE (V.0.) Two months after I started MDT, I was helping broker the most important merger in corporate history. Eddie sits with Van Loon, Pierce, and several POWERFUL LOOKING MEN, conferring. They look at an elaborate chart/graph that Eddie is sketching... even Pierce, his detractor, looks impressed. INT. W HOTEL - NIGHT Eddie is eating a luxurious room service dinner, going through files and projections. EDDIE (V.O.) I found that if I maintained an even dose... remembered to eat... drank no alcohol... the blackouts didn't recur. Eddie shakes one MDT pill into his hand, downs it. INT. LAYFAYETTE DAY TRADING - DAY Eddie is back on the trading floor, a crowd around him. EDDIE (V.0.) I was quickly back up to speed... INT. A MADISON AVENUE TAILOR'S SHOP - DAY Eddie is being fitted for new suits. EDDIE Is it possible to construct an... imperceptible compartment? TAILOR Certainly, sir. How large? EDDIE Quite large. The Tailor nods, makes a note. He's certainly not going to ask any questions. (CONTINUED) 87. CONTINUED: EDDIE (CONT'D) I would never again stash my MDT, not in an apartment, not in Fort Knox. INT. A WINDOWLESS ROOM - DAY Eddie, buzzing with charismatic authority, speaks to TWO BEEFY MEN, who are professional muscle. (Note: one has very elaborate tattoos on his fingers.) EDDIE I don't want it known that I have any security. You won't precede me, you'll follow me, never less than ten steps behind... `inconspicuous' doesn't begin to describe you. You're not there. You're a CEO'S wife -- you're wallpaper. The men nod. They understand. INT. EDDIE'S HOTEL BATHROOM - DAY Eddie straightens his tie. Then opens his suit jacket, reaches in, and pulls along a seam. An invisible POCKET OPENS. EDDIE (V.O.) Safer though my stash now was, I was not sitting around until it ran out. INT. A LABORATORY - NIGHT The place is state of the art, but it's an after-hours, furtive meeting Eddie is having with a TECHNICIAN, who passes back a small PLASTIC ENVELOPE to Eddie. In it we see SEVERAL TABLETS of MDT. TECHNICIAN Well, it's nothing you can cook up on a stove top. Whoever made it, it's a real pro act. EDDIE Can you make more? TECHNICIAN Can I combine these ingredients in the same exact quantities? Yes. (MORE) (CONTINUED) 88. CONTINUED: TECHNICIAN (CONT'D) But the exact method of delivery to the brain...? Darts at a dartboard. EDDIE Meaning...? TECHNICIAN Clinical trials. Guinea pig people. EDDIE That's too long. TECHNICIAN It's what it is. Or you'll kill people. You need twelve, eighteen MONTHS-- Eddie tosses the envelope back at him, gets up. EDDIE Two million dollars if you do it in six. He holds up the packet. The guy considers. Then slowly reaches for it, taking the MDT back. INT . RESTAURANT - DAY Eddie is having lunch with several POWER PLAYERS. They are listening, mesmerized, to what Eddie is saying... EDDIE (V.O.) It was all going to work out... His eyes flicker upwards. His two SECURITY MEN are seated at the bar. The CAMERA PANS to find... Also seated at the bar, is the DETECTIVE who questioned Eddie at the police station! Eddie gets up, "casually" wanders over to where the detective is sitting, pretends to order another drink. He does not make eye contact with the detective, or look like he's talking to him. EDDIE (CONT'D) I thought we straightened this out, Detective. DETECTIVE This isn't about Vernon Gant, Mr. Morgan. (CONTINUED) 89. CONTINUED: Fear begins to prick the back of Eddie's neck. But he strives for casual annoyance. EDDIE What is it about? The DETECTIVE hands Eddie a magazine. THE NEW YORK DAILY NEWS - CLOSE It is turned to the middle, and there is a picture of Eddie, candid, on the trading floor. That fucking article! DETECTIVE A witness identified the Donatella Alvarez suspect as this person. You want to tell me about your whereabouts on the night of June 12? Eddie keeps his cool, does not look scared. Wanders back to the table, says a few cool words, and strolls back to the detective. The detective gets up. Shall we go? EDDIE (V.0.) Luckily, I could now afford Morris Brandt, the best lawyer in New York. EXT. POLICE PRECINCT - DAY Eddie walks down the steps, with a beautifully dressed shark lawyer, MORRIS BRANDT, 50's. EDDIE (V.0.) Time was bought, and I was released -- for now. Eddie's two SECURITY GUYS, waiting, fall into step ten paces behind him. MORRIS BRANDT You're lucky somebody wiped the room. Weak circumstantial at best. Just between us -- were you there? EDDIE I don't remember. MORRIS BRANDT (SHRUGS) Busy life. (CONTINUED) 90. CONTINUED: He's heard it all, and doesn't really care. INT. CARL VAN LOON'S CONFERENCE ROOM - DAY EDDIE (V.0.) Carl Van Loon and Hank Atwood remained unaware that soon, I would be in a witness lineup as a possible murderer. Eddie is making a presentation to the Van Loon Associates -- and a skeptical-looking OLDER GUY -- HANK ATWOOD. EDDIE (CONT'D) ...well, a unified front between Van Loon and Atwood would be lethally effective, and not a moment too soon.. SyCorps, Andine and others are jockeying for the same industrial concessions in Mexico that both our companies are secretly sniffing out... HANK ATWOOD How do you know this? EDDIE Well, the governmental bribe structure is, in itself, corrupt, so of course information about its inner workings, like anything, can be bought. And there are other barbarians waving cash at the gates. I have a list here, in descending order of threat... Atwood rubs his temples, seemingly distracted. But then, he looks at Eddie piercingly. ATWOOD Go on. INT. VAN LOON'S OUTER OFFICE - DAY The meeting has broken up. Atwood is leaving, surrounded by minions. Van Loon leans into Eddie. VAN LOON Eddie...? What's your read. EDDIE It flew. Of course, he's not going to tell you right now... (CONTINUED) 91. CONTINUED: Van Loon notices -- Atwood is using a cane. VAN LOON Jesus. He seems frail. EDDIE Might be an act. VAN LOON Yeah, doesn't track. He's not even 60. Atwood's gone. Van Loon looks at Eddie. VAN LOON (CONT'D) So, Eddie. What are you going to do? EDDIE When this is over? (SMILES) I don't know. You haven't given me the answer. Van Loon eyes him. Eddie is only half kidding. VAN LOON You haven't asked the question. EDDIE All right. If all this comes off... what's my take? VAN LOON You should have pre-negotiated. EDDIE I trust you. VAN LOON You shouldn't. Eddie returns Van Loon's look coolly, implying that it really might be in Van Loon's best interest to trust him. EDDIE Well, given the scale of my contribution, it can't be anything lese than forty. Let's say forty- five. VAN LOOK Done. Forty five thousand dollars. (CONTINUED) 92. CONTINUED: (2) Both he and Eddie start to laugh. VAN LOON Forty million's plenty, Eddie. There's plenty more where this came from. He tries to read Eddie's smile which is removed, far away... VAN LOOK ...But you're not going to continue working for me, are you? Eddie opens his mouth. Pauses. VAN LOON Don't lie. You're already bored. Onto the next...? Van Loon didn't get to where he is for nothing. VAN LOON (CONT'D) I would really love to know what, after a forty million dollar payout, is "next" to you. But you're not going to tell me that, either. (SMILES) And I'm not sure I want to know. Might singe my ego. He shakes Eddie's hand. VAN LOON (CONT'D) I'll open a line of credit for you. Even a tough nut like you's going to want a few toys. INT. A HUGE, DELUXE EMPTY APARTMENT - (THE CELESTIAL) - DAY Eddie is being shown the apartment by a thirty-something female REALTOR. The apartment is still under construction -- brand new -- and enormous, with a wall of floor-to-ceiling windows in the living room showing off spectacular views. REALTOR ... three restaurants, health club, of course, a private screening room, wine cellar, walk-in humidor... unparalleled, three-tier security system... Eddie looks out over the city, feeling a surge. Yes. (CONTINUED) 93. CONTINUED: EDDIE What is the asking price? REALTOR Twelve point five. Eddie has to look away from her, biting his lip. He can't show her any sign of sticker shock. The face he turns back to her is composed, even blase. He shrugs -- no problem! We see an almost sexual excitement dance in her eyes. INT. EDDIE'S HOTEL ROOM - DAY EDDIE (V.O.) It was, as it turned out, a good moment to move. Eddie comes in. The room has been completely ripped to pieces -- just like Eddie's apartment. Eddie just smiles. Because there was nothing for anyone to find. EXT. WASHINGTON SQUARE PARK - DAY EDDIE (V.O.) No one knew, or would ever know, that I now carried the pills with me at all times. Eddie stands, waiting, his two security guys lurking 10 steps behind. GENNADY appears, now with TWO RUSSIAN THUGS of his own. This is new, and Eddie wasn't expecting it. Gennady's security guys eye Eddie's security guys, and vice versa. Gennady is wearing a suit and looks much more sophisticated. Eddie hands Gennady a small envelope. Gennady takes it. In his eyes is a penetrating intelligence. EDDIE (V.0.) (CONT'D) Right away, it was obvious he was on MDT. Gennady whips out a silver lighter and lights himself a cigarette. His movements are elegant, refined. GENNADY Next week...? I require twenty pills. EDDIE Next week? You can fuck yourself. (BEAT) Not that you'll feel anything. (CONTINUED) 94. CONTINUED: Gennady's eyebrow goes up. Gennady's security guys reach into their jackets. So do Eddie's guys. Gennady's eyes flick over the situation, motion to his guys to keep still. Gennady laughs, an unpleasant sound. GENNADY I don't think your Forbes 400 new financial friends would appreciate the details of your little dilemma with the police? Gennady turns with a flourish and walks off. Over his shoulder, with smug confidence: GENNADY (CONT'D) Thursday. You have them here. Gennady turns, walks to the curb, where a NEW BLACK TOWN CAR is waiting for him and his boys. EDDIE (V.0.) Obviously, this could not go on. But there is very little on this earth that 45 million dollars can't solve. And tomorrow at nine, Atwood would sign the papers. INT. VAN LOON'S OFFICE - DAY Eddie, Van Loon and associates are all waiting in the conference room. The clock on the wall reads 9:40. Van Loon looks glum. A long silence. PIERCE Well, you want to call it? ASSOCIATE #1 Cold feet. VAN LOON There was all last night to tell us that. Van Loon pushes the intercom. VAN LOON (CONT'D) No call? SECRETARY'S VOICE Not yet. (CONTINUED) 95. CONTINUED: EDDIE Okay, the decision could have changed -- that makes sense -- but the discourtesy doesn't. (BEAT) It's still on. PIERCE (SARCASTIC) Oh, based on your graphs and projections? EDDIE (CALMLY REPEATING) I saw his eyes: it's on. PIERCE You know, remind me: who the fuck, exactly, are YOU?! --I'm sorry, Carl, I'm about at the end with this unqualified, posturing little- VAN LOON Pull it back, Pierce. PIERCE Since when is this little pisher the fucking Delphi Oracle?! VAN LOON PIERCE- SECRETARY'S VOICE (INTERRUPTING) Mr. Van Loon, Mrs. Atwood is here. Eddie and Van Loon look at each other. What? Van Loon nods at Eddie; the two men get up. Pierce starts to get up too. VAN LOON Pierce, you can stay. Pierce looks bitter -- chastened -- as Van Loon and Eddie go. INT. CARL VAN LOON'S INNER OFFICE - DAY Van Loon and Eddie enter, to find MRS. HANK ATWOOD, a well- dressed, well-preserved and beautiful 50, standing at Van Loon's desk. MRS. ATWOOD I wanted this to be as confidential as possible. (CONTINUED) 96. CONTINUED: Van Loon and Eddie can't imagine what's coming next. MRS. ATWOOD (CONT'D) My husband experienced some pain and dizziness this morning. He's at Lenox Hill, undergoing tests. She speaks with great dignity, distraught, but tightly controlled. MRS. ATWOOD (CONT'D) Obviously, it wouldn't be in our best interests for this to be reported by the press, as it might put some of his interests at risk. I just want you to know that we have every intention of signing the contract, and, as soon as he is able, we will proceed. EXT. VAN LOON'S BUILDING - DAY Eddie and Van Loon flank Mrs. Atwood, walking her to her car. EDDIE I realize that this is a useless platitude, but... if there's anything we can do... VAN LOON Obviously we want to be as helpful and respectful as possible. MRS. ATWOOD Thank you so much. I rely on your discretion. She shakes both of their hands. A driver has the door open for her; she gets in, now out of earshot. VAN LOON (LOW) You think there's a proxy? EDDIE Cagey fuck like him giving away power of attorney? Eddie shakes his head. The two men look at each other darkly. The driver closes her door, turns -- and now Eddie can see his face. It's TAN COAT. (CONTINUED) 97. CONTINUED: With a huge, angry scar slashed across his cheek. Eddie and Tan Coat look at each other. A steely moment of recognition. Tan Coat turns away, gets in the driver's side. Van Loon watches the car pull away. VAN LOON Well. He'd better get better. We PUSH IN on Eddie's face. Who now knows. EDDIE (V.0.) But Atwood wouldn't get better. Because Atwood was out of MDT. EXT. MIDTOWN STREET - DAY Eddie, beautifully dressed, walks. Ten paces behind walk his SECURITY GUYS. He is thinking. EDDIE (V.0.) Well. Why be surprised? How many other meteoric rises might be explained by MDT? At least I had some; my life wasn't in jeopardy. Only my money... INT. POLICE STATION - DAY - CORRIDOR EDDIE (V.0.) ...and my liberty. Eddie stands with his favorite POLICE DETECTIVE and his lawyer in an anteroom leading to an institutional door. His lawyer talks to him, low. MORRIS BRANDT I've been all over them... we can't allow any disparity in race or physical type between you and the rest of the lineup -- they're as close to your clones as I could possibly get away with -- it's going to be one big handsome blur to this guy- A FEMALE COP approaches Eddie. FEMALE COP Mr. Morgan...? I need you to change your jacket. (CONTINUED) 98. CONTINUED: Eddie stiffens. EDDIE Why? MORRIS BRANDT Oh, that's me... I want everyone in the same shirt, better for the blur factor... A beat. EDDIE Of course. Another beat of hesitation... then Eddie hands Brandt his jacket, takes off his shirt, puts on the blue shirt... and stoically follows the female cop through the grubby door. INT. THE LINEUP - EDDIE'S FACE FEMALE COP'S VOICE Please turn to the right. Eddie and four other dark-haired guys turn to the right. Eddie looks at the black one-way window. EDDIE (V.0.) Who was out there? The woman's husband? Was some bellboy I undertipped about to end my life? INT. POLICE STATION - ON EDDIE'S SMILING LAWYER MORRIS BRANDT Not the dimmest clue. He was dithering. Eddie blinks at him. MORRIS BRANDT (CONT'D) "Maybe the third from the right... No not him..." --Oh. Here you go. He hands Eddie back his jacket. MORRIS BRANDT (CONT'D) (re: the jacket) Thing of beauty. You had it made? Eddie just nods, his eyes steely. The lawyer feels the molten stare and hands the jacket back. 99. EXT. POLICE STATION - DUSK EDDIE (V.0.) They'd kept me all day. Eddie rushes down the steps, two at a time, looks at his watch. EDDIE (V.0.) (CONT'D) I'd missed my meeting with Gennady. INT. WASHINGTON SQUARE PARK - DUSK Gennady, wearing a gorgeous cashmere coat, waits, now with THREE SECURITY GUYS. Gennady looks at his watch, then says something low and sinister in Russian to his associates. EDDIE (V.O.) But I had more important business... INT. VAN LOON'S OFFICE - DUSK Eddie hurries into the room. Van Loon doesn't look up. He's watching a monitor, which has a live news feed to a financial channel. FEMALE NEWSCASTER ...And the Dow has been yo-yoing all day, amidst speculation that Van Loon Associates and Hank Atwood have negotiated a merger... Van Loon turns to Eddie, furious, agitated. VAN LOON Have you been talking to anyone? EDDIE Not a word, Carl. VAN LOON Where have you been, Eddie--? This is the second time you've turned to VAPOR-- (CONTINUED) 100. CONTINUED: EDDIE Personal time, Carl. Phone off. You're not telling me there's been any movement. VAN LOON No. Atwood's in a coma. EDDIE A coma? Black looks between them as the newscaster continues. EDDIE (V.0.) (CONT'D) It had gotten out, somehow. But I felt thick, stupid, tired. A small pain was starting behind my eyes. I'd been unable to take my MDT, and I was overdue. He shoots Van Loon a glance. Van Loon is miserably fixated on the TV. INT. VAN LOON'S HUGE, SLEEK BATHROOM - DUSK Eddie stands in a stall. Reaches into the lining of his coat. Unfastens the opening of the compartment. CLOSE ON THE OPENING There is nothing inside. EDDIE, panicked, feels again. Nothing. The MDT is simply not there!!! He begins to hyperventilate. Spin in place. Push against the stall walls, trying not to scream. EDDIE (V.0.) Was it Brandt? Or someone else? The police station? A coat room? How? How? He bursts from the stall, alone in the bathroom. Stares at himself, terrified, in the mirror. EDDIE (V.0.) (CONT'D) In an hour I'd be useless. In two I'd be sick. In 24, dead. 101. INT. VAN LOON'S OFFICE - NIGHT Eddie bursts from the bathroom. Trying not to look too wild- eyed. VAN LOON Eddie--? This came for you. Eddie looks at a LARGE BOX on Van Loon's desk. Indeed, his name is on it. Eddie, mystified, approaches it. As Van Loon continues to stare at the TV, disinterested in the box, Eddie gingerly opens it. INT. THE BOX - CLOSE Inside are the SEVERED HANDS OF EDDIE'S SECURITY GUYS. (One black hand, one with the distinctive tattoos.) Gennady. Clearly these guys are dead. Eddie grabs the box and starts from the room. VAN LOON What are you doing, Eddie--? EDDIE--!!! But Eddie's gone. INT. VAN LOON ASSOCIATES - DUSK People are leaving for the night. Eddie shoves past them, still holding the damning box, frightened, jacked up, desperate, shoving people out of the way to get to the elevators. INT. A LIMO - NIGHT - MOVING Eddie sits in the back seat, the box freakishly sitting beside him. EDDIE (V.O.) I couldn't think. ON EDDIE'S FACE His brow is beaded with sweat. EDDIE (V.O.) Only MDT could help me. I had no MDT. And then... PUSH IN on Eddie's eyes. (CONTINUED) 102. CONTINUED: EDDIE (V.0.) (CONT'D) One thought. (BEAT) Was there anywhere... We begin to REWIND... in Eddie's mind... through many IMAGES we've seen in this movie... stopping briefly at all the places Eddie has stashed his MDT. EDDIE (V.0.) (CONT'D) ... anywhere at all...I could have left one pill...? We STOP at the END TABLE in Lindy's apartment, peer inside. Empty. We STOP at the UNDERSIDE of the GRILL on Eddie's old stove. Nothing. We continue to REWIND -- but every image we stop on reveals... nothing. EDDIE (V.O.) (CONT'D) I had to keep thinking. Somewhere safe... INT. THE CELESTIAL - EDDIE'S LIVING ROOM - NIGHT Eddie sits at his huge new steel dining table, the evil box on the table in front of him, head in his hands. (The room is filled with labeled boxes he has never had a chance to unpack.) The TV is on in the background. It's a financial channel. We see MRS. HANK ATWOOD is giving a statement. MRS. HANK ATWOOD There is absolutely no truth to the rumor of this merger. None whatsoever. My husband is having some tests, this is a difficult time, and I would appreciate your directing further questions to our attorney... She motions at the gentleman next to her. --Who is also Eddie's attorney, MORRIS BRANDT. The one who was so helpful with the police. The one who held his jacket. Bitter amusement in Eddie's eyes. At least he knows. The APARTMENT BUZZER buzzes. Eddie freezes. Looks at the door. It BUZZES again. EDDIE (V.0.) It wasn't downstairs security, alerting me to a visitor. (MORE) (CONTINUED) 103. CONTINUED: EDDIE (V.0.) (CONT'D) It was my inner door. Someone was in the building, ten feet away, right now. Eddie walks to his phone, picks it up. Pushes the button, puts it to his ear. It's dead. He pushes the "on" button again and again. Nothing. The buzzer BUZZES again. Eddie rushes to the door, opens the COAT CLOSET. In the closet is a state-of-the-art SECURITY MONITOR. Gennady and TWO MEN are outside his door! Suddenly the MONITOR goes BLACK. Eddie flicks the switch on the monitor. Nothing. Eddie flicks the switch again. It's dead. Someone, somewhere, has figured out how to disarm it. The buzzer BUZZES again. Eddie backs away from the door. We HEAR Eddie's shallow, panicked breathing. He lunges for his briefcase, pulls out his CELL PHONE. THE CELL PHONE - CLOSE It reads "No Signal." BAM! The first slam on the door begins. BAM! The second. The door holds, but Eddie begins to back away in horror. BAM! We slowly FADE TO BLACK. And FADE IN ON: EXT. THE CELESTIAL - EDDIE'S TERRACE LEDGE - NIGHT EDDIE (V.O.) And so... here I am. And now we pick up Eddie where we left him, standing on the ledge. EDDIE (V.0.) (CONT'D) I knew they would kill me, slowly and horribly. But this choice would at least be mine. We now hear the ZZZZZZZZ! of some major power tool drilling at the door, punctuated by more BAMS! -- one way or another they're going to get in. Eddie takes a breath, tries to jump. He can't. EDDIE (V.0.) (CONT'D) But we're instinctive creatures. We want to live. (MORE) (CONTINUED) 104. CONTINUED: EDDIE (V.0.) (CONT'D) So, my foggy brain tried to remember... where one tablet of MDT... might be. We PUSH IN on Eddie's eyes... We are still REWINDING in Eddie's mind... images of where we've seen him keep MDT... nothing... nothing... nothing... We STOP at the SUGARBOWL on Eddie's dining table. Then go forward --no, wait!-rewinding, stopping again on the SUGAR BOWL. Pushing in on the sugar bowl. Eddie spins around, looks back into his apartment, eyes intense. EDDIE (V.O.) (CONT'D) It was possible. And possible was enough. INT. THE CELESTIAL - EDDIE'S LIVING ROOM - NIGHT Eddie is tearing through boxes as the POUNDING and DRILLING become deafening... he rips open a box labeled "Kitchen" - it's full of BOOKS. Mis-labeled. JUMP CUTS as he rips open other boxes... his hands frantically scattering CDs, cutlery, cans of food... The door begins to give. Under the deafening DRILL: MORE JUMP-CUTS as Eddie hysterically tears the packing paper off of promisingly- shaped objects. --No. A glass. --No. A vase. --YES! The sugar bowl. With sugar still inside! Eddie rummages, frantically, among the sugar cubes as the door gives a few inches, groaning, and we glimpse blurred faces on the other side... EDDIE'S HAND pokes, wildly, among the cubes... pushing them aside, revealing at the bottom of the bowl- ONE MDT TABLET looks back up at him. Yes. It's really there! Eddie grabs it, just as, with a splintering CRASH! -- The door goes down. Eddie steps back, brings the pill up to his mouth... But as he steps, he TRIPS on a SOUP CAN he's scattered... he FALLS backwards... his HAND hits the side of the coffee table... (CONTINUED) 105. CONTINUED: The MDT TABLET goes flying... (slow motion)... as... ...also in slow motion, Gennady and his two thugs smile as they advance into the room... THE MDT TABLET... flies... flies... towards a GRATE in the floor -- a heating vent -- and HITS it... rolling... ... before disappearing forever down the grate. Eddie knows that's it. His life has ended. He sucks in his last breath -- then, with a YELL, he rushes back for the terrace... for his suicide leap... Thug #1 is quicker. Gets to the door first. Eddie will not have the luck to be able to jump. He's trapped between the two Thugs. GENNADY I told you I want more. You don't listen. Maybe you think I'm joking... He reaches into his coat pocket... GENNADY (CONT'D) But I'm down to this last one. ...and pulls out a syringe. GENNADY (CONT'D) See, I dissolve pill in solution. You shoot it - goes straight into blood and to brain. Works much better. He pulls the plastic sleeve off the needle. Jabs himself in the arm and injects the cloudy liquid. GENNADY (CONT'D) Now. Where do you keep yours? Eddie is backed to the wall. Nowhere to go. EDDIE I'm plum out. Gennady just smiles -- that was an unfortunate choice. He gives an order to the Thugs who grab their tools and disappear deeper into the apartment. WE HEAR them starting to tear things up. Gennady and Eddie are alone. GENNADY They will find it. Or I will make you tell me. Which is quicker? We see, huh? (CONTINUED) 106. CONTINUED: (2) He clicks open a BLACK ATTACHE CASE. It is filled with sinister-looking silver instruments, and knives. INT. EDDIE'S STUDY - NIGHT Thug #2 has found, behind a bureau, a SAFE. He calls excitedly, in Russian, to the other room. INT. EDDIE'S LIVING ROOM - NIGHT Gennady calls back in Russian. Then picks up a particularly delicate, yet sharp-looking KNIFE. GENNADY This is a waste of my time, you know that? I am getting out of this part of the business... starting import-export company. Very exciting stuff. A lot on my plate. I need to learn to delegate... Eddie is backed up against a table, which is covered with stuff he's scattered, which includes a BUTCHER BLOCK with A KNIFE in it... Gennady starts arranging his instruments. GENNADY (CONT'D) First, I will cut skin from you, flay you... you stay alive nice long time... then maybe we cut meat from you, steaks... or maybe softer parts... I get inspiration... He looks up, smiles, to see the effect his words have on Eddie. ON EDDIE Staring back at Gennady, hard, a fuck-you stare. We can't see behind Eddie's back, but we can see the butcher block, and the knife is gone. GENNADY senses something is not right. Looks at Eddie quizzically. GENNADY (CONT'D) WHAT-- Eddie brings the knife up as hard as he can, right into Gennady's stomach. Gennady gasps in surprise, chokes, writhes. Eddie drives the knife home, harder, grabbing Gennady's other hand, which lashes at Eddie with the fillet knife... (CONTINUED) 107. CONTINUED: The men fall to the floor in a death-struggle. Eddie exhausted, off MDT, but determined not to let go. Gennady writhes, flails, but doesn't cry out... he's already choking on blood. Eyes shocked, surprised. Eddie turns the fillet knife back on Gennady, slashes at his other arm; blood spurts. But it's not necessary. Gennady's eyes are glazing. His gurgling gets quieter. He's quite dead. Eddie lies alongside him, panting, arm grazed and welling blood from where Gennady's filleting knife slashed him, suddenly weak and exhausted. From the other room comes the BRRRRRRR! sound of the drill -- the boys, oblivious, are hard at work on the safe. Eddie tries to get up, then falls back. EDDIE (V.O.) Not much of a triumph, was it? He's got the shakes... no, more of a convulsion... he sinks back to the floor... EDDIE (V.0.) (CONT'D) Because I would die here, too. There is a break in the convulsion. Then another one starts. EDDIE (V.0.) (CONT'D) Only MDT could help me, and the last of it was in this fuck's bloodstream... Gennady's BLOOD wells around Gennady's body in a crimson puddle. A puddle that's creeping closer and closer to Eddie's face, which is lying, convulsing, on the floor... ON EDDIE'S EYES between convulsions, suddenly looking. Looking at the blood. It creeps closer to Eddie's face. Eddie is trying to move, trying to push his face closer to the blood... he's there... And now he turns his face down into the blood. And begins to lap it up. INT. EDDIE'S STUDY - DAY The Thug finally gets the safe open. Inside is only one item - -the TATTOOED SECURITY MAN's SEVERED HAND. (CONTINUED) 108. CONTINUED: And its middle finger has been arranged in a vehement fuck- you. The thugs are not amused. INT. EDDIE'S APARTMENT - HALLWAY - NIGHT The thugs are coming down the hall, muttering angrily... INT. EDDIE'S LIVING ROOM - NIGHT Mouth smeared with blood, Eddie is dragging himself by the elbows, across the room. Footsteps coming. Fast. INT. EDDIE'S LIVING ROOM - NIGHT - THUGS' POV They burst into the room, see Gennady dead on the floor. The camera WHIP-PANS around. No Eddie. BEHIND THE COUCH Eddie lies, panting. And then it hits. We PUSH IN on Eddie's eyes. He feels it. His old friend. MDT. THE THUGS look up at a NOISE. Just in time to see Eddie bolting out the front door of the apartment. INT. CORRIDOR OUTSIDE EDDIE'S APARTMENT - DAY They come thundering out -- see a flash of Eddie disappearing INTO-- INT. THE OPEN DOOR OF THE APARTMENT NEXT DOOR - NIGHT We are in jittery, handheld THUG'S POV shot as they burst back in, barreling by rooms, looking in them, pressing on to more rooms... A MAN'S SHADOWY SHAPE AHEAD, IN THE KITCHEN - Thug #2 BLASTS his GUN... the MAN crumples, the glass doors behind him EXPLODE...... the MAN goes down...revealing Eddie standing behind him --(he's been holding up his neighbor's body) and, just as this registers -- WHACK! -- Eddie gives THUG #1 a savage shot with a fireplace poker. Thug #1 goes down, unconscious... the gun skitters across the floor... THUG #2 dives, reaches for it. Eddie grabs a piece of the shattered glass and, in a vicious swipe, brings it down on the Thug's hand. But this guy is not a tough Russian motherfucker for nothing. Bleeding profusely, he doesn't let go of the gun... his bloody hand comes up, tries to aim... (CONTINUED) 109. CONTINUED: Eddie DIVES BACKWARDS, through the broken glass door to the patio. The thug stumbles after him... EXT. EDDIE'S NEIGHBOR'S TERRACE - NIGHT EDDIE'S HAND, still holding glass, CUTS the awning-rope holding up the awning... The awning comes down on the thug, a huge canvas curtain DROPPING between the Thug and Eddie. BLAM! BLAM! Several holes appear in the canvas as the thug tries to shoot Eddie anyway, but Eddie has leapt out of the way. THUG'S POV - UNDER THE CURTAIN As he wrestles it off... he sees Eddie, on the ground, prone, just watching him calmly. He starts to smirk. Eddie touches a MATCH to the ground. The FLAME shoots across the floor to the thug, who now realizes he's standing in a puddle, the overturned can of BBQ fluid next to him. In an instant, his LEGS AND PANTS are on fire. Now the man screams. Shoots blindly. But - click! -- is out of bullets. He rushes at Eddie, screaming, on fire, in animal rage. Eddie brings up a wrought-iron patio chair to meet him, catching him squarely in the ribs. He gasps, bends over... looks up at Eddie, beaten... The face that looks back is without pity. EXT. THE CELESTIAL - 20 STORIES BELOW, A WIDER TERRACE - DAY We are looking up at the penthouse. A SHAPE is dropping, fast, towards us -- the shape of a man. It's here! The man's head EXPLODES against the railing like a pumpkin as the rest of him disappears down, out of sight. EDDIE (V.0.) Later, it would be noted that my neighbor was in the music business. One of his drug deals had obviously gone bad... (BEAT) And the night was still young. INT. A HOSPITAL ROOM - NIGHT A MAN is on a gurney. A NURSE puts a sheet over his head. Before our view of his face disappears we realize --it's Hank Atwood. Dead. 110. INT. HOSPITAL WAITING ROOM - NIGHT Tan Coat is sitting, stoic and red-eyed in a chair. He senses something. Slowly turns his head and looks. EDDIE is sitting in the chair next to him. The two men look at each other for a moment. Then: EDDIE I'm sure you're curious about what's happened to your boss. I certainly am. If my attorney was really working for Mr. Atwood, to save his life, then why is he dead? At what point was the Pony Express supposed to ride in with the life- saving medication? (A BEAT) Or, did the Pony decide that he should be running his own Pony show? Minus the dog. Tan Coat stares at him, his face without expression. INT. A CONNECTICUT UPPERCLASS LIVING ROOM - NIGHT AN UPPERCLASS HOUSEWIFE enters, in sweats, from the gym. Immediately notices something is not right... INT. THE HOUSEWIFE'S LIVING ROOM - NIGHT The place has been ransacked. INT. HER BEDROOM - NIGHT She rushes in. We SEE her husband - MORRIS BRANDT - tied up and gagged, struggling on the floor. Next to him, a smashed PICTURE. It once covered a WALL SAFE which is now open. The SAFE is empty. EDDIE (V.O.) I would not go back. I would not be stopped. FADE OUT. TITLE: Eight months later 111. INT. A POLITICAL CAMPAIGN OFFICE - DAY Desks, employees, volunteers, ringing phones. REUBEN, LATE 20's, sharp, a JAMES CARVILLE-TYPE, sits on a desk with casual authority, is on the phone. REUBEN ...actually, no, there's no more tickets. --Yeah, I know, an overbooked fundraiser -- there's a first -- well, here he comes, I'll ask him -- Edward!! We see Eddie striding down the corridor, wearing a sharp suit, looking more dignified than we've ever seen him, more adult. The snap and crackle of something new -- power -- is in his step. TWO MALE AIDES flank him. Reuben approaches, falls into step with them. REUBEN (CONT'D) I think we're looking at a second, overflow event-- there's a wave of donations coming in -- and I don't think they're even going to try a second debate -- don't go yet -- EDDIE I have a lunch. They have arrived at Eddie's office. Reuben nods at the closed door. REUBEN John Steadman's in there. EDDIE Who's that? REUBEN --Eiben-Chemcorps? Look, they're your biggest contributor, give him his two shitty little minutes. Eddie sighs, capitulating. Puts his hand on the door. EDDIE Eiben-Chemcorps. What are they -- research? REUBEN Pharmaceuticals. Eddie shoots him a look. 112. INT. A LARGE, CASUAL OFFICE - DAY Eddie comes in to find JOHN STEADMAN, 50's, well-dressed and gentlemanly, waiting. STEADMAN Mr. Morgan. EDDIE Nice to see you. He shakes Steadman's hand, but Steadman doesn't get up. Odd. In fact Steadman looks uncommonly relaxed, almost slouched in his chair, looking up at Eddie with a subtle gleam in his eye that Eddie doesn't recognize. EDDIE (CONT'D) We appreciate everything you've done for us-- STEADMAN Well, you've done most of it for yourself. Senator Morgan. He says this with a kind of casual, prescient authority. And suddenly, we know he's right. Eddie will win. STEADMAN (CONT'D) I mean, everything from here's a technicality, isn't it, Eddie? Again, that smile. Eddie doesn't know what this guy is about. And nobody calls him "Eddie" any more. STEADMAN (CONT'D) I think we both know where it's heading... (A BEAT) If... you can maintain. EDDIE Maintain? STEADMAN Eventually you'll run out. I just want you to know we're here to help you. Eddie blinks at him. Did he just say what Eddie thought he said? EDDIE What are you saying? (CONTINUED) 113. CONTINUED: STEADMAN We've gotten most of the bugs out. It's longer lasting - you'll only have to take one a week. Eddie is now dead silent. A long beat. Is it possible? Is he really talking to someone who makes MDT?! EDDIE Have you been watching me from the beginning? STEADMAN No. Those of you who indulged... distinguished yourselves very quickly. You made yourselves clear to us. EDDIE Who's "us?" Steadman just smiles, waves the question away. STEADMAN You went the furthest with it the fastest, so of course, to us, you're the most interesting. EDDIE How did it get on the street? STEADMAN Security breach. That was never our intention. We took care of it. Meaning, they took care of Vern. STEADMAN (CONT'D) It will never again be on the street. It will never publicly exist. Obviously I don't need to detail the advantages for you. A long beat. Eddie doesn't trust this guy -- not a bit. EDDIE And what about for you? Why don't you take it? STEADMAN We don't have to. You'll take it for us. (CONTINUED) 114. CONTINUED: (2) EDDIE And in return...? I do what. STEADMAN Just keep on doing what you're doing. We won't bother you much at first. EDDIE And later...? What will you be "bothering" me with? STEADMAN Well, given where you're heading, some of our ideas are... grandiose. But, I think, achievable. Eddie takes that in. EDDIE And if I don't like your ideas? STEADMAN Then we'll say Godspeed. And your candle will have shed a brief, but lovely, light. Eddie knows now. They own his ass. STEADMAN (CONT'D) But let's not even go there. Right now you should feel relieved, your problems are over. We just want to keep you healthy... and brilliant. EDDIE Luckily I can do that myself. STEADMAN Well, no, ah, that won't be the case. We shut your lab down this morning. EDDIE My lab? Steadman nods. EDDIE (CONT'D) Which one? Steadman doesn't blink. (CONTINUED) 115. CONTINUED: (3) STEADMAN All of them. EDDIE You sure? Steadman suddenly chuckles -- not at all concerned by this. Even amused. STEADMAN We were right about you Eddie - you're gonna go all the way. Let's not do anything to jeopardize that. There's no downside here - we're offering you a limitless supply with fewer side effects. I think you'll be pleased with the arrangement. (BEAT) Come on, let's get some lunch. I'm starving... He heads for the door. Eddie remains still. EDDIE Tell me something. Steadman stops, looks back at him. EDDIE (CONT'D) Did I kill that woman? Steadman looks puzzled that Eddie would ask. STEADMAN Do you really want to know? Eddie thinks. No, he doesn't. EXT. CAMPAIGN HEADQUARTERS BUILDING - DAY Eddie and Steadman exit, come down the steps, Eddie looking thrown. He drifts along, half-a-step behind Steadman, deep in thought. STEADMAN It's not so bad, is it? Eddie doesn't answer. (CONTINUED) 116. CONTINUED: STEADMAN (CONT'D) Doesn't every man on the path to greatness have to tolerate the wind- drag of compromise? A black LIMO waits at the curb. STEADMAN (CONT'D) Overall, we'll all be better off... foreign policy, the courts, even the Constitution could stand a little tweaking... They descend the last few steps. Steadman opens the limo door for Eddie... But Eddie hesitates. Doesn't get in. STEADMAN (CONT'D) Eddie? EDDIE After you. STEADMAN (CORDIAL) No, "Senator". You first. Eddie gestures for him to get in. EDDIE Please. STEADMAN All right then... He gets in. And Eddie CLOSES THE DOOR AFTER HIM. Stands outside the limo, looking back at Steadman through the rolled- down window, his face a cold mask. STEADMAN (CONT'D) Oh, now. Don't underestimate us. EDDIE Don't underestimate your own creation. Steadman looks at him quizically. EDDIE (CONT'D) I mean, you invented it. What does it do? It puts me 50 steps ahead of you fucks. (MORE) (CONTINUED) 117. CONTINUED: (2) EDDIE (CONT'D) You think I didn't spend my days on MDT devising a personal defense structure that would scare the shit out of the Israelis--? You think there's not people with a bead on you right now, right in this building? You think this conversation is private? STEADMAN You don't know the caliber of enemies you'll be making. EDDIE You want to push that button? I'll show you my silos if you show me yours. STEADMAN You'll run out. You'll die. EDDIE Or I'll think of something. Isn't that what MDT does? Makes you think of something? Might even tell me how to get off it. A flicker in Steadman's eyes. Anger. EDDIE (CONT'D) What if I just ask the drug... how to tell the drug... how to fuck itself? I mean, isn't it like the 8-ball? Steadman raises his hand to the driver and the limo pulls away. EDDIE (CONT'D) It always answers. As the limo recedes into the distance, Eddie finally exhales. And only then do we see it. He's scared. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Lincoln Lawyer, The.txt b/unformated_scripts/Script_Lincoln Lawyer, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..0d43627adcd5d3051f330729364f03886c981d35 --- /dev/null +++ b/unformated_scripts/Script_Lincoln Lawyer, The.txt @@ -0,0 +1 @@ + THE LINCOLN LAWYER Written by John Romano Based on the novel by Michael Connelly July 8, 2006 BANG IN FROM BLACK, FACE OF A MAN MICKEY HALLER, 40, lawyer-- TIGHT on him, as morning light flies across his features. He's fresh-shaved, neat suit, gazes out with a stark/steady focus from the back seat of-- INT. LINCOLN TOWN CAR (MOVING) IN A HARD RAIN-- GRADUALLY FADE IN, under the SOUND of rain & freeway, his DRIVER, black, 20s, low patter to which Mick barely listens-- EARL I'm thinkin', when Not-Guilty- Two gets to four thousand miles, that's two cars ready, that's enough to start the airport runs... (then, realizing) You gettin' any of this, Mr. Haller? Not this morning. Mick watches the rain without seeing it. MICK Just keep your speed up, Earl. Earl kicks it, passes cars... Mick takes a FILE from a stack beside him. Also laptop, cell- phone rack: His back seat is his rolling office. Opens the file. Top sheet: THE PEOPLE OF THE STATE OF CALIFORNIA v. LOUIS ROULET. Tight on Mick. His eyes see back to the be innin CUT TO, EXT. LINCOLN (MOVING) - BRIGHT SUN - ANOTHER MORNING The town car sails along, bright glint off the surface streets-- We HEAR HARD RAP, TUPAC SHAKUR-- CELL PHONE RINGS-- INT. LINCOLN (MOVING) - SAME TIME MICK Earl-- buds. A command. Earl puts in earbuds, Rap cuts out. Into cell-- MICK (CONT'D) This is Haller. MAN'S VOICE OVER CELL Where are you this morning? 2. This time Mick's in a mussed suit, surrounded by newspapers, open files, electric shaver, take-out coffee... MICK On my way to Lancaster for a calendar call. Why, have you got something? MAN'S VOICE (VAL) I got a franchise player is what. Reaction Mick: He's heard it before... VAL'S VOICE I mean it, this guy could be money. But he goes before the judge at eleven. MICK Van Nuys by eleven could be hard-- VAL'S VOICE But this client, listen Mick, his mother's lawyer just waltzed in HERE-- MICK He's already got a lawyer?-- VAL'S VOICE Strictly real-estate, doesn't know his ass about criminal. Will you listen? MICK GO AHEAD-- VAL'S VOICE Guy waltzes in, ready to put up the family's beach house in Malibu against the million in bail... MICK A million? What'd they book him on? VAL'S VOICE He picked up a girl last night-- Whatever went down she ended up pretty bad. Cops want Aggravated Assault with G.B.I.-- MICK Has the D.A. filed yet? 3. VAL'S VOICE No. See? I'm giving you ground floor. So make it work for me, Mick. Don't let him use the house, get him to go for my bond-- Meanwhile the Lincoln's approaching the Lancaster courthouse, there are cars, people-- a traffic jam. To Earl-- MICK Bring me around to the employee's gate, I'll talk my way in. (into cell, writes) I'm at the courthouse. Give me the name. VAL'S VOICE That would be Louis Roulet... (PRONOUNCED ROO-LAY) R-O-U-L-E-T, like the wheel. MICK That's not how you spell the wheel but I got it, thanks. VAL'S VOICE Remember: I steered him to you. MICK You're on my Christmas list, Val. Lincoln swings abruptly to a steel gate. "EMPLOYEES." INT. LANCASTER COURTHOUSE - COURTROOM - MINUTES LATER MOVING with Mick through the press of lawyers, others, before the Judge shows up, as a few PRISONERS are led into the holding pen-- Mick picks out his client, HAROLD CASEY, 30s, lanky, with a ponytail and skull & halo tattoo... Mick tries catching his eye but Harold's clearly avoiding him... MICK Harold. Hard Case. (HAROLD DUCKS) Don't hide from your lawyer, Harold, you know what I want to talk about. Caught, Harold slouches towards him. 4. MICK (CONT'D) Listen. when the judge comes in he's going to want to know if we're ready for trial... HAROLD We are. MICK We're not and you know why not. You haven't paid me. Rule one, remember Rule one, Harold? I get paid or I don't work. HAROLD Don't worry, I have your money... MICK Right, you have my money, I don't. HAROLD It's coming. I talked to my boys. MICK Harold-- I looked at the list of people I trust, and you know what? You're not on it. HAROLD The law says you can't just quit. The Judge won't let you. I looked it up. Mick's about to react to this jailhouse lawyering-- when a hush falls, and the JUDGE comes out: ORTON POWELL, 60... MICK Pay close attention, Harold. Goes to his seat... INT. COURTROOM - MINUTES LATER Harold's case has been called, Mick stands-- MICK Mickey Haller for the defense, your honor. If I may, I'd like to carry this over. JUDGE ORTON Do you have a reason, Mr. Haller? 5. MICK I'm having trouble locating a witness, your honor. An indispensable witness. A Mr. Green. With emphasis. A look goes between the Judge and Mick. Meantime Harold stares from the pen. The Judge, to Mick-- JUDGE ORTON How much time do you need? Would a week be enough? MICK I hope so, your honor. As your honor knows, Mr. Green can be hard to track down. A look of understanding. Judge nods-- JUDGE ORTON I'm holding this over pending notification from counsel... Then gavels down, for the next case-- As Casey's led off, Mick joins him along the rail-- He hisses-- HAROLD That was bullshit, askin' for a delay-- I know what that was about. MICK And so does Judge Powell. He spent a lot of years as a defense lawyer, so he knows all about having to chase "Mr. Green," and he doesn't look kindly on defendants who don't pay their attorneys. Now do you get it, Harold? Casey won't look him in the eye-- RAP MUSIC IN AGAIN, TUPAC'S "LIFE GOES ON"-- EXT. FREEWAY - LINCOLN (MOVING) - DAY The black town car cruises south, past dry brown hills... CELL PHONE RINGS AGAIN... INT. LINCOLN MOVING - BACK SEAT Earl, unasked, puts in his buds, as Mick answers the call-- 6. MICK This is Haller. LORNA'S VOICE And this is your office. INTERCUT: LINCOLN (MOVING)/ INT. LORNA'S CONDO -DAY It's a one-bedroom in Studio City, Lorna's 33, redhead, pretty as hell, works at her kitchen table in her bathrobe, among breakfast dishes... MICK Actually I'm in my office. On my way to court in Van Nuys. LORNA That means Val reached you about his customer. MICK Oh yeah: "This is the franchise, Mick." According to Valenzuela every case is "the franchise." I'd have paid my mortgage ten times over by now-- LORNA It could be he's right. I ran the name, the family's got a real estate business in Beverly Hills. The Times has them down for some big house sales, movie-star dollars... MICK (CONSIDERS) Sounds like the media might be interested. Call Sticks, tell him to show up. Any other calls? LORNA A couple of DUI's, I quoted them the house number. That's it, you're free after Roulet. MICK Good. Then I can go to County lock- up. Under which Mick sees Earl indicate something on the road... while Lorna reacts to what Mick said, exasperated... 7. LORNA You're going to see Gloria. Why do you waste time on her, Mickey? Mick sees where Earl's pointing: SQUAD OF MOTORCYCLES, HARLEYS, IN THE SIDE-VIEW MIRRORS... They pull up alongside: gang jackets, black leather vests... Big guys... EARL Want me to do somethin' about this? 'Cause I can. MICK Ignore them, you're doing fine. FACE OF THE LEADER OF THE MOTORCYCLES, leers at Mick through window, as Mick ignores, answers Lorna re "Gloria": MICK (CONT'D) What can I say, Lorn, I've got a soft spot for redheads. Why do you think I married you? LORNA The divorce papers called it temporary insanity. MICK Lucky for you there was a cure. When-- Earl interrupts, insistent now-- EARL Mr. Haller? Calling his attention to-- THE MOTORCYCLES HAVE PULLED IN FRONT. The leader signals Earl to pull off. Mick sees they're surrounded. Shit. EXT. OFF-RAMP FOR VASQUEZ ROCKS STATE PARK - CONTINUOUS The Lincoln follows the Harleys off, PULLS TO A STOP in a lot at the crest of the exit. Jagged rocks, craggy peaks. The leader gets off his bike. EDDIE VOGEL, nearly 300 lbs. Skull & halo patch on leather vest-- same as Harold's tattoo. The "Road Saints." Mick lowers a window. EDDIE Counsellor, how's it hanging? 8. MICK Fine, Eddie, how's it with you? EDDIE (CASUAL) Hard Case called me from the pen, he said I might catch up to you. Said you're stalling his case til you see more green, is that right? MICK If you want me to work you've gat to pay me. EDDIE We paid you. Five thousand. MICK That's long gone. I could tell you half went to the aerial-photo expert. He's going to blow the state's case by showing that the DEA violated the air space over Harold's farm by flying too low... but you don't need to know that. All you need to know is, we had a deal. Time to refill the tank. Eddie smiles. Taps the side of the Lincoln. EDDIE Sure, gas-guzzler like this. I heard you got three more. What's one man need with four Lincolns? MICK EDDIE-- EDDIE What? You want another five grand? MICK Ten. I'm flying the guy in from Kodak in New York, he wants business class... EDDIE And I want Harold back on the farm. He's the best farmer we got, if you know what I mean... 9. MICK I don't. And I don't want to. Either pay me my money or go with the Public Defender the judge finds you. Of course he won't know much about air space, but-- EDDIE Keep your shirt on, Counsellor. We want you. He reaches into a vest with his big hand. Thick envelope. Mick takes it. Starts to count, and realizes: MICK You had the whole ten ready. What if you'd backed me down to five? EDDIE This vest got lots of pocket. Eddie taps another pocket and GRINS. one tooth missing. INT. VAN NUYS COURTHOUSE - HOLDING CELL - DAY CAMERA MOVING ON: EIGHT MEN, prisoners in grey jumpers. Six are black. Of the two white men, one's a wet-eyed, skanky JUNKIE, 40s. The OTHER is a tall young man, somehow polished even in prison outfit, definitely out of place here-- MICK Louis Roulet? LOUIS turns: the proverbial deer-in-the-headlights: Scared. MICK (CONT'D) My name is Michael Haller. I had a call. LOUIS Yes-- Mr. Haller-- Mick stands behind a painted line three feet from the cell. Signals Louis to come to the bars to talk. Louis approaches, FREAKED-- LOUIS (CONT'D) I-- called you because I need SOMEONE-- 10. MICK You want me to represent you for your first appearance. I get twenty- five hundred for that. We can work out what comes next. LOUIS Thank you-- This is a set-up, Mr. Haller-- I made a mistake with that woman, she was setting me up-- MICK Keep your voice down. And don't say anything about the case, not til I've got you out on bail. Okay? Mick's voice, as always, is easy and calm. Louis nods. MICK (CONT'D) I understand your family lawyer's in court? LOUIS That's him. Cecil Dobbs. Points to-- DOBBS, balding dignified WASP, a few rows in. MICK Is he ready to post bail? LOUIS He'll do whatever he has to. Mick nods, noting the tinge of desperation in Louis's voice. Takes out a notebook... MICK Okay, tell me about yourself. How old are you? LOUIS Thirty-two... MICK Ties to the community? You grow up here, go to school? LOUIS Both. Beverly Hills, UCLA. I work for my mother's business... MICK "Windsor Estates?" 11. LOUIS It's named for her second husband. MICK How much did you make last year? (when Louis hesitates) If I'm going to get you out I need to know everything. LOUIS My taxes last year said four hundred thousand. Just then, the White Junkie lurches forward towards Mick-- JUNKIE I want a lawyer too, you got a card? MICK They'll have one for you out there. I need you to back up and leave us alone. Can you do that, pal? Junkie backs off, does just what Mick says. Impressing Louis. Then Mick, low-voiced-- MICK (CONT'D) Listen. They've put some heavy charges on you. The DA will probably ask for No-Bail... LOUIS No bail? Frightened voice, the others react, Mick hushes him, and... MICK I said they're going to ask it. When was the last time you were arrested? LOUIS Never. MICK So if I checked your record-- LOUIS --you'd find parking tickets. Mick looks briefly into the younger man's eyes-- he's scared, fragile -- but sincere. He sputters-- 12. LOUIS (CONT'D) This whole thing is-- MICK We're not talking about the case, remember? Not even to the judge. LOUIS Don't I even say "Not guilty?" MICK Today's about setting arraignment, period. You say nothing. LOUIS Are you going to get me out? MICK I'm gonna try, Louis. (THEN) One more thing: There are lots of lawyers. Why pick me? LOUIS I.. remembered your name from some case in the papers... MICK What case? LOUIS A drug case, I don't know. MICK You remember the name or anything? LOUIS No-- but you got the evidence thrown out against some guy-- Does it matter? (when Mick hesitates) I need your help, Mr. Haller. Off Mick, GO TO, AN 8 X 10 PHOTO OF A WOMAN'S BEATEN-UP FACE. CLOSE. Right eye bruised, swollen shut. Nose broken. Bloody gauze protrudes from her nostril. Lip cut and swollen like a plum. Gash over the right eye. Fear in her expression... Studying it is ASSISTANT D.A. MAGGIE McPHERSON, 30s. We're: 13. INT. ARRAIGNMENT COURT - PROSECUTOR'S TABLE - LATER Maggie's in a navy suit, raven-black hair: smart and strong and a beauty. Coming up behind her-- MICK Are you the prosecutor who used to have the Roulet case? She starts to smile-- until his emphasis registers. MAGGIE Don't tell me. Son of a bitch, Haller. MICK Rules are rules. MAGGIE I wanted this one... (YIELDS) Alright I'll go quietly. But after today's hearing, if you don't object. MICK Depends. You going for no-bail? MAGGIE That won't change with the prosecutor. Not with what your guy did. With which she shows him the photo: gruesome. MICK If he did it. MAGGIE Sure. "If." They only picked him up in her home with blood all over him, but it's a valid question... MICK I love it when you're sarcastic. Can I at least see the arrest report? MAGGIE Get it from whoever takes over. No favors on this one. 14. Mick looks admiringly at Maggie. At her passion. MICK How's Hayley? A beat. Off the sudden shift in topic, Maggie starts putting away the things on her desk... MAGGIE She's good. She likes the things you send her but would rather you show up yourself... MICK How about this weekend? This takes her by surprise. But she takes him up on it. MAGGIE Okay, I'll tell Hayley. Tonight. Only Mick-- don't cancel on her. CUT TO, INT. COURTROOM - LATER A TV CAMERA is trained toward LOUIS in the HOLDING AREA, he tries avoiding it... while MICK AND MAGGIE are ARGUING IN FRONT OF THE JUDGE... MICK Judge, there is no way the state can claim my client is a flight RISK-- MAGGIE With resources like this man has, it's always a risk-- let alone the fact that the victim was brutally ASSAULTED-- JUDGE Ms. McPherson, the extent of her injuries are not the point. I'm setting bail at a million dollars... Mick wins, Maggie loses. Exchange glances-- WE'RE-- INT. DOORS TO THE COURTROOM - MOMENTS LATER Mick bangs out, always moving. Getting the door for him is his friend, bail bondsman "VAL" VALENZUELA, excited-- 15. VAL What'd I tell you, Mick, we got us a franchise... MICK We'll see, Val... VAL There's the lawyer-guy, you get him to go for the cash-bond... MOVING from Val, Mick HEADS DOWN THE HALL, through the BUSY CRUSH of attorneys, clients, spectators to-- DOBBS, waiting. MICK Cecil Dobbs? DOBBS Mr. Haller. (They shake hands.) It was depressing to see the boy caught up in that cattle call... MICK Boy? DOBBS I've represented the family so long I think of Louis that way. MICK He did look a little frail. My advice is, let Mr. Valenzuela fix you up with a bond and take "the boy" home. DOBBS A bond? But Mrs. Windsor was thinking of putting up property... MICK No good. Assessing it will take days. By then Louis might be carrying somebody's child. (before Dobbs can argue) So just tap Val for the bond, spring Louis, and take him to your office. We'll meet there at Four. And heads off again. Dobbs follows him out, to... 0 16. EXT. VAN NUYS COURTHOUSE, DAY - MICK AND DOBBS Sunlight. Where Dobbs suddenly TENSES as he SEES: A TV CAMERAMAN coming out with camera. Off Dobbs's reaction-- MICK Yep. Media's already picked us up. DOBBS Mrs. Windsor's sensitive about the press... Mick, a beat. Then calls the cameraman over. When he comes-- MICK I saw you in there filming. What's your name? CAMERAMAN Rob Gillen. They call me "Sticks." MICK You freelancing on this, Sticks? STICKS Your client's got profile, I figure I can sell it to local news. MICK How much? STICKS 'Scuse me? MICK How much will they pay you for what you shot today? STICKS That depends. Seven, seven-fifty. MICK Suppose we take it off your hands for eight. Sticks hesitates, like it's not the legit thing to do. MICK (CONT'D) Or do we make it a thousand. 17. Sticks hesitates no longer. Takes the tape from the camera and hands it to Mick... who's already counting out money from the roll of cash Ted gave him. To Dobbs-- MICK (CONT'D) I can expense this, right? DOS Of course. Absolutely. Sticks takes the money, goes. Dobbs, impressed, beaming now-- DOBBS (CONT'D) I'll admit, Mr. Haller, you weren't my choice. You were Louis's. Frankly I'd never heard of you. But maybe I should have. Seems to me I've underestimated you. MICK Then let's talk about my fees. (before Dobbs can reply) I'll need a hundred thousand up front. Working off five-fifty an hour, it'll come to another hundred thousand if we go to trial. That's estimating the trial at a week. Appeals, we start over. Mick's Lincoln pulls up smoothly to fetch him at the curb. Mick, hand on the door-- MICK (CONT'D) I take it that's not a problem. Reaction Dobbs-- hesitates but has no choice. MICK GETS IN, we GLIMPSE THE LINCOLN'S LICENSE PLATE: NT GLTY 2-- CUT TO, INT. LINCOLN (MOVING) - RAP PLAYS, EARL DRIVES, AS: LORNA'S VOICE How'd it go, Mickey? We get the case? MICK (into his cell) We've got it if we want it. I'd still like to know the state's case, what they've got on him... 18. LORNA'S VOICE What's the difference? 'Course we want the case... Mick says nothing. Gaze out the window. Then... MICK I've got an hour til he's released. Til then I'll be at county. With Gloria. (before she says anything) Any calls? LORNA'S VOICE Only Sticks. He says he owes you five hundred next time he sees you. MICK Yeah he does. INT. VISITING AREA, COUNTY DETENTION CENTER, DAY - ON: GLORIA Mickey Mantle. You're going to bat for me again? GLORIA, redhead, 27 but good looks already fading-- greets the arriving Mick in a client/attorney booth. MICK You don't even know who the Mick was. You don't look good, Gloria. GLORIA Thanks. For coming, not for the compliment. Mick's already paging through her arrest-sheet, sees... MICK Something new for you, getting booked on possession of coke, along with the usual. GLORIA Dumb, I know. A guy paid me with it, I had it on me when I went to my next. MICK And your next was a cop. 19. She shrugs/nods. Mick keeps turning pages, looking for a break... while... GLORIA Can't you get me into one of those rehab places where they get you straight? MICK We did a pre-trial rehab, last time. The D.A. won't go for it again. You may have to do some jail here. GLORIA I can't. MICK Yeah you can. They've got programs in jail, too. Look, you've had a long run. Maybe after this you can finally get out of the life. GLORIA And do what? Have kids and plant flowers? Look at me. Mick doesn't have an answer. Opens a notebook, gets to work. MICK Okay, tell me what happened. GLORIA I did a guy at the Travel Lodge on Santa Monica... MICK The one who paid you coke instead of money? GLORIA He had a shitload in there. I saw. Which gets Mick's attention. His wheels suddenly turning... MICK Do you know who he was? GLORIA No. He reached me on my website. He was Mexican or something. 20. MICK (writes, likes this--) Did you screen him? GLORIA Don't I screen 'em all? MICK off what, his driver's license? GLORIA No, his passport. I think his name was, Hector, or-- MICK Hector what? Last name. Think. INT. CRIMINAL COURTS BUILDING, L.A. - D.A.'S OFFICE - DAY MICK Moya. Hector "Arrande" Moya is what you get if you run a trace. He's Colombian, a fugitive from a Grand Jury indictment down in Florida. The DEA wants him for drug trafficking. The D.A.'s LESLIE FAIRE: a woman, well-dressed, humorless. MICK (CONT'D) Leslie? They want him a lot. LESLIE FAIRE And your girl's looking to trade? MICK She'll give you his motel and room number. LESLIE FAIRE She'll also have to testify on the coke. MICK That's a No. Location only. Your guys take it from there. My investigator says Hector hasn't checked out yet. LESLIE FAIRE (as she weighs it) What's she want in exchange? 21. MICK You drop charges, and all she does is a Pre-trial Rehabilitation. The facility at USC-Med would be nice. (when she hesitates) Or do I take this straight to the Feds? Which, though veiled, is a threat. Leslie hates this. INT. DOBBS'S CENTURY CITY LAW OFFICE - CONFERENCE ROOM - DAY HIGH FLOOR, TALL WINDOWS. DOBBS, ON THE CUT, lets in MICK. Mick's checking the impressive room, vast views all the way to the Pacific, as the OTHERS enter behind him: MARY WINDSOR (distinguished, 60), LOUIS (suit, silk t-shirt, Ray-bans.) Another man, 45, thickly built, enters at Mick's side. MICK Mrs. Windsor, this is Raul Levin. Mr. Levin's my investigator. Accepting this, everyone takes their place at the long, blonde-wood conference table. Mick can't help run his hand over the surface, everything's a contrast to his own on-the- fly office... Dobbs, to Mrs. Windsor... DOBBS Mrs. Windsor, I can't commend Mr. Haller highly enough for his performance in court this morning. Mary Windsor nods, provisionally pleased. MARY WINDSOR I have a check for you, Mr. Haller. And slides it towards him in an envelope. Mick, tries not to seem too much in a hurry as he glances inside-- ANGLE, we glimpse the amount, the zeroes... $100,000... BUT: MICK I'm going to need that to come from your son, Mrs. Windsor. (slides it back to her) You can give him the money so he can write the check. But I want the check to come from Louis. He's my client and that's got to be clear from the start. No offense. 22. She is offended-- but takes back the envelope, nods to LOUIS. He takes out a checkbook, writes. Mick continues to Mary-- MICK (CONT'D) Thank you. I'll expect you to support your son through this in other ways. If you're willing. MARY WINDSOR Don't be silly. I'll back my son come hell or high water. These ridiculous charges. That ridiculous woman. MICK It's good to know you'll be there when we need you. MARY WINDSOR But not now, is that it? MICK We'll be going over the case. The D.A. could make you testify about what you hear. Attorney privilege doesn't cover you. Mary Windsor's motionless a moment. Rather than respond, she simply rises. To Louis-- MARY WINDSOR I will see you at dinner. And goes. Dobbs gets the door for her. When she's gone: LOUIS My mother built a good business. From the ground up. MICK I've got no trouble believing that. (after a beat) I say we get started. All agree, they sit, Mick starts up-- MICK (CONT'D) Our first choice is whether we waive our right to a speedy trial. LOUIS No. I want this behind me. 23. MICK You sure? You can stretch things out, enjoy your freedom. Most clients... LOUIS Guilty clients, you mean. I want this over. Mick's struck by how firm. MICK Fine. We go to trial right away. Puts more pressure on the D.A. DOBBS Or maybe the case never even goes to trial. (They look at him.) Our firm's clout is considerable. Pressure can be brought to bear-- MI C K Don't kid yourself, Cecil. (to Dobbs and Louis) No way the state is dropping these charges. In fact, they've already upped them-- to improve their negotiating position. LOUIS There won't be any negotiating. (before Mick can speak) No plea bargain, no nothing. I'm not going to jail for something I didn't do. MICK It might not be jail. LOUIS Even if I walk. I'm innocent and if there's a trial I want to get on the stand and tell the jury I'm innocent. If that's a problem we can part company right now. Mick looks at the young man. Evaluating. Then... MICK Time to tell me what happened. Louis. Removes his Ray-Bans. SUDDENLY: 24. WE'RE IN A BAR (MORGAN'S, STUDIO CITY)... NIGHT... CAMERA MOVES among L.A. yuppies, night-players. The scene's low-key but sexy, expensive... Waitresses roam... LOUIS (V.O.) I was having a drink at Morgan's, Ventura Boulevard... MICK (V.0.) Morgan's, that's a singles bar, right? Camera finds LOUIS at the bar, checking out the action... LOUIS (V.O. ) Right, nice place, good for pick- ups. That's why I was there. Looking to get laid, pure and simple. BACK TO, LAW OFFICE Mick, to Raul, who's holding a dark blue file: MICK Raul, what's the file say about the girl? RAUL (reads-- Chicago accent) Regina Campo, goes by "Reggie." Twenty six. An actress and a telephone solicitor. DOBBS And hoping to retire. Soon as she sues my client. MICK (ignores Dobbs; to Louis) Did you know her before last night? BACK TO, MORGAN'S, NIGHT... HAND-HELD, CLOSE ON... REGGIE CAMPO, mid-20s, the finest sexual kitten imaginable, humor enlivening her face and eyes and mouth, moving... 25. LOUIS (V.O.) I'd seen her around, but never spoke to her. She was always with a guy. She was with one last night. She slows as she passes Louis, whispers, her lips brush his face as she discreetly hands him something... LOUIS (V. O.) (con t' d) She just laid her address on me. On a napkin. MICK (V.0.) But she was still with a guy? Reggie returns to: THE GUY at the bar: 40s, hard like a vet. LOUIS (V.0.) I got it that she wasn't too into her date. She told me he'd be gone by ten if I was interested. BACK TO, LAW OFFICE LOUIS (CONT'D) I didn't keep the napkin. I work in real estate, I remember addresses. MICK Raul. Check that file you've got and see if the Police report has any of this. While Raul looks, Mick explains to Louis and Dobbs, can't hide some professional pride in Raul Levin's work-- MICK (CONT'D) Raul's already worked us a little miracle. He's managed to score a copy of the discovery file, everything the D.A.'s got. They'd have to turn it over eventually but it could have been weeks. Under which, Raul's checked the blue file, and... RAUL Nope. They don't have the other guy. They don't even have the bar. MICK All they've got is, Louis shows up and beats the crap out of her? 26. RAUL That's it. LOUIS That is such bullshit-- MICK Just keep telling me. EXT. PARKING LOT, REGGIE'S APARTMENT COMPLEX... NIGHT... LOUIS is sitting in a Porsche Carrera... LOUIS (V.0.) I didn't want to walk in on anything, so I got there early. His POV, shadow-figure of Hard-Guy approaching in the dark.. LOUIS (CONT'D) I waited til the guy came out. MICK (V.0.) You see what he was driving? LOUIS (V.0.) A Corvette. Yellow. Hard-Guy gets in the Corvette, pulls out. MICK (V.0.) So he leaves, and you go in... INT. HALLWAY/ DOOR TO REGGIE'S APARTMENT... HAND-HELD... Arriving up the stairs is Louis, knocks. A little while, and the door opens a crack. Reggie, part of her face, peers out. LOUIS (V.O.) She saw it was me... CONTINUOUS AS LOUIS ENTERS HER APARTMENT... LOUIS (V. O.) (coast' d) The hallway inside was tight. I had to walk past her, y'know, so she could close the door. So I had to turn my back to her. We SEE this, she's behind him... as we hear, simply... 27. LOUIS (V.0.) (cont'd) Then, that was it. BACK SUDDENLY TO, LAW OFFICE. MICK, SURPRISED. MICK What was what? LOUIS She hit me with something and I went down. It got black fast. SUDDEN POP TO, LOUIS STRUCK FROM BEHIND... Blacking out as he tumbles... BACK TO, INT. LAW OFFICE Conference table's silent. All looking at Louis. MICK Okay then. What do you remember next? LOUIS Waking up with two guys sitting on me. Holding me down. QUICK CUT TO, REGGIE'S APARTMENT, LIVING ROOM... TWO GUYS straddle Louis who is face down on the floor. LOUIS (V.0.) (cont'd) Couple of faggots from next door. BACK TO, LAW OFFICE RAUL Police report has them, homosexual couple from down the hall... LOUIS Like I said. Faggots. To which Raul says nothing. After a beat-- MICK Go on, Louis. LOUIS I was still foggy when the cops came... 28. BACK TO, LIVING ROOM... Louis is cuffed by now, hands behind him, COP looms over... LOUIS (V.O.) (cont'd) She was on the couch telling all these lies... PARAMEDICS work on Reggie's bloodied face while, to a FEMALE COP (MAXWELL), through sobs, still frightened-- REGGIE .he was like an animal! He said he'd rape me and kill me... then rape me again when I was dead... Louis looks around at his left hand in a plastic ba Bloody. LOUIS (V.O. ) That's when I saw she'd set it up. BACK TO, LAW OFFICE. MICK Set it up how? LOUIS Put blood on my hand. My left hand. But I'm right-handed, I'd use my right if I was going to... punch someone. Which is crazy. Louis mimes throwing a punch, in the air. Inept. DOBBS Louis never hit anyone in his life. RAUL What she did made sense. It's the right side of her face that was hit, she had to bloody your left. MICK Louis: You said she opened the door a crack. Did you see her face? LOUIS Not all of it... CUT TO, DOOR OF REGGIE'S APARTMENT... OPENING AGAIN... It open a crack. Enough for her look out, half her face... 29. LOUIS (V.0.) (cont'd) Mainly her eye. Her left eye. RAUL (V.0.) That's it!... BACK TO, LAW OFFICE. Raul... mimes the opening of the door... RAUL (CONT'D) She already had the injuries, on the right. She was hiding it from him when he steps in... MICK And then she clocks him? LOUIS Yes. MICK So our case is, she beat herself up? Mick takes the file, takes the 8xl0s, REGGIE'S PULPED FACE... MICK (CONT'D) We're saying, she pounded her face into hamburger meat, or had her boyfriend do it, hoping some far- off day a jury would give her a big fat reward? LOUIS She must have. DOBBS Of course. She saw his Porsche, his Rolex, it's known the family has money... I'll wager she's already filed in civil court. Mick. Thinks. Then, to Raul-- MICK Okay, the police report. Let's hear how Reggie tells it. CUT TO, INT. DOORWAY TO REGGIE'S APARTMENT - NIGHT She's opened a crack, peering out... Raul reads... 30. RAUL (V. 0. ) "According to the victim, she was at home alone when the suspect presented himself at the door as someone she knew..." Louis is there, talks MOS. Reggie opens the rest of the way. RAUL (V.0.) (cont'd) "Upon letting him in, she was immediately struck..." WHICH WE SEE: The vicious repeated pounding of her face, bloodying her, but it's too fast & jumbled for details... MICK (V.0.) Does it say he knocked her down? She falls... Louis flies down on top of her... RAUL (V.0.) Yeah, then straddled her. "Held the victim by the neck until she agreed to cooperate..." Louis does as described, strangle-hold... Eventually lets her up, turning her toward the bedroom. And... RAUL (V.O.) (cont'd) "The suspect maintained a position behind her, holding a knife against the left side of her throat..." CLOSE, HAND-HELD, KNIFE-POINT TO NECK, SLIGHT CUT, BLOOD... RESUME, INT. LAW OFFICE. Raul takes something new from the file: PHOTO OF A BLOODY KNIFE. Sharpened to a point. Louis looks at it. Seethes. LOUIS This isn't my knife. MICK Raul, are his prints on there? RAUL That's what the report says. I'm not surprised, if she put blood on his hands she's gonna put prints on his knife... 31. LOUIS I told you, it's not "my" knife! Mick ignores, still intent on Raul's reading... MICK Okay, how's she say he went down? RAUL "As Ms. Campo entered the hallway, she pushed the intruder backwards into a large floor vase..." GO TO, INT. REGGIE'S APARTMENT - LOUIS FALLING... And Reggie scurrying free... STAY ON the fallen Louis as... RAUL (V.0.) "Realizing her attacker would catch her at the front door, she ducked into the kitchen and seized a bottle of vodka..." Louis, struggling to his feet, HIT ON THE HEAD from behind.. MICK (V. D. ) And clonked him when he got up? RAUL (V.0.) That's how she tells it. RESUME, INT. LAW OFFICE LOUIS Those are all lies, this is bull-- MICK If everything she said is a lie, this will be the easiest case ever. I'll tear her apart and throw her entrails into the sea. But Louis... (He moves closer, for:) You swear it's all lies? Is there anything you aren't telling me? Mick's eyes burn into him. Louis answers simply. LOUIS Nothing. Mick holds him in a long, hard, assessing stare. Over which, eventually, we PRE-LAP-- 32. MICK (V.O.) The way Louis tells it... INT. BAR (SMOKEHOUSE) - NIGHT - THE ENTRANCE MICK .it's just quirky enough. Mick and Raul coming out, after having a few. It's a lawyers' hangout at this hour, others are coming/going... RAUL Quirky enough for what? MICK To be true. Maybe it went down just like he says. (off Raul's look) Anyway there's a. chance. In a party of law-types, we GLIMPSE MAGGIE, who catches sight of Mick in the doorway... while Raul mulls what Mick said... RAUL An innocent client. Jeezus. MICK Yeah. But you know what my father said about innocent clients... Maggie's overheard this, gives the answer. MAGGIE He said there's no client as scary as an innocent man. Mick, seeing her, smiles and continues, a little tipsy... MICK That's right. Because if you screw up and he goes to prison, it scars you for life. There's only one verdict. You've got to put an N.G. on the board. (ADDS) Hey Mags. She reads the state he's in. 33. MAGGIE Raul, if you let a man drive in his condition I think I can charge you both. The guys look at each other. Maggie swipes the keys-- MAGGIE (CONT'D) I'll drive him to his house. RAUL And how will you get home? MAGGIE My friends brought me. I'll keep the car, he can pick it up at my place in the morning. (TO MICK) Get in. And she gets in the driver's side, waits. Mick to Raul-- MICK Okay, you know the moves. Make the rounds, check out Morgan's Bar... RAUL And Mr. Corvette... MICK And Regina Campo. The way Louis says she came on's got me wondering. Mick gets in and closes the door. As Maggie starts it up and pulls away, and we SEE the "NT GLTY" PLATES again... go to... INT. LINCOLN (MOVING) - NIGHT Ride in silence. Then Mick, mischievous, turns on the RAP. TUPAC "God bless the dead and buried nigga, Don't worry if you see God first, Tell him shit got worse..." MAGGIE You've got to be kidding me. MICK Earl lays this stuff on me. 34. MAGGIE Where is Earl tonight? MICK I never keep him this late. MAGGIE Hasn't he worked your fee off yet? MICK A while ago. But he likes driving, keeps him out of trouble... He's taking courses, too, in music. MAGGIE You can't tell by this stuff. She snaps the rap OFF. MICK You get used to it. Besides, Tupac, he helps me understand my clients. Most of them go to school on his LYRICS-- MAGGIE Not Roulet. MICK Not Louis, no. Louis is my franchise player, he pays for all the rest... After a beat... Office gossip... MAGGIE I heard Smithson assigned Ted Minton to your case. MICK Never heard of him. MAGGIE He's brand new. Bright, though. Smithson's protegee. Naturally. Georgetown, buys his suits at Brooks, above all he's a guy... Mick looks over at her, as she flares, calms... Moonlight lines her profile. Made self-conscious by his watching her, she moves her hair from her face. Beyond pretty: Beautiful. 35. MICK Lorna made me my schedule. Saturday's fine to take Hayley. MAGGIE Saturday there's the Sponge-Bob movie... MICK I'm all over it. How's she doing? MAGGIE I'll know when I drop you and get home to relieve the sitter... (catches him looking) What? MICK Moonlight becomes you. MAGGIE (GLANCES) That's not doing me any good, Haller. EXT. MICK HALLER'S HOUSE, LAUREL CANYON - DARK - NIGHT The Lincoln pulls up. Mick gets out but stands there. MICK Thanks. She nods You're welcome. And pulls away. Mick's smile fades as he looks up at his dark lonely house. INT. MICK HALLER'S HOUSE - MOMENTS LATER - ON: AN ANSWERING MACHINE, he's just hit Play. BEEP. VOICE OF A CHILD (HAYLEY) Daddy, Mommy said I could call and say G'night. Sorry you're not there. G'night, Daddy. MICK Me too, baby. Then Mick hits "Play" again. BEEP. VOICE OF HAYLEY Daddy, Mommy said I could call... 36. Off a FRAMED PHOTO: HAYLEY, B, curls, Irish eyes... EXT. LATER - NIGHT - VIEW FROM MICK'S PORCH Mick's got a drink in his hand. Below: L.A. is spread out: Wide, white scattering of lights. Above: Stars. INT. COURTROOM, COMPTON COURTHOUSE - MORNING - ON: JUDGE FLYNN, 60 (put-on Irish brogue) Top o' the mornin', Mr. McGinley! You know what day it is? Mick's client, DARIUS McGINLEY, black, 2B: In chains. Mick is beside him, as he answers, confused-- DARIUS The day I get my sentence? JUDGE FLYNN That too. But it's also St. Patrick's Day. A day to revel in your Irish heritage. Darius doesn't get Flynn's joke. Mick cautions Darius, low-- MI CK He's an asshole but just be cool. Darius scowls... under which Mick notices that RAUL has showed up, is trying to get his attention... while... JUDGE FLYNN Do you know the origin of your name, Mr. McGinley? DARIUS Slave-holder, I 'spect. Why do I care who that motherfucka be? MICK Darius I told you-- DARIUS The man's dissin' me! JUDGE FLYNN (GLARES) Alright: If you don't care about your name, then I don't. (MORE) 37. JUDGE FLYNN (cont'd) Let's get on with your sentence for the sale of rock cocaine and get you off to prison, shall we? Darius, pissed. Raul waves to Mick, wants to talk... INT. COMPTON COURTROOM - LATER - ANGLE... Darius led off by guards-- Mick, defeated, confronts Raul. MICK What couldn't wait, Raul? RAUL (brightens a little) Wanna see a movie? CUT TO, FULL SCREEN: B&W VIDEO PLAYS, SHOWS: MORGAN'S, NIGHT FIXED DOWNWARD ANGLE on the bar, near the cash register. Tending bar, two hot young women, jeans, white t-shirts... FRAME-COUNTER ticks off, bottom right: 8:11 P.M., MARCH 6. RAUL'S VOICE We caught a break. The owner had a camera installed to watch his register after he caught the help dipping in last year... MICK'S VOICE And here comes Louis. Said as LOUIS enters frame, sits. MOS, orders a drink. We're: INT. BACK SEAT, LINCOLN (PARKED), DAY: WATCHING ON A LAP-TOP: While Earl stands outside the car, as if on guard. . .Raul points out the action, working the keys... RAUL I had the tape transferred to disc, so I could manipulate, y'know... Raul starts to ZOOM... Shows Mick, on the SCREEN... RAUL (CONT'D) I'd like you to meet Reggie Campo. 38. FULL SCREEN VIDEO IMAGE AGAIN - MORGAN'S, NIGHT ZOOMING IN on REGGIE AND HER GUY, over drinks... FREEZES. RAUL'S VOICE And Mr. X. The Corvette-man. MICK'S VOICE Are you sure? RAUL'S VOICE Wouldn't have popped a grand for the tape if I wasn't. Now watch... STARTS PLAYING IMAGE AGAIN, widen to full shot. RAUL'S VOICE (cont'd) Nothing for like a half-hour... He RACES THE TAPE FORWARD... Time code FLIES... He slows it as it reaches 8:40, 41, 42...43. RAUL'S VOICE (cont'd) Then... Here. Mr. X gets up, with pack of cigarettes, goes... MICK'S VOICE I know the place. They got a smoking porch out front. RAUL'S VOICE That's where he goese. Giving Reggie her chance. Watch her. She passes behind Louis, trails her hand along his shoulders... keeps going out of frame... MICI{' S VOICE That's not how he said it went down. He said she gave him her address, on a napkin... RAUL'S VOICE Whoa, wait, she just went to the little girls'. But she's gotta come back, no? And NOW HE FAST-FORWARDS TAPE AGAIN... And this time she stops by Louis, speaks into his ear, presses her body against him... Louis nods, takes something from her... Reggie kisses his cheek quickly, continues on... Rejoins X at the bar. 39. INT. BACK SEAT, LINCOLN, DAY - CONTINUOUS MICK (takes it in, excited) Do the cops have this? RAUL How can they? I got the one and only. It ain't a copy. MICK You're exceedingly beautiful. RAUL Wait. (speeds the tape again) .Reggie and X decide to split... VIDEO IMAGE AGAIN - REGGIE RISING, WITH GUY Guy takes a final swig, finishing drink... they exit frame. RAUL'S VOICE Check out his hand, his watch. MICK'S VOICE It's on his left. That's no good... INT. BACK SEAT, LINCOLN, DAY MICK It means he's right-handed. But the facial blows were from the left... RAUL Slow down. You said you knew Morgan's. So you oughta realize... (as Mick stares) This image is in the mirror over the bar. That's how the owner set the camera to watch his register. MICK So everything's backwards... RAUL And X punches with his left. 40. MICK I told you you were beautiful. Anything else? RAUL Yeah. But it's not on the tape. You know how you were wondering about Regina? MICK Yeah? Raul just looks at him. Off Mick, HARD CUT TO, EXT. STREET, BEVERLY HILLS, DAY - THE LINCOLN... Jams/wedges its way through traffic, to halt at the curb. MICK exits, heads towards... into... INT. WINDSOR ESTATES, OUTER OFFICE - CONTINUOUS Behind the reception desk is ROBIN, tan/sexy blonde, hair hanging straight over one eye like a scythe... MICK Mickey Haller. Here to see Louis. ROBIN Mr. Roulet is with someone. He can't be disturbed. It's like he doesn't hear her-- walks calmly past her-- to -- THE DOOR TO LOUIS ROULET'S OFFICE- Mick ENTERS, finds Louis with his loafers off, on the couch with his cell-phone cradled to his ear. Robin chases behind... ROBIN (CONT'D) I'm sorry, Mr. Roulet, this man just came back here-- LOUIS It's okay, Robin. You can go. Robin exits. Louis mutters an apology into his cell-phone and rings off. Looks annoyed at Mick. LOUIS (CONT'D) I was setting up a showing. 41. MICK There won't be any showings in Pelican Bay. LOUIS Where's that? MICK It's a supermax prison where they send violent sex offenders. You'll fit in real good in your loafers. LOUIS What's the matter? MICK You lied to me, Louis. I'm about to go and see the new prosecutor, who's doing everything he can to put you away, and now I find out you've been lying. (before Louis can deny) Tell me about Reggie Campo. LOUIS What about her? I've told you-- MICK You didn't tell me. That you were going to pay her for sex. (off Louis's surprise) You think it's hard to find out somebody's not Snow White? LOUIS Alright yes, I was going to pay. She wrote down a price on the napkin, four hundred dollars... MICK Why didn't you tell me this in Cecil's office? LOUIS I didn't want my mother to know. Cecil tells her everything. And can we keep it down? Her office is on the other side of that door... Mick looks at Louis's concern. Believes it. Easing up... 42. MICK This changes things. You see that, don't you? LOUIS I'm not a lawyer. Explain it to me. MICK Alright I will. You know that guy on the Venice boardwalk? The one who has all those plates spinning on sticks? LOUIS What does this have to do with-- MICK Just listen. A bunch of spinning plates: that's the state's case. In the middle is a big one. It's a fucking platter. And if that falls it takes the others down with it. (He gets closer to Louis) The big plate is the victim. The only witness against you. I knock her down, the act is over and the crowd goes home. No trial. Mick has Louis' attention now. LOUIS You can make this trial go away? MICK We've lost time. You concealed from me the fact that could do it. It comes down to why. LOUIS Why what? MICK Why would a guy with a Porsche and a Rolex need a knife to get sex from a woman who sells it anyway? The answer is, he wouldn't. And when you see that you see the set- up, the trap. And suddenly it's the defendant who looks like the victim. Louis gets it. Penitent. 43. LOUIS You're going to the prosecutor now? MICK Yes. Young hot-shot named Ted Minton. He wants to give me the discovery file. Poor guy doesn't know that Raul already got it. He's new to felonies but he's no dope. When he hears his vic's a hooker he'll know we've knocked all his plates down. LOUIS Then it'll be over? MICK No promises, Louis. Louis closes his eyes, savors the prospect. Then sees Mick to the door. When he opens it: MARY WINDSOR's there. Surprised to see Haller. MRS. WINDSOR I didn't know you were here. Is there news? LOUIS There will be, Mother. And puts out a hand to Mick. Grateful. Hesitating half a beat, Mick shakes it and goes... Louis and his Mother. Regard each other. Face to face. INT. VAN NUYS CIVIC CENTER - D.A.'S OFFICE, RECEPTION - DAY Mick in a chair. Impatient. Legal secretaries, prosecutors, etc., come and go, when-- a guy Mick recognizes, DETECTIVE KURLEN, fat, 40, approaches a desk with a stack of papers-- SECRETARY Are these for A.D.A. Knight? KURLEN Yeah, and they're my only copies. I'll wait while you copy them. SECRETARY I'll have to ask her... But, he holds them back. Stares. She yields... 44. SECRETARY (CONT'D) I'll run them for you now. KURLEN Just what I wanted to hear. She goes. Mick tries to avoid Kurlen-- but too late-- KURLEN (CONT'D) Well, look who's come callin'. MICK Detective Kurlen. KURLEN (re papers he dropped off) Puttin' a case away. Guy drowned his neighbor's kid in a tub to see what it felt like. It won't shock you to hear he was high... MICK Thanks for clearing that up. KURLEN If he gets San Quentin, maybe he can look up your boy Jesus Martinez. Mick bristles at this reference. Turns away again. To a PASSING SECRETARY: MICK (to a passing secretary) Is Minton back yet?-- SECRETARY #2 He'll be a few more minutes, sir. Kurlen, seeing he's drawn blood, continues to needle. KURLEN How's he doin' up there, anyway? He make the pucker-up-and-kiss-me team? MICK I haven't talked to him. KURLEN I guess once they plead guilty, they're not much use to you. (MORE) 45. KURLEN (CONT'D) (rubbing it in) He went down forever, right? MICK He got life, but he'll be out. I don't know when. KURLEN Too bad. 'Cause his victim, Martha Renteria? She's dead forever. MICK You don't have to remind me you were lead dick on that. Kurlen grins. Shakes his head. KURLEN How's a guy like you sleep at night? With the scum you represent. Mick's had enough. Moves closer. To tell him a story. MICK I had a client once, he decapitated his ex-wife, then kept her head in the refrigerator. KURLEN (DISGUSTED--) Naturally you got him off. MICK The D.A. got greedy. Tried to pile on two unsolved murders, trick up evidence to stick my guy with them. It's called the justice system, we don't do things that way. KURT. EN So your guy's out walkin' around. He ever do it again? MICK I don't know. I never heard of him after that. KURLEN But he could have. Fuck you, Haller. MICK (THE POINT:) No. Fuck the D.A. 46. Before Kurlen can react-- TED MINTON arrives. Fresh-faced, Ivy League, 30. TED Mr. Haller? (Mick stands, relieved.) Sorry you had to wait. I hope it'll be worth your while. He gives Mick a thin, white-covered file from a briefcase. Mick, leaving the still-sneering Kurlen behind, takes the file and follows Minton off-- tapping the file with a finger-- MICK Looks kinda thin for a discovery FILE-- TED Yes well-- We can go to my office-- MICK I've got a question first. He takes from his pocket: Raul's DISC. The DVD Raul gave him. MICK (CONT'D) You have something to play this on? INT. TED MINTON'S OFFICE - AT HIS DESK - MOMENTS LATER ANGLE the young prosecutor's face as he watches the bar-tape. And Mick watching him for his reaction... When it's done, Ted clicks it OFF. Not much reaction at all. TED What else do you have? The simple, polite question throws Mick. MICK Look Ted, let's cut the bullshit. Not only is your so-called victim a working prostitute, but we've got her on tape soliciting my client! Maybe you're new, but you gotta know how hard it's gonna be to convince a jury a guy would have to rape a hooker to have sex with her-- 47. TED Nothing you're telling me's going to change my offer. MICK Offer? You're making an offer? going forward? Not the way Mick thought it would go. Ted goes on... TED We'll drop the charges to Assault with a Deadly and Attempted Sexual Battery. The guidelines put him at seven years, maybe he'll do four. Mick, uncertain now, doubts himself for the first time... MICK .What am I missing here?... Ted stays innocent-looking. Blank. EXT. GRIFFITH PARK - KID'S AREA, PONY RIDES - SATURDAY MICK with his daughter, HAYLEY, 8. Mick's ON A BENCH near where Hayley waits on line for the next pony... EARL approaches from the refreshment stand with an ice-cream for Hayley and one for himself. Kids playing everywhere, a MINIATURE TRAIN chugs past... but Mick's lost in thought, his beat-up briefcase open, he's working. EARL Got you the good stuff, Hayley... HAYLEY Thank you, Earl. Just then a little girl gets off a pony. The attendant holds it for Hayley. EARL Man's got your ride ready... MICK Go on, I'll hold your ice cream. Excited, Hayley goes. The attendant lifts her up and on, and The pony carrying Hayley joins the others in the wide ring... Mick watches her for a moment, waves-- then, balancing the ice cream, returns to his files-- 48. MICK (CONT'D) There's something right in front of me and I'm not seeing it. On his lap he's spread out: PAGES from the TWO FILES: the blue-covered one Raul gave him. The white-covered from Ted. Mick starts turning pages, compares... The same, the same... When he turns the next one over: It's the page Raul gave him showing the PICTURE OF A KNIFE, the picture we saw in Cecil Dobbs' office. Turns to the matching page from Ted's file. Reaction Mick... HARD CUT TO, EXT. LINCOLN (MOVING) - COUNTRY CLUB - LATER In the parking lot, pulls up. Louis is in front of the club, golf-clothes, waiting. Comes out to meet the Lincoln... INT. LINCOLN, BACK SEAT - SAME TIME HAYLEY You said we',re going to the movies! You promised me last week! MICK Daddy's got to talk to somebody. You stay with Earl. Mick gets out, Hayley stays... EXT. LINCOLN - CONTINUOUS Louis hurries over, as far from the clubhouse as possible, in order not to be seen or heard-- eager-- LOUIS What's happened? Is it over? You said it would be over by now-- MICK That was before I found out you were still lying to me. He shoves a sheet at Louis. Louis looks: PICTURE OF A KNIFE, but DIFFERENT from the knife-picture we saw before. 49. MICK (CONT'D) You know what that is? It's a picture of your knife. The one you had on you when you went to Reggie Campos. The one the cops have. Look at the blood on the blade. Look at the initials. Louis is stuck for an answer-- MICK (CONT'D) That's why Ted Minton didn't care when I told him Reggie's a prostitute. What's it matter, when he's got a knife with her blood and your initials on it? LOUIS This wasn't the knife in the file-- MICK (scowls, sore) That's right. The file Raul got us was a loaded deck. The cops must have been on to him, because they used it to set us up. So we'd think they had nothing, when in fact they had enough to put your Hugo Boss, golf-playing ass away for twenty years! Mick looks back towards the car, parked maybe 20 yards off. He sees HAYLEY in the backseat looking out. So does Louis. Mick sees him looking her way... Feeling the man's look, Hayley sits back. Out of sight. A moment... then Mick resumes. Cold and firm. MICK (CONT'D) Explain to me why you lied about the knife. LOUIS I didn't lie. I said the one in the picture wasn't mine. Mick frowns/grins at the answer... LOUIS (CONT'D) I said it twice! Nobody listened! 50. MICK (MOCKING) What are you now, a lawyer? A clever, third-rate fucking lawyer with smart-ass technicalities? "You said it wasn't yours"-- What you should have said was, "I had a knife but this isn't it!" What did you think, it would just go away? (closing in on him) You brought a murder weapon to a meeting with a prostitute, Louis! How am I supposed to make that look like she set you up? LOUIS 1. Did. Not. Do this. Off which, Mick stares hard at Louis. At his frightened look. Then tries-- slowly-- as if for the last time-- MICK Then kindly tell me why you went to her apartment with a custom-made knife, serrated tip, with "LR" engraved on the blade? LOUIS I always carry it. For a moment, Mick takes this in. Echoes. MICK You always carry it. LOUIS Yes. In real estate we show homes, to people we don't know. This one time... He stops. Like it's difficult. Then goes ahead... LOUIS (CONT'D) My mother. She was showing a place. It was in Bel-Air, so she thought it was okay to go alone, even though there was a man at the time who had raped some women that way. He was there. MICK Who was there? 51. LOUIS The man. He raped her. When she didn't come back, I went to the house and found her. Mick. Stirs. Like he's seeing a possibility... LOUIS (CONT'D) That's when she stopped showing property. I do the selling now. And I started carrying a knife. Always. Mick turns it over. Finally... MICK That's quite a story, Louis. (BEAT) Your mother will have to testify. LOUIS We don't want that. MICK (COLD) I don't give a damn what you think we want. From now on you do what I tell you while I try this case. Do I make myself clear? Louis is silent. Mick looks off. Towards Hayley, in the car. INT. DOOR OPENING TO: MAGGIE'S HOUSE, STUDIO CITY - NIGHT ON THE CUT she OPENS TO MICK CARRYING HAYLEY IN HIS ARMSi fast asleep but still clutching a carton of movie popcorn... INT. KITCHEN Maggie leads Mick-with-Hayley through, Hayley snuggles further in her father's arms. As they continue... MICK If she wasn't so darn heavy I'd carry her all night, I swear. MAGGIE Defense lawyers will swear to anything... 52. INT. LIVING ROOM, LATER - MICK AND MAGGIE He's at the door about to go. Maggie delays him with, MAGGIE You look like you're in a daze. MICK It turned into a rough week. Being with Hayley was the only high. She can't find anything to say. As he heads out again... MAGGIE Nobody's seen you at Four Green Fields lately. MICK I stopped going. Too much of a scene. MAGGIE Yeah well. If you start going again. Now she has his attention. MICK If I start again, what? She's awkward. Smiles, shrugs to cover-- MAGGIE Bunch of us from the office are there. Tuesdays, after work. An invitation. S-zrprising him. MICK I'll keep it in mind. MAGGIE Okay. MICK Okay. After more awkwardness, goes. She closes the door. CUT TO, 53. INT.'FOUR GREEN FIELDS' (LAWYERS' BAR) - MONDAY - EVENING Noisy, drinking CROWD of legal types-- We're MOVING through it-- Don't realize it at first but it's-- MICK'S POV-- he's trying to shoulder his way through towards-- A BOOTH OF WOMEN from Maggie's office-- Maggie sees him, lights up a little-- MAGGIE Haller! Let him in, girls! Buy you a beer? MICK You won't make it to the bar... MAGGIE Then let's share this. They fight to a table for two, edge of the crowd. When he balks at sipping from her glass-- MAGGIE (CONT'D) We've had a taste of each other before. He laughs a little, reads that she's had a few. He drinks. MAGGIE (CONT'D) Feeling a little better tonight? Or did Ted Minton sandbag you? MICK (How'd she know?) Yeah, that's exactly what-- MAGGIE With that guy Corliss, right? I told them using that dirtbag was a bullshit play. But you'll take the the guy's head off on the stand... Mick's off-guard, doesn't know what she's talking about. MAGGIE (CONT'D) (catches herself, giggles) Whoops, I shouldn't say that... MICK (to keep it alive) So Ted talked to you about Corliss? 54. MAGGIE Huh? It was me who sent him to Ted. Corliss thought it was my case because I handled first appearance. (sees Mick is too eager) I'm telling you too much. MICK Nah, nothing I don't know, they always use a professional snitch... (when she doesn't bite) I mean Corliss has done this before, right? MAGGIE (clams up, with:) Can't we just forget work and have a friendly Guiness? MICK How about we go somewhere to eat? (before she objects) So we can talk about our daughter. MAGGIE (WEAKENS) Let me tell my friends I'm leaving. She goes. And Mick, quick, writes the name CORLISS on napkin. INT. ITALIAN RESTAURANT - NIGHT - AT A TABLE: MAGGIE I'll bet you didn't know Sponge-Bob movies could be so much fun. MICK The fun's watching her. Maggie likes this. Touch glasses. After a quiet moment... MAGGIE You didn't know Minton had Corliss til I blabbed, did you. MICK He was hiding something, I thought it might be a jailhouse snitch... 55. MAGGIE You got me drunk to find out what you wanted to know. Except I was already drunk. Good point, right? He feels something. ANGLE, her hand on his knee... MAGGIE (CONT'D) Hayley's probably asleep. I gotta go relieve the sitter-- (makes a face) Only I don't think I can drive myself home. MICK one good turn. I'll drive you. MAGGIE And will you take me back to get my car in the morning? A loaded proposition. Covers her hand with his own. CUT TO, INT. MAGGIE'S BEDROOM - THE BED - MORNING ANGLE HAYLEY, sleeping between her two parents. Mick opens his eyes: Maggie's awake and staring at him. Grim. MAGGIE This is not fair to her. (MICK STIRS--) Waking up and finding you here. She'll get her hopes up. MICK How'd she get in here? MAGGIE She comes in here when she has nightmares. She has nightmares. MICK So she sleeps in here a lot? MAGGIE Don't start. You have no idea what it's like raising a child alone. He can tell by her tone: All last night's tenderness gone. 56. INT. GUEST BEDROOM DOWN THE HALL - MOMENTS LATER He's dressing-- she enters to him in a robe-- MICK Look-- I'll leave-- then come back in an hour. We'll go together to get your car then I can take her to SCHOOL-- MAGGIE Just like that? You're gonna start taking her to school? MICK Don't you remember what we talked about last night? MAGGIE I thought you were just trying to get into my head on your case-- or get me into bed-- MICK (getting angry now) I can't win with you-- MAGGIE Not when you're being a defense lawyer! Do you know how crazy we were to think we could ever make it? Me trying to get dirtbags off the street, you keeping them there-- MICK ALRIGHT MAGGIE-- MAGGIE Just go! INT. DINER (DUPAR'S) - MORNING - MICK AT THE COUNTER: Unshaven. Edward Hopper drabness. To lose himself in work, looks down at his files: An 8x10 OF REGGIE CAMPO'S BATTERED FACE. WAITRESS, 50s, pours coffee. Recoils as she glimpses the picture, the gruesome wounds, Mick didn't mean her to see. 57. MICK Sorry. It's work. WAITRESS I just hope you catch the bastard who did it to her. And goes. Mick tucks the picture under some papers, to hide it-- but finds that he's only hid it halfway. Leaving half her face exposed. The good half. Something about this... He picks it up again, folds it... INT. MEN'S ROOM - MOMENTS LATER Leaning over the sink, Mick holds the folded photo against the mirror, the unhurt left side showing. Creates a full image of a face. He stares a long time. Then, to himself: MICK Martha Renteria. INT. ANGLE ON A WAREHOUSE-GARAGE DOOR RISING - FROM WITHIN Mick, enters. THREE LINCOLNS LINED UP along a wall. Mick's "fleet." California plates: NT GLTY 1, NT GLTY 3, NT GLTY 4.. Walks past... to some battered file cabinets. He turns on a single-bulb lamp... DRAWER OPENING ON FILE CABINET... Mick's fingers fly through the tabs of old files, stops at: MARTINEZ. Cut to, MARTINEZ FILES ON DESK, MOMENTS LATER: Mick examines them: Police reports, printouts. Until he finds... Autopsy report. Name: RENTERIA, MARIA. Takes out... Bx10 PHOTO: WOMAN DEAD ON A BED, NAKED. Dark bloodstains. NEXT PHOTO - TIGHTER: Knife-wounds. And bruises. NEXT PHOTO - HER FACE: BEATEN: Injuries to the left side (opposite of Reggie's.) Dark-haired, large brown eyes. MICK. Folds this one in half. Takes the folded shot of Reggie, fits them together, crease to crease: So alike, they form what could be the face of one woman. Mick. Not wanting to face the memory: a VOICE in his head: MICK'S VOICE I wish you'd called me before you talked to the cops, Jesus... 58. GO TO, INT. VAN NUYS JAIL, ATTORNEY/PRISONER ROOM - DAY FLASHBACK OF MICK WITH MARTINEZ, who's stalking around, in a panic, while Mick is laying out the bad news... MARTINEZ (MEXICAN ACCENT) I seen my picture every place! They was gonna bring me in, so... MICK But you told Kurlen you were in her apartment. He didn't have that, he doesn't even have any prints... MARTINEZ That shit I tol' is true, man! I seen her at the Cobra Room, she said if I paid we could go to her place, she didn't care about the other guy... MICK Nobody saw any "other guy"... MARTINEZ There was another guy, bpi guy that she was talking to... MICK Plus the coroner says her vagina was brutalized... MARTINEZ Are you my lawyer or what, man? (insists, crazy now) When I left that chick was fine! I fucked her but I didn't hurt her-- You ain't even listenin'-- MICK Three people saw you throwing a knife into the L.A. River... MARTINEZ 'Cause I had that knife in my car! I knew they was gonna find it... MICK If all you did was fuck her then why didn't you leave any prints? The place was wiped down... (MORE) 59. MICK (CONT'D) But your semen was on the towel, you forgot you wiped your penis on that towel... MARTINEZ I didn't forget nothing! I jus' used that towel, then I give the chick the money and I left! MICK It's not gonna make. MARTINEZ Don't say that! MICK Jesus they want the death penalty! I can see to it that never happens, but not if you don't plead. MARTINEZ You want me to say I did this? Mick hesitates but stays level. Unbending. No choice. MILK Jesus, there's a deal to be made. I can do that. I can get you Life. (Martinez crumples...) Life means you'll do fifteen... MARTINEZ I'm innocent! Inocente! You know what that means? Mick just looks at him. EXT. GOLDEN GATE BRIDGE, SAN FRANCISCO BAY - DAY Not much traffic rolling out of the city, mid-morning... INT. CAR NORTH OF THE BAY - DAY Mick at the wheel. Beside him, his briefcase. SEES OUT ON THE WATER: the prison-fortress of SAN QUENTIN. INT. VISITOR'S ROOM: GLASS-DIVIDED - SAN QUENTIN - LATER ON THE CUT, JESUS MARTINEZ sits. 29, only a few years older than when we saw him but looks bad. Glass wall divide them. 60. MICK I'm not going to ask you how you are because I know. Martinez glares at him, then spits on the floor. MICK (CONT'D) Look. I need to ask some questions. MARTINEZ you didn't have no questions then. Never ask, Did you kill that girl? MICK I am trying to make it right. Martinez is silent. Cold. MICK (CONT'D) Tell me again about the Cobra Room. MARTINEZ Tell you what? CUT TO, INT. COBRA ROOM - NIGHT The black-light Latina club, music, smoke-- In the middle is a pit iwith a BIG COBRA BASKET, out of which a girl in a snake costume emerges-- MARTHA. Watching is MARTINEZ-- MARTINEZ (V.0.) (cont'd) She was workin'. Dancin'. LATER, AFTER THE ACT-- Camera finds Renteria half-curling herself around MARTINEZ-- MARTINEZ (V.0.) (cont' d) Then she came and talked to me... She's whispering, Martinez is loving it-- MARTINEZ (V.0.) (cont'd) She tol' me I could take her home. I did, but I didn't kill her. MICK (V.O.) You said there was another guy... Disentangling from Martinez, Martha slides toward a MAN, TALL, his back to us... 61. MARTINEZ (V.0.) Si, she talk to him too, but she come back to me. Though she's with the other man, she glances back at Jesus... RESUME, INT. VISITING, SAN QUENTIN Mick opens his briefcase, takes out a stack of photos. One by one holds them against the glass with his fingers... WHEN: SPEAKER (GUARD'S VOICE) GET BACK FROM THE GLASS. OR THE INTERVIEW WILL BE TERMINATED. Frustrated, Mick complies-- but calls-- MICK Guard! Long beat. Guard enters. Clean-Marine. Mick shows the stack. MICK (CONT'D) I need him to look at these. GUARD You can't give him anything. MICK But if you won't let him close to the glass, how can he see them? GUARD That's not my problem. MICK All right, but can you stay a minute? If he IDs one of these mug- shots I need you to witness it. GUARD Don't drag me into your bullshit. And goes. MICK Godammit. (then, to Martinez) Try. See if one is the guy. Mick holds up one after another. Martinez shakes his head no-- Then the booking photo of Louis Roulet. 62. Mick holds it up. Off Jesus, as his eyes narrow... EXT. AIRLINER LANDING, BURBANK AIRPORT - DAY PRE-LAP the YELPING/SNARLING of a small /fierce dog... We're: INT. RAUL LEVIN'S BUNGALOW, GLENDALE - EVENING Raul in shorts, lets Mick in over the barks of his Shih-Tzu. RAUL Cool it, Ahab... C'mon in, Mick... Leaves Mick alone while he puts out the dog-- Mick cools his heels. Takes in: Cubs pennant, Raul's old peaked policeman's cap, mounted... finally pours himself a vodka. Notes the photo of a YOUNGER GUY, its frame hung with the "Fight Aids" ribbon. Raul re-enters. MICK (re the drink) I helped myself. RAUL It's okay. I owe you, the way I let you down on that discovery file-- MICK It wasn't you. The cops set you up. Who was it slipped you the file, anyway? RAUL Some guy in vice I play cards with. Lonnie Fry. You don't know him. MICK You're right, I don't. But I know who his partner was, when he was in homicide. Kurlen. RAUL That prick. I'll make him sorry. MICK Don't bother. We've got bigger problems. The way Mick says it. Raul sits, asks-- 63. RAUL Like what? Where were you today anyway? You were hard to reach... MICK Cell phones don't work too well where I was. Raul waits. Knows this is why Mick came here. MICK (CONT'D) I came to tell you a story. About Jesus Martinez. RAUL You were at San Quentin. MICK It's about what happened after he left Martha Renteria's apartment. RAUL After he killed her? MICK He never killed her. He went there, had sex, flushed the condom-- RAUL Wiped his prick on the pink towel-- MICK And then went home. The story starts after he left. RAUL (GETS IT) The real killer. MICK The real killer. She lets him in. CUT TO, INT. MARTHA RENTERIA' S APARTMENT - NIGHT MICK Maybe he fakes like it's still Martinez and he forgot something. Or maybe it was an appointment... We see the door open but we don't see who enters... 64. RAUL (V.O.) The other guy from the club? The one Jesus said he bid against? NICK (V.0.) Right. He comes in, punches her a few times to soften her up... Renteria staggers as she's suddenly pummeled, then spun... NICK (V.0.) (cont'd) Then takes out a knife and holds it to her neck while he walks her to the bedroom... We SEE the knife-tip against her throat... MICK (V.0.) (cont'd) Only she isn't lucky like Reggie Campo will be. He climbs on top, puts on a condom, rapes her... CUT TO, BEDROOM, as Mick gives us the action... MICK (V.0.) (cont'd) And when he's done he stabs her over and over, fifty-two times, while he works out something in his sick fucking mind. We SEE, the stabbing, bleeding, then-- RESUME, INT. RAUL'S BUNGALOW MICK Do you need to ask what kind of knife it was, based on the wounds? RAUL A short-blade folding knife... MICK Or whose face Martinez picked out of the mug-shots I brought him? No. No need. A beat. Raul's dog barks from outside. MICK (CONT'D) Of course the story goes on from there. From there it's about the lawyer Martinez gets himself... 65. RAUL Don't do this to yourself... MICK (ignores, on a roll now) The lawyer who just assumes he did it because of the DNA. The lawyer who gets him the best deal he can, and feels pretty good, because the deal keeps his client off Death Row... and this guy, this lawyer, he's all about the deal, see? RAUL Mick-- You can't beat yourself up for what you didn't know-- MICK I just saw him and he's twenty-six going on forty. He's a little guy. You know what happens to the little ones up there. A beat. Mick drinks. MICK (CONT'D) (SUDDENLY) He has a type. Roulet. It's more than a type, Renteria and Campo, you put their faces together you get the same face... RAUL (off the drink Mick takes) You better take it easy... MICK Listen, I was thinking about this the whole way down on the plane-- That night with Renteria? It was like he hit the jackpot-- got to do his thing and get away with it. Then he's in a bar, sees Reggie-- RAUL Who he's seen before, remember-- MICK Yeah but tonight he sees who she looks like. 66. RAUL Renteria? MICK Right. And he's right back there. RAUL (DOUBTFUL--) Mick, we're talking about a really STRANGE-- MICK We're talking about a killer at work. You know that video from the bar? Just like you, he saw that Mr. X was left-handed. RAUL (struck by this) Smart as the devil-- MICK He knows what he's doing. Reggie's the luckiest woman alive. RAUL You think there are others? With that face, or-- MICK You find out. Dig into Roulet. (recalls...) "All you'll find is parking tickets," I don't buy that anymore. Check out knife-murders of women. Not just the unsolved ones, Martha Renteria was a closed case. RAUL Look man, I can't throw a net like that. I'm just one guy! You gotta bring the cops in. MICK I can't. He's my client. (clear on this:) That's why he hired me. Raul looks up, startled by this. Mick lays it out... 67. MICK (CONT'D) I was thinking about that on the plane too: He was worried I might hear about the case and put it together. But if he was my client, I'd be bound to keep my mouth shut and protect him. RAUL (SEES) Attorney-client privilege. MICK I told you: He knows what he's doing. RAUL You got one guy in prison for what your other client did. What are you going to do, Mick? A beat. MICK I'm working on it. CUT TO, EXT. MICK HALLER'S HOUSE - NIGHT - LATER Lincoln in front. Mick, working on Raul's question. Trudges up the steps. PHONE RINGS before he gets in, he fumbles keys-- INT. HOUSE - KITCHEN... AS HE ANSWERS... MICK This is Haller... MAGGIE'S VOICE Did you get my messages? MICK Maggie, no, I was up in San Francisco for the day... MAGGIE'S VOICE No you weren't. You don't go to San Francisco, you go to San Quentin. Must have been seeing a client... MICK You always were too smart for me. Is Hayley okay? 68. MAGGIE'S VOICE She's good. Look, she's playing soccer tomorrow, and she wants you to come to the match. You've started something, Mickey... MICK Fine, I look forward to it. MAGGIE'S VOICE You'll need to pick her up at noon. But, under this, he sees, DOWN THE HALLWAY, light from a room. Sudden chill. Angling to see, keeping a normal voice... MICK Noon, I'll do that. See you then. And hangs up before she can say goodbye.. And Stops. Freezes. Eyes on the LIGHT at the end of the hall. Carefully, Mick begins to move down the hall... Pauses at the door he comes to first, bedroom, dark... Kicks it-- Nothing. starts walking again, when: there's a SOUND. Then silence. What was it?... Mick continues-- to-- The LIT ROOM: SIDE ANGLE, we see it's the den-- Mick braces-- And BURSTS IN SUDDENLY: INT. DEN - LOUIS IS THERE... Sitting in Mick's chair, leg up on the desk... MICK What the hell are you doing here? LOUIS Funny thing is I've been here before. I was offered the house to show, never gave back the key-- MICK (over,doesn't give a shit) Get out of my house! Now! LOUIS (rising, but) EASY MICK-- But, sees Mick noticing-- the ELECTRONIC ANKLET on his leg-- 69. LOUIS (CONT'D) Your friend Valenzuela put this on. A tracer. As if I were going anywhere. MICK I said Get up! Get up and get out of this house! Off Mick's force, Mick's almost crazy-- Louis smirks, goes-- EXT. FRONT DOOR, PORCH - MOMENT LATER, AS THEY COME OUT... LOUIS (turns to him, to "EXPLAIN") I couldn't reach you! I'm on trial for my life, Mick, and I get nervous when I can't reach yout And you were away all day. Like you told "Maggie." Meaning he listened to the call. Mick goes white. MICK You don't come near this house again, do you understand me? We aren't friends, we aren't partners, you're my client, eriod-- LOUIS Just what I wanted to remind you of. I'm your client. Mick reacts. Louis lets in sink in, then: LOUIS (CONT'D) Besides, I like it in your house, Mick... Pretty pictures of your kid, Hayley... MICK Fucken don't. LOUIS Don't what, don't say she's pretty? But I saw her, the other day at the club... At which, Mick's had enough: belts Louis in the mouth. Quick, solid. 70. His lip bloodied, Louis flashes with anger-- but then, just as suddenly, he steels himself. Glares coldly at Mick. LOUIS (CONT'D) Okay. Okay I'm going. But-- And extends his hand: with Mick's house-key in it. LOUIS (CONT'D) --first I think I should give you back your key. It isn't right that I have it. Now that we can trust each other. Mick takes the key. Panting, he watches Louis go down the fucking steps. SUDDEN CUT TO,, EXT. ON HAYLEY: SOCCER MATCH IN PROGRESS Hayley, defending, scrambles to get in the way of another girl, a forward, dribbling towards her... ANGLE MICK, on the sideline... among other parents... MICK That's it, Hayley, get in her way! Hayley isn't quick enough, the forward dribbles round her, goes in for the score. Hayley looks despondently at Mick-- MICK (CONT'D) It's okay, honey! When-- his CELL-PHONE RINGS. Into it-- MICK (CONT'D) This is Haller... He strains to listen... Stops cold. His look darkens... Even from the field, Hayley sees this... CUT TO, INT. RAUL'S BUNGALOW - DAY MOVING ON THE CUT, WITH MICK, as he ENTERS... It's a CRIME SCENE, swarms with cops, forensics, technicians... Mick distressed, moves as if through heavy water. DETECTIVES are leading him: LANKFORD, 38, clean-marine-- and HEIDI SOBEL, 30. They wear paper booties, thin rubber gloves... 71. LANKFORD Levin was back in his office... SOBEL We wouldn't have found him if a neighbor hadn't brought the dog back. It was running loose. LANKFORD (shows a desk calendar) Your name's all over this. Were you the only guy he worked for? MICK No, but I've got a big trial next month, attempted rape and murder. He was helping me. SOBEL Is that the Roulet case? MICK How did you know? SOBEL Because every file that's been rifled has the name. LANKFORD Only thing, Roulet himself is already cleared for this. We've checked the tracking on his tracer- anklet and it doesn't show him anywhere near this place. And there's no way to trick those things, no way in the world. We see Mick register this-- wants to ask about it, but before HE CAN-- LANKFORD (CONT'D) By the way, Counsellor, where were you this morning? Mick rocked by the question. What it means. MICK I'm a suspect? SOBEL He knew whoever shot him. There are no signs of forcible, he even let the killer into the back room. 72. MICK I was watching my daughter play soccer. A couple of dozen people can confirm I was there. Provisionally buying this, Lankford takes out booties. LANKFORD Put these on and don't touch anything back there. INT. RAUL'S BUNGALOW - HOME OFFICE Raul face down on the floor, in front of his desk chair. SOBEL Can you tell us if you see anything unusual? Mick draws close. Lankford, abruptly-- LANKFORD All I see are pictures of a guy. Was he a fruit? MICK (BITTER) He was a hell of an ex-cop, is what he was. Crimes Against Persons, back in Chicago. And yeah he was gay, and what the hell's that got to do with it? If the murder was some kind of gay thing, why'd they ransack the office? Isn't it obvious they were looking for something to do with his work? Lankford can't argue with this. When Sobel, near the body: SOBEL Look. The position of his hands. ANGLE: Two middle fingers point down. Two outside fingers up. LANKFORD Was this guy a Longhorns fan or what? Or is it some kind of sign, like he was trying to tell us who SHOT HIM-- (MAKES "HORNS") --"The devil did it?" 73. EXT. MOVING ANGLE ON: SUBURBAN HOUSES (VALENCIA) - EVENING Seen from the POV OF-- INT. LINCOLN (MOVING) - MICK AT THE WHEEL - SAME TIME He drives the street, his focus pumped up... until he comes to: A HOUSE, its garage door wide open. Mick pulls into the drive behind it... INT. GARAGE - MOMENTS LATER - MICK ENTERS What he FINDS inside, beside a family van, is a LARGE THIN CARDBOARD BOX... It's upright, marked "Fragile." EXT. HOUSE - FRONT DOOR - MOMENTS LATER Mick stands there KNOCKING at the door. It's opened by: VAL Hey Mick! Val's surprised... a mix of emotions... VAL (CONT'D) What're you doin' here?... and I heard about Raul Levin, man... MICK (ignores all that) You know your garage door's open? VAL Shit: I just had a plasma delivered... And rushes to... the GARAGE. Mick trails... Val's relieved to find the box is okay. VAL (CONT'D) Oh man, if we still lived in Van Nuys this sucker'd be gone. Set me back eight grand, too. But it's gonna be great for the games... (notes Mick's silent mood) What's up anyway? What brings you out here? 74. MICK Raul's murder. (Val waits, listens.) I've been with the cops. They can't tie Roulet to it, because your ankle bracelet doesn't put him near the house. VAL I know, I gave them the trace. The bracelet's got a mass detector, there's no way to beat that. MICK Did the cops ask you where you were this morning, Val? Val's slow at first, to register just what Mick's asking... MICK (CONT'D) Somehow, some way, Louis killed Raul Levin. And it didn't show up on the trace. Mick looks at the plasma TV, then back at Val. Val reddens-- VAL You better not be sayin' what I think-- that I cut him loose-- to let him kill Raul--? MICK Maybe you didn't know what he was going to do-- VAL (over, angry--) You think I'd let that happen? For a fuckin' TV? And he lunges at Mick, shoves him back agains the van, Mick shoves back, harder, backwards into the TV box-- it hits the cement floor, hard, and Val falls on top of it-- Sickening snap/crunch from within the box-- VAL (CONT'D) Shit, man-- MICK Where'd you get the money for an eight thousand dollar TV, Val? 75. VAL That's bullshit! I didn't do that! How dare you say that to me-- I'm inocente, man-- Mick reacts to the word-- Martinez's word-- as Val glares at him from the ground. VAL (CONT'D) Get outa here; Get out of here, Mick, and get outa my life! Mick's already backing off-- towards the car-- VAL (CONT'D) Keep going, man! Mick keeps going-- down the drive and into his car-- CUT TO, INT. FOUR GREEN FIELDS - NIGHT - MICK AT THE BAR... Drinking, CAMERA moves on him, he taps the glass for another. Bartender comes over like he's going to pour one. Mick's keys are on the bar-- Instead of pouring the bartender swipes the keys. Mick looks at him, uncomprehending. BARTENDER That's it. You're done here, pal. And you're not driving either. (shows keys, keeps them) Call yourself a cab or something. Off Mick, INT. MICK HALLER'S HOUSE - BEDROOM - NIGHT MAGGIE, lugs him into his room, he's a mess... MAGGIE Being married to you sucked but it beat being a car service... MICK That's the idea, y'know. Car service, with the Lincolns-- Drive the illustrious turds of our city back and forth to LAX-- 76. MAGGIE I'll be your first customer. First dollar. And rolls him onto the bed. He looks at her. Drunk as he is: MICK Lemme ask you something. Corliss. The name Corliss. You didn't just give me that just because you'd been drinking. You wanted me to have it. She doesn't confirm or deny. Just gets him into bed-- says POINTEDLY-- MAGGGIE I'm not staying. He knows, but-- one thing more-- MICK Maggie-- Raul. Did I get him killed? Moved, she shakes her head no. Straightens his pillow. MAGGIE How do you do it, Haller? You're a sleazy defense lawyer with two ex- wives and a daughter, and we all still love you. We STAY ON HIM as she stands up, goes. To no one: MICK I can't do this anymore. INT. MICK HALLER'S HOUSE - KITCHEN - MORNING He's in bad shape as he comes out of the bedroom. Stares at the light pouring in from the glass doors onto the porch. Finds: THERE'S A DOLLAR TAPED TO THE GLASS. (From Maggie.) Also: the MESSAGE LIGHT ON HIS PHONE is ON. MOMENTS LATER: He's pressed the button, listens to... MACHINE VOICE Message received: YESTERDAY, ELEVEN- SEVEN A.M. 77. RAUL'S VOICE Mick, it's me. Guess I missed you. Wanted to go over a few things, so I wouldn't interrupt your day with Hayley. Anyway... Presses STOP. Raul's voice: Mick's not sure he can deal. But pulls the pencil & pad near him, and presses START again... RAUL'S VOICE (cont'd) First, that witness name you gave me. Corliss? Turns out he's this hype, Dwayne Jeffrey Corliss, sometimes goes by "DJ." When you run it that way you find out he's played the courtroom snitch a lot, mostly in Arizona. But here's the thing: One time down there? It blew up on him. I'm working on it, it can be good for us... Don't know how we get to him, though. They put him in USC lock-up, just to make it harder... Under which Mick, excited, is writing down D J CORLISS... ARIZONA... then USC, circles this last... RAUL'S VOICE (cont'd) Other thing is, you asked me to dig deep-on Roulet? Mick, I found something. I found Martinez' ticket out of the Q. When, on the tape he hears DOG BARKING... and a DOOR BELL... RAUL'S VOICE (cont'd) Uh, that's somebody at the door... Look, have a good time with your kid. Gotta go, boss. And MESSAGE goes OFF. Mick thinks a moment. Tries to clear his head. Then pulls out a card and dials a number... TNTERCUT/ INT. HOMICIDE DIVISION, GLENDALE: SOBEL AT HER DESK SOBEL (ANSWERS) Detective Sobel. MICK (INTO PHONE) It's me. Haller. (MORE) 78. MICK (CONT'D) Look, I-- just checked my phone messages. It turns out Raul called me. Just before he was killed. I didn't know. (SHE REACTS) The message came at Eleven-oh- seven. He said, "I think I found Martinez' ticket out of the Q." SOBEL (WRITING) Meaning Jesus Martinez-- that's a former client of yours-- MICK In San Quentin. Right. SOBEL Did he say anything else? Looks down at his notes. At "Corliss." "USC." A beat. As he tears off the note, stuffs it in his pocket... MICK No-- No, that's it. Then the dog barked, somebody was at the door. He hung up. (before she can ask more) Look, maybe you can tell me if there's any progress on the case. (when she hesitates) He was my friend. Sobel, makes a decision... SOBEL Well, we did catch a break. We found a bullet casing in the room, from a 22. It turns out Levin owned a .22, but when we checked it out it wasn't a Woodsman, like the gun that killed him... To which, Mick reacts... as she goes on... SOBEL (CONT'D) The other thing is we can't find his cell-phone... (noticing Mick is silent) Are you still there? 79. MICK Yeah... just, I'll let you know if I think of anything. About his cell- phone, I mean. Thanks. And hangs up. Too sudden. Leaves Sobel wondering... CUT TO, MICK MOVING QUICKLY THROUGH HIS HOUSE... Down the hall, to a closet, climbs clumsily above to a shelf-- Tossing clothes out of the way... Finds: AN OLD WOODEN GUN BOX. The top has a brass plate: COLT "WOODSMAN." Mick, in a cold sweat, opens the box. It's EMPTY. Suddenly-- EXT. HOUSE - MICK STEPS OUT ONTO THE PORCH... For air-- He can hardly breathe-- straightens his thoughts-- Takes the note from his pocket, studies it. INT. USC-COUNTY LOCK-UP - MOVING WITH MICK... GUARD leads him DOWN A HALL... leads him to a room and leaves him there. With GLORIA. In prison jumper. Faint smile. MICK Gloria I'm not here about you. I'm here about me. I need your help. FADE OUT. FADE IN: THE FACE OF LOUIS ROULET - INT. COURTROOM - MORNING Louis, lanky, graceful, takes a seat at the DEFENSE TABLE. Mick, sorts papers. Louis, turns, seems to watch him... ANGLES, THE GALLERY: DOBBS and MARY WINDSOR, she's on edge but hides-- Also LORNA, to support Mick. While, AT THE TABLE: LOUIS Mick. I want to tell you something before we start. 80. MICK Better make it fast. LOUIS You're my lawyer, right? So I can tell you anything, even a crime I've committed, and you have to keep it secret. MICK (a beat, uncomfortable--) That's right. Unless it's one you're going to commit. LOUIS I've killed people, Mick. Reaction Mick. Just then, Courtroom clerk gives a warning-- COURTROOM CLERK Two minutes, people... MICK (TO LOUIS) Now? Now? Why now, are you telling me this... LOUIS Because I know your plan. Mick looks at him. Before he can deny-- LOUIS (CONT'D) Your plan is to defend me on this-- then, when I'm not your client, throw me to the cops. (when Mick says nothing) I can't let that happen. So I'm telling you: I've killed people and guess what? Martha Renteria was one of them. There now. If you use what I've told you you might get Jesus Martinez out of jail, but you'll never practice law again. And I'll never be prosecuted. I think it's called fruits of the poisoned tree-- MICK Come with me. Cuts Louis off, rises, leads him... past prosecution table, TED MINTON turns, watches them... as Mick leads Louis out to-- 81. INT. ENTRY VESTIBULE, DOUBLE DOORS - CONTINUOUS He suddenly spins on Louis and puts him against a wall. MICK You son of a bitch. You killed Raul. LOUIS You're right about one thing. I am a son of a bitch. MICK How did you do it? The trace said you weren't even in Glendale... LOUIS He was getting too close. MICK (yanks Louis's lapels) You piece of shit, do you think you have this wired? You don't! LOUIS I do have an insurance policy. He grabs Mick's wrists. Strong: pulls them off his chest. MICK I want my gun, Louis-- LOUIS I walk away from this trial a free man-- and remain free-- and it never falls into wrong hands. The deal. Mick's close to hitting him-- when the door opens-- COURTROOM CLERK Judge Fullbright is on the bench. INT. COURTROOM - MOMENTS LATER - MICK AND LOUIS ENTER... JUDGE FULLBRIGHT Nice of you to join us... She's 46, bad hair, tough. Mick's off on the wrong foot. MICK I'm sorry, your honor. 82. INT. COURTROOM -- LATER -- OPENING STATEMENTS IN PROGRESS. TED What this case is about is a predator... On the night of March Sixth, Louis Roulet was out stalking his prey... Jury of twelve, two alternates... TED (CONT'D) You are going to hear from the victim herself about her lifestyle, one that we would not condone. But remember that anyone, anyone, can be the victim of a violent crime. (approaches the jury box) The case is clear. Straightforward. A man attacked a woman in her home in order to rape and kill her. It is only by the grace of God that she's here to tell you the story. Over Ted, MICK (V.O.) Ladies and gentlemen of the jury... INT. COURTROOM MICK (CONT'D) My name's Michael Haller, and I'm representing Louis Roulet. (glances at Ted) Mr. Minton doesn't want to use the word prostitute for the woman who's supposed to be Louis's victim. He needn't worry, this case isn't about how she makes her money... But it is about her actions. How she saw a young man with signs of wealth, and chose to target him... (closes in on the jury...) What she didn't count on, was you. The fact that you'd put two and two together, and let your common sense tell you who was the real predator. 83. CUT TO, INT. COURTROOM CORRIDOR - LATER As Mick exits with Lorna for the lunch-break. Low-voiced-- LORNA You had a message from Gloria. She thinks she can do what you asked. MICK Thinks? LORNA Corliss has the same meal time. She can try. MICK (DISCOURAGED) Let her try. But it may not matter. LORNA What do you mean? MICK I mean, Corliss isn't on the witness list. It could be Ted Minton is holding him back. He won't use him until he has to. Until I screw up his case so bad he has no choice. LORNA Mickey? Can you do that? Off Mick, tries for a confident smile... CUT TO, INT. COURTROOM, LATER - ON THE STAND: FEMALE COP (MAXWELL) I'd describe Ms. Campo when we got there as... hurt and frightened... TED Frightened? OFFICER MAXWELL She kept asking us if she was safe, even after Roulet was taken away. 84. INT. COURTROOM, LATER Mick has Maxwell on cross... Clerk hands her pages... MICK Officer, would you read from your arrest report where it's marked? OFFICER MAXWELL "The victim does not know the man who assaulted her or why she was attacked." MICK Why did you write that she didn't know him? OFFICER MAXWELL Because that's what she said. MICK So, she just opened the door at ten o'clock to a stranger? OFFICER MAXWELL She didn't put it like that... MICK Was there blood on his right hand? OFFICER MAXWELL (confused by the shift) No, his left. Or we would have bagged his right one, too. INT. CAMERA TRAILS THE JURY... As a new witness is on the stand, Ted's witness... TED Mr. Talbot, you were with Miss Campo on the night of March Sixth? CHARLES TALBOT, 48, the customer from the video. Blurred tattoos on muscled forearms, dyed blonde hair. TALBOT Yep. Had a date with her at Morgan's. Then from there we went to her place and had another date, if you know what I mean. B5. Air of a sleaze-ball sex-player, but calm and good-humored. TED Had you known Miss Campo before? TALBOT Nope. Just called her up. TED How did you know to call her? TALBOT From her website. She's got a real good website. Jury laughs a little. Fascinated but repulsed by this guy... but Fullbright stirs, disliking Talbot's tone... TED Did you have sexual relations? TALBOT Four hundred bucks worth. And she earned every cent. Angle a male JUROR, red-faced with disapproval. Mick catches his reaction, likes it. Ted goes on... TED And what time did you leave? TALBOT About five minutes before ten. TED She say she had another engagement? TALBOT No, she acted like she was done for the night... MICK Objection, I don't think Mr. Talbot's qualified to interpret Ms. Campo's thinking or plans... TALBOT I just mean she acted satisfied... FULLBRIGHT (OFFENDED--) Sustained! Go on, Mr. Minton. 86. TED When you left, what condition was she in? Was she hurt? TALBOT No, she was fit as a fiddle. I know because I'd just played her. (before Fullbright bursts) Sorry, your honor. She was fine. Minton goes, lifts a sheet over an easel, REVEALS the blown- up PHOTOS of the Reggie's battered face. TED She didn't look like this? TALBOT Man. What kind of bastard does something like that? FULLBRIGHT Answer the question. TALBOT No. We made consensual and pleasurable love. Which is what life is all about. Then I paid her. CUT TO, MICK HAS TALBOT ON CROSS... MICK Mr. Talbot, are you right or left- handed? TALBOT Left. MICK Left. And isn't it true that before you left Regina Campo asked you to strike her repeatedly in the face? TED (OBJECTING) Your honor, there's no basis for this sort of questioning. Mr. Haller is just muddying the waters with outrageous statements. Fullbright looks to Mick for a reply. Mick half-shrugs... 87. MICK Part of the defense theory, Judge. FULLBRIGHT The witness can answer. TALBOT I never hit her or any other woman. MICK Do you know a prostitute named... (checks his sheet) Shaquille Barton? "Shaquilla Shakels" is her work name. TALBOT Okay, yeah. I seen her one time... MICK And if I brought her here and she said you had struck her with your left hand... TALBOT She'd be lying. I tried Shaquilla, that rough stuff's not for me. I'm a missionary man. MICK With a strong left. Thank you. And Mick sits-- drawing a nasty look from Ted for this last, and a pleased one from Louis. CUT TO, INT. COURTHOUSE - CORRIDOR - MOMENTS LATER Where Mick, as he exits the courtroom for the day, is SURPRISED TO FIND: DETECTIVES LANKFORD AND SOBEL WAITING FOR HIM. Sobel holds documents. Reaction Mick: Oh shit. CUT TO, INT. BACK SEAT, DETECTIVES' CAR (MOVING) - LATER Mick looks over the pages Sobel hands him. Lankford drives. MICK This warrant is bullshit-- LANKFORD Good enough to search your house. For a Woodsman registered to you. BB. SOBEL We need to run ballistics on it. She turns around: The good cop, but she's hurt: SOBEL (CONT'D) It would have been better if you'd told me that you had a Woodsman. MICK I don't anymore. It was stolen. The worst yet. Lankford laughs: "How convenient..." INT. MICK HALLER'S HOUSE - LATER - ON: The BOX FOR THE WOODSMAN: Sobel in gloves, examines, while-- LANKFORD We got the history on the piece. Turns out it belonged to Mickey Cohen the gangster, in the forties. MICK I know. My father represented him. He got him off for using it in self- defense, so Cohen made him a present of it. Sobel, careful, opens it... It's empty. Like Mick said. SOBEL Why didn't you report it stolen? MICK Because I knew who took it. (They look at him.) A client. He told me, so I couldn't turn him in without breaking a trust. They do that. LANKFORD (doesn't buy this) Still and all, mind if I look around? Just in case you haven't had time to toss it off a pier? MICK Go crazy. You've got the warrant. Lankford sneers, starts for the next room. To Sobel-- 89. LANKFORD Heidi-- bag the box. He leaves. As she bags it-- He wonders why. MICK You can't do ballistics on a box. She glances, seeing Lankford's gone-- explains. SOBEL That old Mickey Cohen shooting? It's kind of famous. It turns out the county still has the evidence in storage. The bullet. MICK You can match casings to a slug that's fifty years old? SOBEL It'd be easier with the gun, but yeah. She goes to join her partner. Mick stops her with-- MICK Detective? How long will ballistics take? SOBEL Careful. You'll make me think you're worried what we'll find. MICK I'm in the middle of a trial. SOBEL A day. Maybe forty-eight hours. She leaves. Mick's gaze, in the mirror: Fear. INT. COURTROOM - NEXT MORNING - ARRIVING... Mick and Ted, at the same time. As they move to the front... TED Morning, Haller. Word is, you had interesting visitors last night... 90. MICK Worry about yourself, Ted. You're dying the death of a thousand razors up there and you don't even know it. They peel off-- Mick to the defense table, where Louis waits for him. Before Louis can speak: Low-- MICK (CONT'D) Listen, you little shit: This gun- scheme of yours is about to blow up, and I'm not going down for it. If I have to drive people to the airport the rest of my life. Mick is seething. Louis smiles. Unruffled. INT. COURTROOM, LATER - TED RISES... TED One last witness, your honor. The prosecution calls Regina Campo. INT. COURTROOM, LATER - REGGIE ON THE STAND... Diminutive, conservative dress, dark curls around her pretty face-- none of the aggressive sexiness. Hesitant but frank. REGGIE It's true that I lied. I knew him when he came to the door. TED In fact, you'd arranged his coming Miss Campo: why did you lie? REGGIE I was scared. I wasn't sure the police would believe me and I wanted to make sure they arrested him... because he's an animal... She looks tentatively at Louis, as if still scared-- then she looks away. Louis is blank. Mick takes it in. Ted follows up-- TED Do you regret that decision now? 91. REGGIE Yes. If it helps him to get free and do this to somebody else. MICK Your honor, prejudicial-- JUDGE FULLBRIGHT Sustained. But ANGLE THE JURY: the damage is done. Reggie's moved them. TED I have no further questions for Regina, your honor. Ted sits. JUDGE FULLBRIGHT Your witness, Mr. Haller. Mick about to rise when-- Louis grabs his hand. Low-voiced---- LOUIS I want to remind you of your words. You were going to tear her apart and throw her entrails into the sea. MICK That's it, keep acting like you pull the strings. LOUIS I do. JUDGE FULLBRIGHT Mr. Haller. Emphatic. Mick frees his hand, straightens himself. watched by Louis. Then all at once, to surprise her-- MICK Ms. Campo have you engaged an attorney to sue Mr. Roulet for the events of March Sixth? REGGIE (recovers, No I haven't. MICK But have you talked to an attorney? 92. REGGIE I haven't hired anybody or-- MICK I asked if you talked to one. About a possible lawsuit. Mick's crisp like he knows for sure. She wilts a little. REGGIE It was nothing more than talk... MICK Did you ask if you could sue Mr. Roulet for damages? REGGIE I thought what you say to lawyers is private. MICK If you wish, you can tell the jurors. Faces her. Ted squirms, seeing the box she's in. REGGIE I think I want to keep it private. Ted squirms again. Wrong answer. MICK Okay, let's go back to the night at Morgan's. Had you ever seen Louis Roulet before that night? REGGIE Yes. There and other places. MICK Ever noticed he wore a Rolex watch? REGGIE NO-- MICK Or that he drove one of two cars, a Porsche or a Range Rover? REGGIE I never saw him driving. 93. MICK And what made you approach him? REGGIE I knew he was in the life. You know. A player. I had seen him leave with girls who do what I do. MICK With prostitutes. To go to a hotel, or their apartments...? REGGIE I don't know where. MICK So how do you know they left? Maybe they just went out for a smoke... REGGIE Because they got in his car and drove away. MICK But you just testified that you never saw Mr. Roulet drive! Now you saw him leave with a prostitute like yourself. Which is it? The contradiction rings round the room. Reggie, tries... REGGIE I saw him get in a car but I didn't know what kind it was. MICK Do you know the difference between a Porsche and a Range Rover? REGGIE one's big and one's small, I guess. Reactions... Reggie shakes her head, knows she's not making it... But Mick, like he's just getting started... MICK The women he left with, when you saw them again, had they been beaten or injured? REGGIE I don't know, I didn't ask. 94. MICK But girls in your profession talk about customers, don't you? Warn each other if someone's a freak... REGGIE Yeah, usually... MICK And how many had warned you about Louis Roulet? REGGIE None. No one. MICK So you believed you'd be safe? REGGIE I, thought he was a known quantity and I needed the money, so... MICK So you thought he could solve your need for money? REGGIE NO-- MICK No? Isn't that why we're sitting here? Because you zeroed in on him? REGGIE No! I mean yes, but not like that-- (looking round, a plea to BE BELIEVED) He attacked me, I swear! CUT TO, INT. COURTROOM, LATER - ON A VIDEO PLAYING: The BAR TAPE, blown-up projection, SHOWS REGGIE PASSES LOUIS SITTING AT THE BAR, LEANS HER BODY INTO HIM SEXILY... ANGLE COURTROOM, ON REGGIE watching the tape. Also JURORS, reacting, enthralled, and Mick watching them... RESUME ANGLE SCREEN, REGGIE HANDS LOUIS A NAPKIN, PASSES BY. RESUME COURT, Mick signals the TECHNICIAN. It goes OFF. 95. MICK What did the napkin say, Ms. Campo? REGGIE My name and address... MICK And your price? REGGIE Yes. Four hundred dollars. MICK (after a beat) It's a hard line of work... REGGIE And dangerous. MICK In fact, haven't you told friends you were looking for a way out? REGGIE Yes. I'm not proud of what I do-- MICK And so, isn't it true-- nothing would be easier to understand-- that you saw Louis Roulet and his money as a way out? REGGIE No! That's not what this is about! That man hit me and tried to kill me. MICK Yes, we've heard you say that-- (TO FULLBRIGHT) Judge may I ask the witness to stand up? JUDGE FULLBRIGHT (surprised, but) The witness will stand. I hope you're going somewhere with this, Mr. Haller. Reggie stands. 96. MICK Now if you please, walk over to my client. She goes, stands before Louis. Who rises on cue from Mick. MICK (CONT'D) This is the man you broke free from, overpowered, knocked out? REGGIE Yes-- You can do amazing things when you're afraid-- MICK How much do you weigh, Ms. Campo? Because your website REGGIE-FOR-FUN- DOT-COM says one hundred three... REGGIE That's right. A beat. Louis sits. Reggie stands there... suddenly cries. MICK I've got no further questions for the witness, your honor. Reggie returns to a seat behind the prosecutor's table. Where we pick up TED MINTON. Staring at Mick, hiding the sense of damage as best he can... He's startled when: JUDGE FULLBRIGHT Mr. Minton? Do you have another witness for us? Ted rouses, summons confidence, rises... WHILE, ASIDE, Louis to Mick, re Ted... LOUIS He looks worried. Mick watching Ted, waits, tense... TED The state rests, your honor. Mick's disappointed: No Corliss. MICK Not worried enough. 97. JUDGE FULLBRIGHT (raises a gavel...) Then the defense will call its first witness after lunch. And the gavel comes down. INT. COURTROOM, AFTER THE BREAK - MICK, ON DIRECT, HAS... MARY WINDSOR Yes, I recognize this knife. (holding an evidence bag) It's the one my son carried with him for protection for the last four years. Almost exactly. MICK Why would he need protection? MARY WINDSOR Because realtors alone in a house are sometimes robbed or hurt... Even raped or murdered. MICK But has Louis ever been the subject of such a crime? MARY WINDSOR No. But he knew someone who... (hesitates...) MICK Go on, please. MARY WINDSOR She was raped and robbed by a man. Louis found her. It was terrible. The first thing he did afterwards was get himself a knife to carry, at all times. (looks at Ted Minton) March Sixth would have been no different. 98. INT. COURTROOM, LATER - TED HAS MARY WINDSOR ON CROSS... TED Mrs. Windsor, you seemed pretty exact, about when your son started carrying around this, this weapon, a five-inch folding knife... MARY WINDSOR I am. The incident took place on June ninth, two-thousand-one. Mick watches Ted, carefully... Cat and mouse... TED Was it in the newspapers? MARY WINDSOR No. TED Or, do you somehow remember because the police came to talk to Louis... MARY WINDSOR There was no police investigation. TED Then how can you remember the exact date so well? (sly look at Mick) Were you given the date before testifying here? MARY WINDSOR I know the date because I'll never forget the day I was attacked. The news falls on Ted. She goes on before he can rally... MARY WINDSOR (cont'd) Louis will never forget it either. He found me in that house, tied up. Naked. It was traumatic for him. She's perfect: a strong woman, unused to showing emotion. Mick smiles, impressed. When, with some sarcasm: JUDGE FULLBRIGHT Mr. Minton-- anything else? Ted, still thrown, stares down at his notes. 99. TED As Louis's mother, you'd do or say anything to save him, wouldn't you? MARY WINDSOR I wouldn't lie. Not about what happened that day... TED We have no police or hospital record that it even occurred... MARY WINDSOR I never reported it... TED Why not? MARY WINDSOR I was ashamed. If you don't understand that I can't explain it to you. And yet I live with it every day. TED But it's only you who says so: Mary looks at Ted, and at the Judge, as if confused: MARY WINDSOR Is that a question? Off Mick, admiring, GO TO, INT. COURTROOM - POST-ADJOURNMENT, END OF DAY... Mick packing his stuff-- looks up, as Ted approaches. TED I've been thinking about the thousand razors. EXT. COURTHOUSE - MINUTES LATER Louis waits on the steps, Mick comes out. Where they're alone... MICK We've had an offer. Want to spend six months in county jail? 100. LOUIS I told you from the beginning-- MICK I know: The only verdict's Not Guilty. Okay. We'll get there. Grateful for this, Louis puts a hand on Mick's arm. But: MICK (CONT'D) Don't touch me, Louis. You want to show your gratitude give me my gun back. Louis grins: meaning No way. MICK (CONT'D) I thought so. (THEN) You still sure you want me to put you on the stand? LOUIS I insist on it. MICK Then get some rest tonight, you're up next. Leaving Louis, Mick continues down the steps, to where the Lincoln waits. He gets in. INT. LINCOLN - CONTINUOUS Earl in the front seat. MICK There's something I need you to get me, Earl. A tone Earl never heard him use before. Earl turns around. CUT TO, INT. COURTROOM - NEXT DAY - CRISP... Mick steps past Ted on his way to his desk. As he passes-- TED Did you talk to your client? MICK Yes. No deal. 101. Ted feigns surprise-but-acceptance... While, TO THE JUDGE: MICK (CONT'D) The defense calls Louis Ross Roulet, your honor. INT. COURTROOM, LATER - LOUIS ANSWERS ON DIRECT... LOUIS I turned toward the living room, the way she pointed... ANGLE MICK, has a floorplan of the apartment, on an easel. MICK And what happened when you turned? LOUIS Something hit me and I blacked out. I don't know for how long. MICK That was all? LOUIS Then when I woke up these guys were on me, telling me not to move. I couldn't anyway. I was too scared. Mick moves toward Louis, as if determined to find flaws... MICK But, there was blood on your jacket and your left hand... LOUIS Someone put it there because I didn't. MICK Are you left-handed? LOUIS No. MICK You didn't strike Ms. Campo with your left fist? LOUIS No! 102. MICK Threaten to rape her, or kill her?-- LOUIS No! MICK You're angry. Why? LOUIS (passionate but simple--) Do you know what it's like to be accused of something like this? To listen to people tell lies about your having done something so sick and awful? I, I understand I had to be quiet and wait my chance and not say anything-- but if guilty people have rights, what about innocent people? I am innocent! Mick. Meets Louis's eye, communicates: You were perfect. MICK Nothing further, Judge. Ted already up & moving, passes Mick as he takes his seat-- TED According to you, Ms. Campo punched herself or had a man she never met before punch her lights out as part of a set-up? LOUIS All I know is that I didn't. TED And this knife you always carry, how did she know she'd find it on you as part of the set-up? LOUIS ("HONEST") She couldn't, could she? I mean, I never took it out or showed it to anybody-- so she must have just found it when she went into my pocket for the money I had that I was going to pay her with, right?-- M. TED I'd really prefer it if I ask the questions, and you answer them! (then calming himself) Would you look at this, please-- Goes to the easel, REVEALS: PHOTO of Reggie's beaten face. TED (CONT'D) Please tell us again if you think Regina Campo would or could have done this to herself. LOUIS I don't know who did it, but it wasn't me. Nobody deserves that to happen... TED (seizes on this) What do you mean by "deserves?" Do you mean crimes of violence come down to a whether a woman gets what she "deserves?" LOUIS (right back at him) I mean no matter what she does for a living or who she is-- No woman deserves that. Ted keeps staring at the photo: Wants the jury looking there. TED I have no more questions. At which, suddenly there's a wave of movement-- SLOW-MOTION-- Louis dismissed from the chair-- Ted returning to his seat, passing Mick as Mick rises-- Louis gives Mick a "How'd I do?" look, Mick nods, unmistakably, "You did fine..."-- Mick's look finds Ted-- Mick and Ted holding each other in a gaze-- Mick's face in a kind of smile, Ted grim-- As Mick brings out, speaking to the Judge but his smiling eyes fixed on the unhappy Ted-- RESUME NORMAL SPEED for Mick's confident, fateful words: MICK Your honor, the defense rests. 104. Ted hears this, sets his jaw. Fullbright turns to him. JUDGE FULLBRIGHT Mr. Minton? Ted is uncertain... TED Your honor... (She waits.) The state needs the night to decide, your honor... JUDGE FULLBRIGHT To decide what? TED Frankly I wasn't anticipating the defense would rest after two witnesses. I-- I'd like the night to consider calling a rebuttal witness. MICK (reacts, "objects--") Your honor, first we've heard of THIS-- TED I said `-consider." I need to find out if the witness is even AVAILABLE-- MICK The state still has an obligation to disclose the identity-- TED Not if I decide not to use him. (a note of pleading) I'm begging the court's indulgence, your honor. Fulbright doesn't like it... but weighs, yields. Go to, CRACK OF THUNDER: EXT. NIGHT SKY, CLOUDS, RAIN. REVEAL... It's the vast view from Mick's porch. He has a drink in his hand. And holds a phone to his ear... MAGGIE'S VOICE There's a rumor in the office... 105. MICK How I'm the one who shot Raul? INT. MAGGIE'S HOUSE - ON THE PHONE IN THE KITCHEN In the BG we SEE HAYLEY, in pajamas, jumping on her bed... Maggie closes the bedroom door so she can speak... MAGGIE Haller, is this serious? INTERCUT: MICK ON THE PORCH, RAIN/ MAGGIE IN HER KITCHEN MICK I'd say so. I'm being set up for his murder. Couple of detectives from Glendale are following me around, just waiting for the go- ahead to hit me with an arrest warrant... Could be any minute... MAGGIE How is this possible? MICK Bad timing, bad client, me being dumb... MAGGIE Is it Roulet? Is that the client? MICK I can't talk to you about my clients. How is Hayley? MAGGIE Fine. But Haller, if she ever hears anything about this-- MICK She won't. Not if I play it right. MAGGIE What are you going to do? A long beat. Then he says, just as he told Raul-- MICK I'm working on it. I have a plan. 106. CUT TO, INT. LINCOLN (MOVING) - HARD RAIN - MORNING CLOSE ON MICK, in the back seat. Looking out at the rain. His look a little different: close shave, neat suit. Fade up sound of Earl, meanwhile, rattling on... EARL .when Not Guilty Two gets to four thousand miles, that's two cars ready, that's enough to start the airport runs... Scene we saw at the opening. Mick absorbed... Earl notices... EARL (CONT'D) You gettin' any of this, Mr. Haller? Mick opens the file (back-seat office extraordinarily neat). Top of the print-out: THE PEOPLE OF THE STATE OF CALIFORNIA vs. LOUIS ROULET... EXT. VAN NUYS COURTHOUSE, MORNING - RAIN CONTINUING Earl holds an umbrella over Mick, they hurry into the building... INT. COURTHOUSE - SECURITY VESTIBULE The items in his briefcase checked, wand passed over him... INT. COURTHOUSE - CORRIDOR - ON MICK'S BACK... As he moves down the hall. Everything counts today. Enters: INT. COURTROOM - EMPTY, EARLY - CONTINUOUS Ted prepares at his table. Look at each other without greeting-- as Mick moves to the CLERK, who shuffles papers... MICK Bill, I'm getting coffee. Any for you? CLERK BILL No man, I'm off caffeine... 107. MICK Hey, is that the custody list? Can I see if any of my no-good clients are on it? Bill lets him have it. Mick, casual, looks over the names... INT. COURTHOUSE - COFFEE COUNTER - DAY LORNA, she's paying for a take-out coffee, when Mick scoops her up by the arm, urgent, he's been looking for her-- MICK Minton's putting on Corliss. He's got him in lock-up already... LORNA But Gloria still hasn't let us know if she got to him! MICK You said she had mealtimes to work it... LORNA Yes but... MICK I'll take my chances. Meantime did you serve Kurlen? Moving her OUT OF THE CAFE, DOWN THE HALL-- hushed & fast-- LORNA Yes but I didn't like forging the judge's signature... MICK Yes you did. LORNA Yes I did. Just then, approaching, he sees SOBEL & LANKFORD: Are they coming for him? No, they turn into the courtroom along with others showing up for the trial's last day. Relieved-- MICK Now go, and be ready for my call. Lorna starts to go-- then pauses. 108. LORNA I'm crazy about the power suit. Extra flip to her hips as she goes because Mick's watching. INT. COURTROOM - CONTINUOUS No sooner enters than KURLEN's in his face, waves a document. KURLEN What shit is this, Haller? I got nothing to do with your case! Mick, "innocent," inspects the papers. With surprise-- MICK Subpoena to appear as a witness? You'll just have to wait and see. It's a legal document, Detective. Cursing, Kurlen takes himself off to a corner. Leaving Mick with the "legal document." He tucks it away-- And continues to the front-- Past CECIL DOBBS and MARY WINDSOR, to LOUIS, at the defense table. OVER WHICH, PRE-LAP: JUDGE FULLBRIGHT (V.0.) Mr. Minton-- INT. COURTROOM, MINUTES LATER - COURT'S IN SESSION... JUDGE FULLBRIGHT Does the state have any rebuttal? TED (rises, ready) The state calls Dwayne Jeffrey Corliss as rebuttal witness. MICK Judge? Who is this witness? Why wasn't I told before now? JUDGE FULLBRIGHT A fair question. Mr. Minton? TED Dwayne Corliss is a cooperating witness who spoke with Mr. Roulet in custody, following his arrest. 109. LOUIS (shouts, suddenly--) Bullshit! I didn't to talk to-- JUDGE FULLBRIGHT Quiet, Mr. Roulet! Mr. Haller, control your client! Mick bends over, to Louis, sotto voce-- MICK That was good. Now leave it to me. (to the court) I do share my client's outrage, your honor. I'd at least like to know how long the state has been sitting on this testimony... TED Mr. Corliss did not come forward until yesterday. MICK (OUTRAGED) This is incredible... JUDGE FULLBRIGHT Do you want to go back and talk to him? Given the timing I'd allow it. MICK No, Judge, we all know what this is, this is a jailhouse snitch, and anything he'd say would be a lie-- TED That's groundless, your honor-- MICK --I just want my objection noted. JUDGE FULLBRIGHT Then I'm going to rule he can TESTIFY-- MICK Can I ask one indulgence? Can I step into the hallway and make a call to an investigator? For whatever good it will do at this late date. 110. INT. COURTHOUSE - CORRIDOR OUTSIDE THE COURTROOM Mick already dialling-- Lorna answering-- LORNA'S VOICE Yep, here. MICK Put your watch at quarter of. At ten fifteen you enter the room. LORNA'S VOICE Got it. MICK With the printouts. LORNA'S VOICE Mickey, I know the moves! He snaps shut his cell-phone. INT. COURTROOM, MINUTES LATER - DWAYNE CORLISS ON THE STAND Prison jumpsuit. We recognize him: the holding-cell junky. TED Mr. Corliss, are you incarcerated at this time? CORLISS Um, no, now I'm just in the courtroom. Dumb answer draws laughs. ANGLE LOUIS, seething... TED But you are currently held in the jail-ward at USC hospital? CORLISS Yes. Since I got arrested. TED For burglary and drug possession? CORLISS That's right. TED Now. Do you know the defendant? CORLISS Yes. I met him in lock-up. We was bussed over from jail, and then we was together in the tank when we came for first appearance. TED And did you talk at that time? CORLISS Yes... we talked about how bad we needed cigarettes. TED Anything else? CORLISS You know, "what are you in for?" Like that. TED Did he say what he was "in for?" CORLISS He said, "For giving a bitch exactly what she deserved." Those were his words. Reaction Louis, stirs like a caged animal. Mick steadies... TED I have only one more question. Have I, or has anyone, made you promises to get you to testify? CORLISS No. It's the right thing to do. Ted sits. Judge turns to Mick-- who's just staring, angrily. Then rises. Like he doesn't know what to do. Louis, the others, watch anxiously. Mick crosses to the front, steals a glance at the rear, SEES KURLEN standing against the wall, LANKFORD AND SOBEL seated in front of him. Then... MICK How many times have you been arrested, Mr. Corliss? CORLISS About seven in L.A. Couple of times in Phoenix if you count those. 112. MICK So you know how the system works? CORLISS I try to survive... MICK And sometimes that means ratting out fellow inmates, is that it? TED Objection, your honor... JUDGE FULLBRIGHT Take a seat, Mr. Minton. I gave you leeway bringing this witness in. MICK Thank you, your honor. But I'll rephrase: How many times have you snitched on an inmate? Testified against a fellow inmate for the prosecution? CORLISS This makes my fourth. MICK (LOOKING SURPRISED) Four times? People just come up and tell you they committed crimes so you can testify against them-- CORLISS People talk to me. I'm a friendly guy. Mick, walks toward Louis, indicates him-- MICK So you and my client were friends-- CORLISS That's right, we was friendly-- MICK And he just said what you said he said, about what the woman "deserved," and then you went back to talking about cigarettes? 113. CORLISS Not exactly. He was like, bragging. He told me he did it before... Mick freezes... Like he's in a mine field and can't move... CORLISS (CONT'D) He said the other time he killed the bitch... He got away with it then and he would get away with it now. MICK (staring at Corliss) You... Wait... All eyes on Mick. The Judge prompts... JUDGE FULLBRIGHT Mr. Haller? MICK No more questions, your honor. TED Re-direct, your honor. Fullbright nods permission. While Louis leans over to Mick... LOUIS What the hell is this? MICK You tell me! What did you say to this guy? LOUIS (through gritted teeth) Nothing! This is a set-up! You're doing this! MICK How? How am I doing this? But Louis has no answer. Meanwhile Ted's taken the floor... TED You said he was bragging. How? CORLISS Well, like, he told me the details. About the other one, that he killed. (MORE) 114. CORLISS (CONT'D) He called her a snake dancer. She danced in some joint where she was like in a snake pit. ANGLE, REACTION DETECTIVE KURLEN, he leans forward at this... SAME TIME, REACTION at the defense table: Mick, "alarmed," low to Louis-- MICK How does he know this? LOUIS Do you think I know? MICK If you didn't tell him this shit somebody did. Who? Start thinking! RESUME Ted, moving closer to Corliss-- TED Is there anything else he told you? CORLISS No, that snake-girl stuff was it. TED (after a beat) Then no further questions, your honor. Ted sits. The look he gives Mick in passing is one of abounding confidence. Mick stews... Swivels around... Covert glance, MICK'S POV, looks to see if Kurlen is where he was, against the wall. He's not. He's gone. So is Lankford. And the courtroom door still swings slightly, as if they've just left... While IN FRONT: JUDGE FULLBRIGHT Any re-cross from the defense? Mick rises to answer, hesitates-- and just then turns to see Lorna enter and approach down the aisle. MICK A moment with my staff, Judge? JUDGE FULLBRIGHT Be quick. He meets Lorna at the gate. Brings his head close to hers-- 115. LORNA This is where I whisper in your ear, tell you stuff... MICK (takes a file from her) It's all here, right? You go now, I don't want anyone talking to you. LORNA Damn. She goes, he returns to the table. Before Louis can speak: MICK I don't know what's going on here, but it won't matter if it's two murders or a hundred if I can show he's a liar-- LOUIS If you set me up I swear I'll-- MICK Just tell me if there's anything else he knows. Anything else I have to stay away from. LOUIS I don't know because I never talked to him. I'm not that stupid. MICK It doesn't matter. If I destroy him none of it counts... LOUIS (from his gut) Then destroy him. A command. Mick nods. Returns to the witness Corliss-- MICK Dwayne, if I can call you that-- CORLISS It's what people call me-- MICK Don't they also call you D.J.? For example, down in Phoenix, right? 116. CORLISS Maybe. He's a bit wary. Mick looks through the file Lorna brought-- MICK Because you know, my assistant, she was just reading on the internet about D.J. Corliss-- arrested in Phoenix, 1989 on drug charges-- Hometown of Mesa, Arizona? CORLISS Yeah, that'd be me. But-- MICK You remember Fred Bentley, right? Corliss, darkens, stumbles at this-- Ted's quick-- TED I object, your honor, where is the defense going with this? JUDGE FULLBRIGHT Connect the dots soon, Mr. Haller. But the witness can answer. CORLISS I don't remember any Bentley-- MICK Sure you do. You testified that he confessed to you the crime he was charged with-- rape of a ten-year- old girl-- even though he denied his guilt in court. Am .I ringing any bells, D.J.? CORLISS Uh-- 1989, I was high a lot, there's not much I recall-- MICK Then I'd like you to read this to us, D.J. It's a printout of a news story from the Arizona Star, 1997, that's eight years after he was convicted. I ask that it be admitted into evidence-- TED Your honor? A news report? 117. JUDGE FULLBRIGHT Let's see where it takes us. The state can object later. Mick hands printout to the bailiff, who gives it to Corliss. MICK I've marked the paragraph. CORLISS I ain't too good at reading... (clears his throat) "A man, Frederick Bentley, wrongly convicted of rape, was released Saturday after con-- (HESITATES) --conclusive DNA results cleared him of the crime. The case was bolstered at trial by testimony from an informant, D.J. Corliss of Mesa, who claimed Bentley had-- bragged to him about the rape while together in a holding cell--" MICK That's enough. (takes it from him) Were you charged with perjury for that incident, D.J.? CORLISS No I was not. MICK Was that because the police were complicit in your confession? TED (rises, angry--) Judge, how can the witness know what went into the D.A.'s decision? MICK (ignores, over--) Were you promised the same deal here, Mr. Corliss? To say that Louis Roulet "bragged" to you in the "holding cell?" JUDGE FULLBRIGHT Alright, Mr. Haller, that will do! 118. MICK (Ceases. Angry.) Sorry. I have no more questions. And Mick sits. Courtroom's hushed. Until-- JUDGE FULLBRIGHT I'm excusing the jury for an early lunch. Bailiff, see them out. Maintains a smile as the jurors leave. Then her smile dies. INT. JUDGE FULLBRIGHT'S CHAMBERS - MOMENTS LATER No sooner through the door-- than Fullbright wheels on Ted: JUDGE FULLBRIGHT Mr. Minton do you know what you have done? You've put a documented liar on the stand, a man with a record of putting innocent people IN PRISON-- TED Your honor, I-- JUDGE FULLBRIGHT You shut the fuck up when I'm talking to you! I can think of nothing more prejudicial or corrupt than what I just saw out therel (in a rage now--) Do you realize what you've done to my trial? INT. COURTHOUSE CORRIDOR - MOMENTS LATER As Mick and Ted exit into hall-- Ted hurrying off, angry-- Mick to LOUIS, DOBBS, and MARY WINDSOR-- tells them re Ted: MICK He's going to see his boss. To decide what to do before the judge comes down with a directed verdict. LOUIS What's a directed verdict? MICK She takes it out of the jury's hand and declares an acquittal. 119. MARY WINDSOR (GLAD/HOPEFUL) Oh my god... MICK We'll know in a few minutes. And heads off. Louis's cold stare, watches him go... INT. COURTHOUSE - MEN'S ROOM Mick at the urinal. Louis enters in and slides behind him. LOUIS I'm not celebrating just yet, Mick. MICK Yeah I can see that. LOUIS I want to know how Corliss got that shit he was saying. MICK Let it go. You're getting what you want, I'm getting you off... LOUIS What I want is get off for good. Leans into him. Pushes a hand into his back. A threat. LOUIS (CONT'D) You'd better understand that. You've got enough reasons to be afraid of me already. When-- DOOR OPENS-- the courtroom CLERK, BILL, enters. CLERK BILL It's starting. CUT TO, INT. COURTROOM - MINUTES LATER - ON... TED I just spoke to the District Attorney, your honor. The state wishes to dismiss all charges. Here's a motion... Mick, Louis, watch Ted hand it to Fullbright... 120. TED (CONT'D) It acknowledges that the procedures which guarantee justice were not followed in this case... JUDGE FULLBRIGHT (as she reads) This is a motion to dismiss with prejudice. No coming back. Ever. TED (WITH DIFFICULTY) Yes, your honor. INT. COURTROOM, CORRIDOR - LATER - MARY WINDSOR... .tearful at the news, grips Mick's hand... she and Dobbs... MARY WINDSOR Mr. Haller, thank you for my son... DOBBS You were splendid-- And Louis. Private, a few feet away. Smiles... LOUIS I knew I wasn't wrong about you... MICK I want the gun. LOUIS Of course you do. No more can be said, because Mrs. Windsor-- descends on Mick-- MARY WINDSOR Mr. Haller, this time I insist you come to Orso for a celebration-- MICK I don't think so. Mary would insist, but before she can, OUT OF THE ELEVATOR comes KURLEN-- with LANKFORD AND SOBEL. Mick freezes, expects the worst-- but they move AROUND him and CLOSE IN ON: KURLEN Louis Roulet, you are under arrest. Turn around and place your hands behind your back. 121. LOUIS (as Kurlen cuffs him) Mick? This shouldn't be happening. Mrs. Windsor rushes Kurlen-- Sobel tries forcing her back-- MARY WINDSOR No! Take your hands off my son! LOUIS Mother. Louis' voice controls her. Stricken, Mary gives up. Then-- DOBBS What are you arresting him for? KURLEN (starting to take Louis) Suspicion of murder. The murder of Martha Renteria. DOBBS That snake-dancer nonsense? Are you crazy? Everything that man Corliss said was a lie! Which stops Kurlen. He grins, confirmed. KURLEN If it was all lies, how'd you know I meant the snake dancer? Dobbs sees his mistake. Kurlen begins again to take Louis-- MICK A moment with my client, Detective? Kurlen nods, why not. Mick leads Louis a few steps away. MICK (CONT'D) This is it, Louis. I got you off. Now get yourself a new lawyer. LOUIS You're forgetting I have the gun... MICK Yeah, and you'll have to explain how you got it. But you know what? I've stopped giving a shit. You're going down, and Martinez is getting out, and that's all I care about. (MORE) 122. MICK (CONT'D) When they stick that needle in your arm, that will be me. LOUIS And what if I don't go down? But Mick's finished, ready to leave, though Louis persists... LOUIS (CONT'D) Because I don't think they have enough to hold me. I could be out by tomorrow... You've got women, you've got a daughter... At this, Mick's head snaps to him, angrily... LOUIS (CONT'D) You can't protect everybody. Kurlen arrives, takes Louis's elbow... Mick's already moving to the elevators... watched by SOBEL. EXT. COURTHOUSE - STEPS - MINUTES LATER - DAY - STILL RAINING SOBEL catches up as MICK reaches the Lincoln. Stops him. They move to beneath an overhang, where they're almost dry. MICK Please tell me you've got enough on Louis for the murder of Renteria. SOBEL We will. We have the ticket. MICK What ticket? SOBEL The parking ticket, that Raul found. That was the phone message he left you... (Sees Mick doesn't know) Raul checked. Louis got one at a meter outside the victim's place, same time she was murdered. MICK What about Raul's murder? Do you have him for that? 123. SOBEL No. We still don't know how he could have slipped the tracer anklet. (before Mick can ask more) Haller? Leave it alone. He hesitates-- but goes. Into the rain. Gets into-- INT. LINCOLN (PARKED) - CONTINUOUS He watches Sobel hurry back to courthouse through rain. When: EARL Mr. Haller? Got that thing you asked for. And he hands Mick something wrapped in a towel: A GUN. Mick, puts it away, in the armrest. A bit regretful, because: MICK I said I'd never do this. Ask you to violate your parole. EARL It's called, lookin' out for your blood. Mick sits back. Earl pops in a RAP CD, TUPAC. TUPAC "To be a man in this wicked land..." CONTINUES OVER: EXT. LAUREL CANYON - LATER - STILL RAINING... HAND-HELD, MICK in windbreaker, jogging... RAP continues... INT. MICK HALLER'S HOUSE - LATER - KITCHEN AS RAP FADES, CAMERA TRAILS Mick's messy kitchen: take-out pizza, beer bottles... and the GUN. Barrel protrudes from under the thrown-aside windbreaker. Mick's seen on the porch. PHONE RINGS, he rushes into answer. MICK Yeah? 124. MAGGIE'S VOICE Mick, it's Maggie... MICK Uh-huh, I've been waiting for this. You're calling to congratulate me. MAGGIE'S VOICE No, listen to me: Roulet is out! MICK (STUNNED) What? They've had him half a dayl /INTERCUT WITH, INT. D.A.'S OFFICE, MAGGIE'S DESK, SAME TIME MAGGIE I know... but the D.A. downtown said the detectives didn't have enough, they had to kick him... MICK I knew it, they jumped the gun... dammit... MAGGIE They've still got the parking ticket... and they're working forensics on the knife... MICK Maggie... Look... There's more to this. Louis knows about Hayley. MAGGIE (takes this in: furious:) What are you saying? How could you expose her to-- MICK I've got her picture in the house! He saw itl Where is she now? MAGGIE (thinking, checks watch--) On the schoolbus-- the sitter's on the way to pick her up on Ventura, near the house-- 125. MICK Get her on the cell and tell her not to take Hayley home, keep her with her til you get there! How long will it take you? MAGGIE TWENTY MINUTES-- MICK Call me when you've reached the sitter. He hangs up. Thinking-- then dials a number-- INT. OFFICE - PHONE RINGING ON THE DESK OF-- "VAL" VALENZUELA. At his desk. Answers... VAL Valenzeula. INTERCUT: MICK'S KITCHEN/VAL'S OFFICE MICK Val it's me. Mickey Haller. VAL I should hang up on you. The shit you talked to me! MICK Don't hang up, Val! I need a favor-- VAL You got balls even askin'-- MICK --it's my family, Val. Maggie, Hayley-- they're in danger. VAL (COMPUTES) This is Roulet, right? MICK Does he still have the ankle- bracelet on him? 126. VAL Yeah, he must, he didn't come by the office and I'm the only one can take it off... MICK Then turn on the trace, Val. Now! CUT TO, MOMENTS LATER - ANGLE ON A GPS OF L.A... VAL (watching it, into phone:) I got him... MICK Where is he? VAL He's movin'... on Sunset... MICK Is he coming to my house? VAL (STUDIES) Could be, yeah, he's going west, heading up Laurel Canyon... Mick, nods... glance toward his gun... Then... PHONE BEEPS in his ear, Call Waiting-- MICK Stay there, Val-- (switch/into phone) Maggie? MAGGIE'S VOICE I reached the sitter, she'll keep Hayley at the bus-stop... MICK Good. As soon as you've got her, take her somewhere safe. And call me. (shifts calls/to Val--) Where is he, Val? VAL I see him but I don't know where he's goin'... 127. MICK What? VAL He's not goin' to your house. Sonofabitch sailed right past the turn... SCREEN, CURSOR travelling... MICK So where's he going? VAL He's heading for the Valley. MICK Fuck, he's going to Maggie's. Keep track of him. Hangs up again. Looks around-- as if looking for an idea-- then, frantic, looks up a number-- can't find it, finds it-- dials-- it rings-- Cold sweat til somebody answers-- MICK (CONT'D) Eddie? Eddie Vogel? It's Mick Haller... EXT. BAR, NIGHT, MOMENTS LATER - GLARE OF NEON IN THE RAIN... As the "ROAD SAINTS"-- EDDIE, HARD-CASE, others-- pour out of the bar, jump on their HARLEYS... ROAR OFF... inside which the RINGING OF A PHONE brings us BACK TO-- INT. MICK IN HIS KITCHEN - ANXIOUS, ANSWERS... MICK Yes? VAL'S VOICE Mick, it's me... INT. VAL IN HIS OFFICE... STARING AT THE SCREEN... VAL Where's Maggie live? What street? MICK DICKENS1 128. VAL He's almost there, Mick. EXT. ROAD OVER THE CANYON - LOUIS ROULET'S PORSCHE... Descending on the valley side... EXT. STREET, VALLEY - THE ROAD ANGELS (MOVING)... Harleys pouring it on in formation, like fighter-jets... EXT. VENTURA BOULEVARD - RAIN - MAGGIE'S CAR... She screeches to the curb, hops out... School bus stop, where other parents wait, in cars, under umbrellas... Maggie rushes forward, scans for the approaching bus... Nowhere in sight... CUT TO, INT. KITCHEN - MICK He's holding a phone, squeezing it, LISTENING TO A RING AT THE OTHER END... To himself, a prayer... MICK Maggie be there, Maggie pick up... EXT. VENTURA BOULEVARD - MAGGIE Stands there, with the SITTER... SEES the bus approaching... INT. HER CAR-- Her CELL-PHONE left on its dashboard rack, ringing... INT. KITCHEN - MICK Frantic for her to answer... MAGGIE'S VOICE (FINALLY) Hello... MICK Maggie! 129. MAGGIE'S VOICE You've reached the cell-phone of Maggie McPherson... MICK DAMMIT! Slams down the phone... Desperate, grabs his jacket, his gun, flies towards the front door... OPENS it-- and MARY WINDSOR stands there. Before he speaks-- She raises her hand and SHOOTS him. BRIGHT FLASH-- Nick's POV, Woozy-- he falls back, she raises her gun again-- MARY WINDSOR You took my son away from me! She raises her gun again-- Mick FIRES AT HER FROM INSIDE THE JACKET. Her body jerks back, she falls... Mick, stunned, lies there... He watches, through the haze of his condition, as Mary Windsor's fallen body jerks, on the floor... CUT TO, EXT. LOUIS ROULET'S PORSCHE (MOVING) -- TURNS ONTO DICKENS... INT. PORSCHE --LOUIS... Hate contorting his features, he's checking out the street numbers through the DOWNWARD SLASH OF RAIN... WHEN... The ROAD SAINTS, MOTORCYCLES SPANNING THE STREET, ARE HEADING RIGHT FOR HIM... Off Louis, his confusion and dawning fear... Cut to, EXT. VENTURA BOULEVARD - OUT OF THE SCHOOLBUS... Out steps Hayley, safe into Maggie's arms. Sitter looks on as Maggie hugs her... WHILE... INT. MICK'S HOUSE - MICK LIES ON THE FLOOR... Where he was shot. He's alert but still... 130. Then rouses more as he HEARS feet come up the front steps... WOMAN'S VOICE POLICE! PUT DOWN YOUR WEAPONS! MICK (forces out the words) They're down! I'm shot! Suddenly LANKFORD & SOBEL are through the door-- Lankford sees Mary on the floor, while-- SOBEL Don't move, Haller-- She rushes to him. Lankford's already on his phone-- LANKFORD This is Lankford, we've got a shooting, twelve-twelve Creek off Laurel, we need paramedics, ambulance transport for two-- During which he's checking Mary Windsor's body, revises-- LANKFORD (CONT'D) Transport for one. Rings off. Sobel takes Mick's hand, presses it to his wound-- SOBEL Press hard and keep pressing. Mick's hand is on a blood-soaked hole, hurting like hell... while Lankford makes another call... LANKFORD Yeah, it's Lankford again. Tell them it's over, they can grab Roulet and bring him in... He what? (LISTENS-- SURPRISED) So, bring him to the Emergency Room first, then bring him in! (rings off; to Sobel) Dig this. The uniforms had some help picking up Roulet. Some motorcycle gang was already beating the shit out of him. MICK (figures it out--) The police were tailing him? 131. SOBEL (She levels.) We thought he'd come after you. We couldn't tell you. The truth is we had plenty on him for killing Renteria. Jesus Martinez will be released. But we wanted Roulet for Levin, too. I told you: We had to find out how he beat the trace. Now we know. (her glance goes to Mary WINDSOR) It was almost perfect. He's still wearing the anklet... MICK I know... SOBEL And it puts him half a city away. Just like last time. They share a look at the cleverness of it. When-- LANKFORD Look at this. Mick looks, HIS WOOZY POV AGAIN: Lankford, wearing a glove, lifts Mary's gun. Pearl-handled: The WOODSMAN. Admiring-- LANKFORD (CONT'D) They don't make'm like this anymore. Mick, makes a shape with his free hand. The "Longhorns" sign: inner fingers pointing down. Like Raul made. MICK "W." Mrs. Windsor. Which is the last thing he manages to say before blanking. FADE OUT. FADE IN, EXT. HAYLEY, CLIMBING A TREE - DAY OF BLUE SKY L.A.'s best weather: Smog-blue. The tree off Mick's porch. Hayley's skinny legs climb nimbly from branch to branch. From the angle, we can tell someone is watching her. FADE OUT. 132. FADE IN AGAIN, ANGLE, HAYLEY ON THE NEXT BRANCH, LATER Lifts herself. Nimble. And so pretty. Watching is: MICK - ON THE PORCH - WRAPPED UP IN A LOUNGE CHAIR Recovering, but not fully there. MAGGIE SITS INTO FRAME beside him. MAGGIE I didn't know you were awake. He looks at her. Questioning. MAGGIE (CONT'D) Don't worry, we haven't been living here. We did, for a while. When you were touch and go. Mick. Returns his gaze to-- HAYLEY, going branch to branch. MAGGIE (CONT'D) I'd better get her down, she can get hurt up there-- MICK You can get hurt anywhere. Let her climb. An almost normal tone of voice. She smiles. CUT TO, INT. LINCOLN (MOVING) - DAY RAP BLASTING, EARL AT THE WHEEL... MICK Keep your speed up, Earl... He's IN THE BACK-SEAT, IT'S A MESS... He's scribbling on papers as they ride... His CELL-PHONE RINGS... MICK (CONT'D) (INTO CELL) This is Haller. CUT TO BLACK. \ No newline at end of file diff --git a/unformated_scripts/Script_Lincoln.txt b/unformated_scripts/Script_Lincoln.txt new file mode 100644 index 0000000000000000000000000000000000000000..5c82a832fce7320ed55b38d41624c3e76eaa302e --- /dev/null +++ b/unformated_scripts/Script_Lincoln.txt @@ -0,0 +1 @@ + LINCOLN Written by Tony Kushner Based in Part on Team of Rivals: The Political Genius of Abraham Lincoln By Doris Kearns Goodwin Final Shooting Script December 20, 2011 EXT. BATTLEFIELD, JENKINS' FERRY, ARKANSAS - DAY Heavy grey skies hang over a flooded field, the water two feet deep. Cannons and carts, half-submerged and tilted, their wheels trapped in the mud below the surface, are still yoked to dead and dying horses and oxen. A terrible battle is taking place; two infantry companies, Negro Union soldiers and white Confederate soldiers, knee- deep in the water, staggering because of the mud beneath, fight each other hand-to-hand, with rifles, bayonets, pistols, knives and fists. There's no discipline or strategy, nothing depersonalized: it's mayhem and each side intensely hates the other. Both have resolved to take no prisoners. HAROLD GREEN (V.O.) Some of us was in the Second Kansas Colored. We fought the rebs at Jenkins' Ferry last April, just after they'd killed every Negro soldier they captured at Poison Springs. EXT. PARADE GROUNDS ADJACENT TO THE WASHINGTON NAVY YARD, ANACOSTIA RIVER - NIGHT Rain and fog. Union Army companies are camped out across the grounds. Preparations are being made for the impending assault on the Confederate port of Wilmington, North Carolina. Two black soldiers stand before a bivouacked Negro unit: HAROLD GREEN, an infantryman in his late thirties, and IRA CLARK, a cavalryman in his early twenties. ABRAHAM LINCOLN sits on a bench facing Harold and Ira; his stovepipe hat is at his side. HAROLD GREEN So at Jenkins' Ferry, we decided warn't taking no reb prisoners. And we didn't leave a one of `em alive. The ones of us that didn't die that day, we joined up with the 116th U.S. Colored, sir. From Camp Nelson Kentucky. LINCOLN What's your name, soldier? HAROLD GREEN Private Harold Green, sir. 2. IRA CLARK I'm Corporal Ira Clark, sir. Fifth Massachusetts Cavalry. We're waiting over there. He nods in the direction of his cavalry. IRA CLARK (CONT'D) We're leaving our horses behind, and shipping out with the 24th Infantry for the assault next week on Wilmington. LINCOLN (to Harold Green:) How long've you been a soldier? HAROLD GREEN Two year, sir. LINCOLN Second Kansas Colored Infantry, they fought bravely at Jenkins' Ferry. HAROLD GREEN IRA CLARK That's right, sir. They killed a thousand rebel soldiers, sir. They were very brave. (hesitating, then) And making three dollars less each month than white soldiers. Harold Green is a little startled at Clark's bluntness. HAROLD GREEN Us 2nd Kansas boys, whenever we fight now we - IRA CLARK Another three dollars subtracted from our pay for our uniforms. HAROLD GREEN That was true, yessir, but that CHANGED - IRA CLARK Equal pay now. Still no commissioned Negro officers. LINCOLN I am aware of it, Corporal Clark. 3. IRA CLARK Yes, sir, that's good you're aware, sir. It's only that - HAROLD GREEN (to Lincoln, trying to change the subject:) You think the Wilmington attack is gonna be - IRA CLARK Now that white people have accustomed themselves to seeing Negro men with guns, fighting on their behalf, and now that they can tolerate Negro soldiers getting the same pay - in a few years perhaps they can abide the idea of Negro lieutenants and captains. In fifty years, maybe a Negro colonel. In a hundred years - the vote. Green's offended at the way Clark is talking to Lincoln. LINCOLN What'll you do after the war, Corporal Clark? IRA CLARK Work, sir. Perhaps you'll hire me. LINCOLN Perhaps I will. IRA CLARK But you should know, sir, that I get sick at the smell of bootblack and I can't cut hair. Lincoln smiles. LINCOLN I've yet to find a man could cut mine so it'd make any difference. HAROLD GREEN You got springy hair for a white man. Lincoln laughs. 4. LINCOLN Yes, I do. My last barber hanged himself. And the one before that. Left me his scissors in his will. Green laughs. TWO WHITE SOLDIERS have come up, two young kids, nervous and excited. FIRST WHITE SOLDIER LINCOLN President Lincoln, sir? Evening, boys. SECOND WHITE SOLDIER Damn! Damn! We, we saw you, um. We were at, at - FIRST WHITE SOLDIER We was at Gettysburg! HAROLD GREEN SECOND WHITE SOLDIER You boys fight at Gettysburg? DAMN I can't believe it's - FIRST WHITE SOLDIER (CONT'D) (to Green, with mild CONTEMPT) Naw, we didn't fight there. We just signed up last month. We saw him two years ago at the cemetery dedication. SECOND WHITE SOLDIER Yeah, we heard you speak! We... DAMN DAMN DAMN! Uh, hey, how tall are you anyway?! FIRST WHITE SOLDIER Jeez, SHUT up! LINCOLN Could you hear what I said? FIRST WHITE SOLDIER No, sir, not much, it was- SECOND WHITE SOLDIER (he recites, fast and MECHANICALLY:) "Four score and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty and dedicated to the 5. proposition that all men are created equal." LINCOLN That's good, thank you for - FIRST WHITE SOLDIER "Now we are engaged in a great civil war, testing whether that nation or any nation so conceived and so dedicated can long endure. We are, we are, we are met on a great battlefield of that war." LINCOLN Thank you, that's - SECOND WHITE SOLDIER "We have come to dedicate a portion of that field as a final resting place for those who here gave their lives that that nation might live. It is..." (He chokes up a little.) FIRST WHITE SOLDIER His uncles, they died on the second day of fighting. SECOND WHITE SOLDIER A VOICE (O.C.) I know the last part. "It is, Company up! Move it out! uh, it is rather -" Soldiers all over the field rise up at the mustering of the troops. Names of regiments, brigades, divisions are called: all across the field, the men put out fires, put on knapsacks. LINCOLN (to the two white SOLDIERS:) You fellas best find your company. FIRST WHITE SOLDIER (SALUTING LINCOLN:) Thank you, sir. God bless you! LINCOLN God bless you. The second white soldier salutes, and the two move out. 6. Green salutes Lincoln as well and glances at Clark, who remains, looking down. Green leaves. Clark looks up, salutes Lincoln and, turning smartly, walks toward his unit. Then he stops, turns back, faces Lincoln, who watches him. A beat, and then, in a tone of admiration and cautious admonishment, reminding Lincoln of his promise: IRA CLARK "That we here highly resolve that these dead shall not have died in VAIN -- " Clark salutes Lincoln again, turns again and walks away. Lincoln watches him go. As he walks into the fog, Clark continues reciting in a powerful voice: IRA CLARK (CONT'D) " - That this nation, under God, shall have a new birth of freedom -- and that government of the people, by the people, for the people, shall not perish from the earth." Lincoln watches Clark until the fog's swallowed him up. TITLE: JANUARY, 1865 TWO MONTHS HAVE PASSED SINCE ABRAHAM LINCOLN'S RE-ELECTION THE AMERICAN CIVIL WAR IS NOW IN ITS FOURTH YEAR EXT. A SHIP AT SEA - NIGHT A huge, dark, strange-looking steamship, part wood and part iron, turreted like a giant ironclad monitor, is plowing through the choppy black waters of an open sea. Lincoln is alone, in darkness, on the deck, which has no railing, open to the sea. The ship's tearing through rough water, but there's little pitching, wind or spray. The deck is dominated by the immense black gunnery turret. LINCOLN (V.O.) It's nighttime. The ship's moved by some terrible power, at a terrific speed. Lincoln stares out towards a barely discernible horizon, indicated by a weird, flickering, leaden glow, which appears to recede faster than the fast-approaching ship. 7. LINCOLN (V.O.) Though it's imperceptible in the darkness, I have an intuition that we're headed towards a shore. No one else seems to be aboard the vessel. I'm alone. INT. MARY'S BOUDOIR, SECOND FLOOR OF THE WHITE HOUSE - NIGHT The room's cozy, attractive, cluttered, part dressmaker's workshop, part repository of Mary's endless purchases: clothing, fabrics, knicknacks, carpets. Books everywhere. Lincoln reclines on a French chair, too small for his lengthy frame. He's in shirtsleeves, vest unbuttoned and tie unknotted, shoeless. He has an open folio filled with documents on his lap. MARY LINCOLN sits opposite, in a nightgown, housecoat and night cap. She watches him in her vanity mirror. She looks frightened. TITLE: THE WHITE HOUSE LINCOLN I could be bounded in a nutshell and count myself a king of infinite space...were it not that I have bad dreams. I reckon it's the speed that's strange to me. I'm used to going a deliberate pace. Mary looks at him, stricken with alarm. LINCOLN (CONT'D) I should spare you. I shouldn't tell you my dreams. MARY I don't want to be spared if you aren't! And you spare me nothing. He looks down at the carpet, then back up at her. MARY (CONT'D) Perhaps perhaps it's the assault on Wilmington port. You dream about the ship before a battle, usually. 8. LINCOLN (rapping lightly on his FOREHEAD:) How's the coconut? MARY Beyond description. She delicately touches her head. MARY (CONT'D) Almost two years, nothing mends. Another casualty of the war. Who wants to listen to a useless woman grouse about her carriage accident? LINCOLN I do. MARY Stuff! You tell me dreams, that's all, I'm your soothsayer, that's all I am anymore, I'm not to be trusted with - Even if it wasn't a carriage accident, even if it was an attempted assassination - LINCOLN It was most probably an - MARY It was an assassin. Whose intended target was you. LINCOLN How's the plans for the big shindy progressing? MARY I don't want to talk about parties! You don't care about parties. LINCOLN Not much but they're a necessary - Mary studies Lincoln, thinking. Then a revelation: MARY I know...I know what it's about. The ship, it isn't Wilmington Port, it's not a military campaign! It's the amendment to abolish slavery! Why else would you force me to 9. invite demented radicals into my home? Lincoln closes his folio. MARY (CONT'D) You're going to try to get the amendment passed in the House of Representatives, before the term ends, before the Inauguration. LINCOLN (STANDING:) Don't spend too much money on the flubdubs. Mary stands, goes up to him. MARY No one's loved as much as you, no one's ever been loved so much, by the people, you might do anything now. Don't, don't waste that power on an amendment bill that's sure of defeat. Seeing that he's not going to discuss this, she turns away, walking to an open window. MARY (CONT'D) Did you remember Robert's coming home for the reception? Lincoln nods, though Mary isn't bothering to look at him. MARY (CONT'D) I knew you'd forget. She closes the window. MARY (CONT'D) That's the ship you're sailing on. The Thirteenth Amendment. You needn't tell me I'm right. I know I am. She watches as he leaves the room, smiling in bitter victory: she's right. 10. INT. HALLWAY, LEAVING MARY'S BOUDOIR - NIGHT Lincoln encounters ELIZABETH KECKLEY, a light-skinned black woman, 38, Mary's dressmaker and close friend, holding a dark- blue velvet bodice embroidered with jet beads. LINCOLN It's late, Mrs. Keckley. ELIZABETH KECKLEY (holding out the bodice:) She needs this for the grand reception. Lincoln bends down to look at the intricate beading. ELIZABETH KECKLEY (CONT'D) It's slow work. He nods, smiles, straightens up. LINCOLN Good night. He continues down the hall. Mrs. Keckley starts to enter Mary's boudoir, then stops, sensing something amiss. She calls quietly after Lincoln: ELIZABETH KECKLEY (concerned, a little EXASPERATED:) Did you tell her a dream? INT. LINCOLN'S OFFICE, SECOND FLOOR, WHITE HOUSE - NIGHT A working room, sparsely furnished. Lincoln's desk is heaped with files, books, newspapers. The desk's near a window, now open. Comfortable chairs and a rocker are in a corner. Near the fireplace, in which embers are dying, there's a long table, eight chairs around it, settings by each chair of inkwells and pens. Dozens of maps cover the walls and the crowded bookcases. Lincoln opens the door and enters to find his 10 year-old son TAD LINCOLN near the hearth, sleeping, sprawled on a very large military map. Lead toy soldiers are scattered across it. A large mahogany box, imprinted ALEXANDER GARDNER STUDIOS, is open near Tad's head. The box contains large glass plates, each framed in wood; these are photographic negatives. Tad's been looking at several, which lie near him on the map. 11. Lincoln kneels by Tad and looks down at the map, a topographical and strategic survey of the no-man's land between Union and Confederate forces at Petersburg. He scrutinizes the precisely drawn blue and grey lines. He lifts one of the glass plates and holds it to the firelight: it's a large photographic negative of a young black boy. There's a caption, in elegant cursive script: "Abner, age 12 - $500" And another: "Two young boys, 10 & 14 - $700" Lincoln puts the plates back in the box and closes the lid. Carefully brushing the toy soldiers aside, he lies down beside Tad. He touches Tad's hair and kisses his forehead. Tad stirs as Lincoln gets on all fours; without really waking up, knowing the routine, Tad climbs onto his father's back. Tad holds on as his father stands, weary, and maybe a little surprised to find his growing son slightly heavier than he was the night before. TAD (FAST ASLEEP:) Papa... LINCOLN Hmm? TAD Papa I wanna see Willie. LINCOLN (WHISPERING:) Me too, Taddie. But we can't. TAD Why not? LINCOLN Willie's gone. Three years now. He's gone. Lincoln carries Tad out of the room, closing the door. EXT. OUTSIDE THE TREASURY DEPARTMENT, WASHINGTON - MORNING A new flagpole is being dedicated. Lincoln, in a black overcoat and his stovepipe hat, and Treasury Secretary WILLIAM FESSENDEN, 59, stand by the pole. They face an audience of officials, clerks, dignitaries, wives, soldiers. A Marine band finishes a jaunty instrumental rendition of "We Are Coming Father Abra'am." 12. Two soldiers fasten a flag to the halyards. Lincoln moves into place; as the crowd applauds, he takes a sheet of paper from inside his hat and glances at it. Then he looks up. LINCOLN The part assigned to me is to raise the flag, which, if there be no fault in the machinery, I will do, and when up, it will be for the people to keep it up. He puts the paper away. The audience waits, expecting more. LINCOLN (CONT'D) That's my speech. He smiles at them. They applaud, some laughing. As Lincoln turns the crank, hoisting the flag, a solo trumpet plays "We Are Coming Father Abra'am" and the audience joins in. Among them, Secretary of State WILLIAM SEWARD, 64, in a thick, exquisite winter coat and hat, and Lincoln's dapper assistant secretary, JOHN HAY, 27. Seward looks pleased. AUDIENCE "We are coming, Father Abra'am, three hundred thousand more, From Mississippi's winding stream and from New England's shore..." We leave our plows and workshops, our wives and children dear, With hearts too full for utterance, With but a silent tear. We're coming Father Abra'am..." EXT. A CARRIAGE, PENNSYLVANIA AVENUE, WASHINGTON - MORNING In a four-door carriage, top down, Seward sits opposite Lincoln. Hay, next to Seward, organizes papers in a portfolio on his lap. SEWARD Even if every Republican in the House votes yes - far from guaranteed, since when has our party unanimously supported anything? - but say all our fellow Republicans vote for it. We'd still be twenty votes short. LINCOLN Only twenty. 13. SEWARD Only twenty! LINCOLN We can find twenty votes. SEWARD Twenty House Democrats who'll vote to abolish slavery! In my opinion - LINCOLN To which I always listen. SEWARD Or pretend to. LINCOLN With all three of my ears. SEWARD We'll win the war soon - It's inevitable, isn't it? LINCOLN Ain't won yit. SEWARD You'll begin your second term with semi-divine stature. Imagine the possibilities peace will bring! Why tarnish your invaluable luster with a battle in the House? It's a rats' nest in there, the same gang of talentless hicks and hacks that rejected the amendment ten months back. We'll lose. Lincoln smiles. LINCOLN I like our chances now. INT. LINCOLN'S OFFICE, THE WHITE HOUSE - MORNING Lincoln is at his desk, Hay feeding him documents to read and sign. Seward warms himself by the fireplace, holding a brandy. SEWARD Consider the obstacles that we'd face. The aforementioned two-thirds majority needed to pass an amendment: we have a Republican 14. majority, but barely more than fifty percent - LINCOLN Fifty-six. SEWARD We need Democratic support. There's none to be had. LINCOLN Since the House last voted on the amendment there's been an election. Sixty-four Democrats lost their House seats in November. That's sixty-four Democrats looking for work come March. SEWARD LINCOLN I know, but that's - They don't need to worry about re-election, they can vote however it suits `em. There's a knock at the office door. SEWARD LINCOLN But we can't, um, buy the (to Hay:) vote for the amendment. It's Might as well let `em in. too important. LINCOLN (CONT'D) I said nothing of buying anything. We need twenty votes was all I said. Start of my second term, plenty of positions to fill. Hay opens the door to the outer office, admitting the sound of a sizable crowd. JOHN NICOLAY, 33, Lincoln's rather severe German-born senior secretary, ushers in MR. JOLLY, mid-40s, mud-spattered coat, hat in hands, followed by MRS. JOLLY, similarly road-worn, holding a suitcase. Lincoln stands. JOHN NICOLAY Mr. President, may I present Mr. and Mrs. Jolly who've come from Missouri to - MR. JOLLY From Jeff City, President. Lincoln shakes Mr. Jolly's hand. Mrs. Jolly curtseys. 15. LINCOLN Mr. Jolly. Ma'am. This by the fire's Secretary of State Seward. Seward nods slightly as he lights a Cuban cigar. LINCOLN (CONT'D) Jeff City. Lincoln looks at the Jollys. They are worried and a little awed. LINCOLN (CONT'D) I heard tell once of a Jefferson City lawyer who had a parrot that'd wake him each morning crying out, "Today is the day the world shall end, as scripture has foretold." And one day the lawyer shot him for the sake of peace and quiet, I presume, thus fulfilling, for the bird at least, its prophecy! Lincoln smiles. The Jollys don't get it. Mr. Jolly looks back at Seward, who gestures for him to speak, then exhales a plume of smoke. MR. JOLLY (launching into his PREPARED SPEECH:) They's only one tollbooth in Jeff City, t' the southwest `n this man Heinz Sauermagen from Rolla been in illegal possession for near two yar, since your man General Schofield set him up there. But President Monroe give that tollgate to my granpap and Quincy Adams give my pap a letter saying it's our'n for keeps. Mrs. Jolly got the - (to his wife:) Show Mr. Lincoln the Quincy Adams letter. Mrs. Jolly opens the suitcase and begins to dig frantically for the letter. LINCOLN That's unnecessary, Mrs. Jolly. Just tell me what you want from me. Seward exhales more smoke. 16. Mr. Jolly starts coughing, while Mrs. Jolly tries to fan away the cigar smoke with the Quincy Adams letter. MRS. JOLLY Mr. Jolly's emphysema don't care for cigars. SEWARD Madame. Do you know about the proposed Thirteenth Amendment to the Constitution - MRS. JOLLY Yes sir, everybody knows of it. The President favors it. SEWARD Do you? MRS. JOLLY We do. SEWARD You know that it abolishes slavery? MRS. JOLLY Yes sir. I know it. SEWARD And is that why you favor it? MRS. JOLLY What I favor's ending the war. Once't we do away with slavery, the rebs'll quit fighting, since slavery's what they're fighting for. Mr. Lincoln, you always says so. With the amendment, slavery's ended and they'll give up. The war can finish then. SEWARD If the war finished first, before we end slavery, would - MRS. JOLLY President Lincoln says the war won't stop unless we finish slavery- SEWARD But if it did. The South is exhausted. If they run out of bullets and men, would you still 17. want your, uh - Who's your representative? LINCOLN Jeff City? That's, uh, Congressman Burton? MRS. JOLLY "Beanpole" Burton, I mean, Josiah Burton, yes, sir! LINCOLN (to Mrs. Jolly:) Republican. Undecided on the question of the amendment, I believe. Perhaps you could call on him and inform him of your enthusiasm. MRS. JOLLY Yeah... SEWARD Madam? If the rebels surrender next week, would you, at the end of this month, want Congressman Burton to vote for the Thirteenth Amendment? Mrs. Jolly is puzzled, and looks to Mr. Jolly. Then: MRS. JOLLY If that was how it was, no more war and all, I reckon Mr. Jolly'd much prefer not to have Congress pass the amendment. Mr. Jolly nods. Seward glances at Lincoln, then turns back to THE JOLLYS: SEWARD And why's that? Mr. Jolly's surprised: the answer's so obvious. MR. JOLLY (in a hoarse voice:) Niggers. MRS. JOLLY If he don't have to let some Alabama coon come up to Missouri, steal his chickens, and his job, he'd much prefer that. 18. Seward takes the letter from Mrs. Jolly and hands it to Lincoln. SEWARD (to Lincoln, quietly:) The people! I begin to see why you're in such a great hurry to put it through. LINCOLN (to Mr. Jolly:) Would you let me study this letter, sir, about the tollbooth? Come back to me in the morning and we'll consider what the law says. Lincoln stands. LINCOLN (CONT'D) And be sure to visit "Beanpole" and tell him that you support passage of the Amendment. As a military necessity. The Jollys nod, skeptical now. NICOLAY (to the Jollys:) Thank you. Nicolay escorts them out. Before he closes the door: LINCOLN Oh, Nicolay? When you have a moment. Nicolay nods and steps into the anteroom, where dozens more petitioners are waiting to speak with Lincoln. Hay confers with the doorman. Seward closes the door behind them. Lincoln kneels at the fireplace, stoking the fire. He puts more wood in, then stands. Seward watches him, then: SEWARD If procuring votes with offers of employment is what you intend, I'll fetch a friend from Albany who can supply the skulking men gifted at this kind of shady work. Spare me the indignity of actually speaking to Democrats. Spare you the exposure and liability. 19. There is a sharp knock on the closed door, followed by two long ones. LINCOLN Pardon me, that's a distress signal, which I am bound by solemn oath to respond to. Lincoln opens the door. Tad enters, cross. TAD Tom Pendel took away the glass camera plates of slaves Mr. Gardner sent over because Tom says mama says they're too distressing, but- LINCOLN You had nightmares all night, mama's right to - TAD But I'll have worse nightmares if you don't let me look at the plates again! LINCOLN Perhaps. SEWARD We can't afford a single defection from anyone in our party...not even a single Republican absent when they vote. You know who you've got to see. Nicolay enters. Lincoln turns to him. LINCOLN Send over to Blair House. Ask Preston Blair can I call on him around five o'clock. SEWARD (a shudder, a swallow of BRANDY:) God help you. God alone knows what he'll ask you to give him. INT. THE LIBRARY, BLAIR HOUSE, WASHINGTON - EVENING Lincoln's perched on the edge of an ottoman. 20. LINCOLN If the Blairs tell `em to, no Republican will balk at voting for the amendment. The room is baronial. PRESTON BLAIR, patriarch of his wealthy and powerful family, 72 years old, sits facing his son, MONTGOMERY BLAIR, 50, whip-thin. A fire blazes in a massive fireplace behind Monty. Preston's handsome, elegant daughter, ELIZABETH BLAIR LEE, 45, sits across from Monty, next to Tad, who's wearing a Union infantryman's uniform, a real musket by his side. MONTGOMERY BLAIR No conservative Republican is what you mean - PRESTON BLAIR All Republicans ought to be conservative, I founded this party - in my own goddamned home - to be a conservative antislavery party, not a hobbyhorse for goddamned radical abolitionists and - ELIZABETH BLAIR LEE Damp down the dyspepsia, daddy, you'll frighten the child. MONTGOMERY BLAIR (TO LINCOLN:) You need us to keep the conservative side of the party in the traces while you diddle the radicals and bundle up with Thaddeus Stevens's gang. You need our help. LINCOLN Yes, sir, I do. MONTGOMERY BLAIR Well, what do we get? ELIZABETH BLAIR LEE Whoo! Blunt! Your manners, Monty, must be why Mr. Lincoln pushed you out of his cabinet. PRESTON BLAIR MONTGOMERY BLAIR He was pushed out - I wasn't pushed. 21. ELIZABETH BLAIR LEE (CONT'D) (SMILING SARCASTICALLY:) Oh of course you weren't. PRESTON BLAIR MONTGOMERY BLAIR He was pushed out to placate (to Tad:) the goddamn radical I agreed to resign. abolishonists! ELIZABETH BLAIR LEE (CONT'D) (a nod at Tad:) Oh Daddy, please! PRESTON BLAIR You don't mind, boy, do you? LINCOLN He spends his days with soldiers. TAD They taught me a song! PRESTON BLAIR Did they? Soldiers know all manner of songs. How's your brother Bob? TAD He's at school now, but he's coming to visit in four days! For the shindy! PRESTON BLAIR At school! Ain't that fine! Good he's not in the army! TAD Oh he wants to be, but mama said he CAN'T - PRESTON BLAIR Dangerous life, soldiering. ELIZABETH BLAIR LEE Your mama is wise to keep him clean out of that. PRESTON BLAIR Now your daddy knows that what I want, in return for all the help I give him, is to go down to Richmond like he said I could, soon as Savannah fell, and talk to Jefferson Davis. Give me terms I 22. can offer to Jefferson Davis to start negotiating for peace. He'll talk to me! MONTGOMERY BLAIR Conservative members of your party want you to listen to overtures from Richmond. That above all. Two black servants who have entered begin to pour and serve tea. MONTGOMERY BLAIR (CONT'D) They'll vote for this rash and dangerous amendment only if every other possibility is exhausted. PRESTON BLAIR Our Republicans ain't abolitionists. We can't tell our people they can vote yes on abolishing slavery unless at the same time we can tell `em that you're seeking a negotiated peace. The Blairs look at Lincoln, waiting for an answer. EXT. OUTSIDE BLAIR HOUSE - NIGHT A light snow's beginning to fall. A lacquered coach stands outside the house, the Blair crest in gold on its doors. Elizabeth Blair Lee, a blanket in her arms, comes out of the house, talking to LEO, an elderly black servant, formerly a slave belonging to the Blairs. They're followed by an elderly black woman in a housekeeper's uniform. ELIZABETH BLAIR LEE Leo, it's a hundred miles to Richmond. Get him drunk so he can sleep. LEO Yes'm. Elizabeth goes to the carriage, where Preston awaits. She passes the blanket through the carriage window and tucks it around her father. ELIZABETH BLAIR LEE Here, daddy. 23. PRESTON BLAIR ELIZABETH BLAIR LEE Oh! Thank you. (fussing with the BLANKET:) Let's fix this up... PRESTON BLAIR Where's my hat? ELIZABETH BLAIR LEE Leo has your hat. All right? As Leo climbs into the carriage, Elizabeth kisses her hand, then slaps the kiss on her father's cheek. ELIZABETH BLAIR LEE (CONT'D) Go make peace. INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING The cabinet has assembled. Lincoln heads the table, Seward at his left and EDWIN M. STANTON, Secretary of War, 51, barrel- shaped, long bearded, bespectacled, at his right. Next to him are Secretary of the Navy GIDEON WELLES, 63, luxurious white hair (it's a wig) and a flowing snowy beard; Postmaster General WILLIAM DENNISON, 50; Secretary of the Interior JOHN USHER, 49; Secretary of the Treasury WILLIAM FESSENDEN, 59; and Attorney General JAMES SPEED, 53. Nicolay and Hay are in chairs behind Lincoln, taking notes. LINCOLN (TO STANTON:) Thunder forth, God of War! Stanton clears his throat. He's noticed the singed edge. STANTON We'll commence our assault on Wilmington from the sea. (PEEVED:) Why is this burnt? Was the boy playing with it? LINCOLN It got took by a breeze several nights back. STANTON This is an official War Department map! 24. SEWARD And the entire cabinet's waiting to hear what it portends. WELLES A bombardment. From the largest fleet the Navy has ever assembled. LINCOLN (TO WELLES:) Old Neptune! Shake thy hoary locks! Welles stands. WELLES Fifty-eight ships are underway, of every tonnage and firing range. Welles gestures on the map to the positions of many ships. STANTON We'll keep up a steady barrage. Our first target is Fort Fisher. It defends Wilmington Port. Stanton indicates the lines tracing artillery trajectories. These converge particularly heavily on Fort Fisher. JAMES SPEED A steady barrage? STANTON A hundred shells a minute. There's a moment of shocked silence. STANTON (CONT'D) Till they surrender. WILLIAM FESSENDEN Dear God. WELLES Yes. Yes. LINCOLN Wilmington's their last open seaport. Therefore... STANTON Wilmington falls, Richmond falls after. 25. SEWARD And the war... is done. The rest of the cabinet applauds, foot stomping, table slapping. Only John Usher doesn't join in. JOHN USHER Then why, if I may ask are we not concentrating the nation's attention on Wilmington? Why, instead, are we reading in the HERALD - (he smacks a newspaper on THE TABLE) - that the anti-slavery amendment is being precipitated onto the House floor for debate - because your eagerness, in what seems an unwarranted intrusion of the Executive into Legislative prerogatives, is compelling it to it's... to what's likely to be its premature demise? You signed the Emancipation Proclamation, you've done all that can be expected - JAMES SPEED The Emancipation Proclamation's merely a war measure. After the war the courts'll make a meal of it. JOHN USHER When Edward Bates was Attorney General, he felt confident in it enough to allow you to sign - JAMES SPEED (A SHRUG:) Different lawyers, different opinions. It frees slaves as a military exigent, not in any other - LINCOLN I don't recall Bates being any too certain about the legality of my Proclamation, just it wasn't downright criminal. Somewhere's in between. Back when I rode the legal circuit in Illinois I defended a woman from Metamora named Melissa Goings, 77 years old, they said she murdered her husband; he was 83. He was choking her; and, uh, she grabbed ahold of a stick of fire- 26. wood and fractured his skull, `n he died. In his will he wrote "I expect she has killed me. If I get over it, I will have revenge." This gets a laugh. LINCOLN (CONT'D) No one was keen to see her convicted, he was that kind of husband. I asked the prosecuting attorney if I might have a short conference with my client. And she and I went into a room in the courthouse, but I alone emerged. The window in the room was found to be wide open. It was believed the old lady may have climbed out of it. I told the bailiff right before I left her in the room she asked me where she could get a good drink of water, and I told her Tennessee. Mrs. Goings was seen no more in Metamora. Enough justice had been done; they even forgave the bondsman her bail. JOHN USHER I'm afraid I don't - LINCOLN I decided that the Constitution gives me war powers, but no one knows just exactly what those powers are. Some say they don't exist. I don't know. I decided I needed them to exist to uphold my oath to protect the Constitution, which I decided meant that I could take the rebels' slaves from `em as property confiscated in war. That might recommend to suspicion that I agree with the rebs that their slaves are property in the first place. Of course I don't, never have, I'm glad to see any man free, and if calling a man property, or war contraband, does the trick... Why I caught at the opportunity. Now here's where it gets truly slippery. I use the law allowing for the seizure of property in a war knowing it applies only to the property of governments and 27. citizens of belligerent nations. But the South ain't a nation, that's why I can't negotiate with 'em. So if in fact the Negroes are property according to law, have I the right to take the rebels' property from `em, if I insist they're rebels only, and not citizens of a belligerent country? And slipperier still: I maintain it ain't our actual Southern states in rebellion, but only the rebels living in those states, the laws of which states remain in force. The laws of which states remain in force. That means, that since it's states' laws that determine whether Negroes can be sold as slaves, as property - the Federal government doesn't have a say in that, least not yet - (a glance at Seward, THEN:) - then Negroes in those states are slaves, hence property, hence my war powers allow me to confiscate `em as such. So I confiscated `em. But if I'm a respecter of states' laws, how then can I legally free `em with my Proclamation, as I done, unless I'm cancelling states' laws? I felt the war demanded it; my oath demanded it; I felt right with myself; and I hoped it was legal to do it, I'm hoping still. He looks around the table. Everyone's listening. LINCOLN (CONT'D) Two years ago I proclaimed these people emancipated - "then, thenceforward and forever free." But let's say the courts decide I had no authority to do it. They might well decide that. Say there's no amendment abolishing slavery. Say it's after the war, and I can no longer use my war powers to just ignore the courts' decisions, like I sometimes felt I had to do. Might those people I freed be ordered back into slavery? That's why I'd like to get the Thirteenth Amendment through the House, and on 28. its way to ratification by the states, wrap the whole slavery thing up, forever and aye. As soon as I'm able. Now. End of this month. And I'd like you to stand behind me. Like my cabinet's most always done. A moment's silence, broken by a sharp laugh from Seward. LINCOLN (CONT'D) As the preacher said, I could write shorter sermons but once I start I get too lazy to stop. JOHN USHER It seems to me, sir, you're describing precisely the sort of dictator the Democrats have been howling about. JAMES SPEED Dictators aren't susceptible to law. JOHN USHER Neither is he! He just said as much! Ignoring the courts? Twisting meanings? What reins him in from, from... LINCOLN Well, the people do that, I suppose. I signed the Emancipation Proclamation a year and half before my second election. I felt I was within my power to do it; however I also felt that I might be wrong about that; I knew the people would tell me. I gave `em a year and half to think about it. And they re- elected me. (BEAT) And come February the first, I intend to sign the Thirteenth Amendment. INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY AFTERNOON Nicolay opens the door to the crowded outer office to admit perpetually worried JAMES ASHLEY, 42, (R, OH). Tad eyes him from a chair by the window. 29. Lincoln enters the room with Seward. LINCOLN Well, Mr. Representative Ashley! Tell us the news from the Hill. Lincoln shakes his hand and warmly claps the discombobulated but flattered representative on the shoulder. JAMES ASHLEY Well! Ah! News - LINCOLN Why for instance is this thus, and what is the reason for this thusness? JAMES ASHLEY I... SEWARD James, we want you to bring the anti-slavery amendment to the floor for debate - JAMES ASHLEY SEWARD Excuse me. What? - immediately, and - You are the amendment's manager, are you not? JAMES ASHLEY I am, of course - But - Immediately? SEWARD And we're counting on robust radical support, so tell Mr. Stevens we expect him to put his back into it, it's not going to be easy, but we trust - JAMES ASHLEY It's impossible. No, I am sorry, no, we can't organize anything immediately in the House. I have been canvassing the Democrats since the election, in case any of them softened after they got walloped. But they have stiffened if anything, Mr. Secretary. There aren't nearly enough votes - LINCOLN We're whalers, Mr. Ashley! 30. JAMES ASHLEY Whalers? As in, um, whales? Lincoln moves in, standing very close to Ashley. LINCOLN We've been chasing this whale for a long time. We've finally placed a harpoon in the monster's back. It's in, James, it's in! We finish the deed now, we can't wait! Or with one flop of his tail he'll smash the boat and send us all to eternity! SEWARD On the 31st of this month. Of this year. Put the amendment up for a vote. Ashley is agog. INT. THADDEUS STEVENS'S OFFICE IN THE CAPITOL - EVENING The room's redolent of politics, ideology (a bust of Robespierre, a print of Tom Paine), long occupancy and hard work. On the wall opposite a massive desk hangs a faded banner: "RE-ELECT THADDEUS STEVENS, REPUBLICAN TICKET, 9TH CONGRESSIONAL DISTRICT, LANCASTER PENNSYLVANIA". At the desk sits THADDEUS STEVENS (R, PA), 73, bald under a horrible red wig, a gaunt, powerful face resembling Lincoln's, though beardless and bitter. In the office are Ashley, Speaker of the House SCHUYLER COLFAX (R, IN), formidable Senator BLUFF WADE (R, MA), who's never smiled, and ASA VINTNER LITTON (R, MD). BLUFF WADE Whalers? JAMES ASHLEY That's what he said. BLUFF WADE The man's never been near a whale ship in his life! (TO STEVENS:) Withdraw radical support, force him to abandon this scheme, whatever he's up to - He drags his feet about everything, Lincoln; why this urgency? We got it through the Senate without difficulty because 31. we had the numbers. Come December you'll have the same in the House. The amendment'll be the easy work of ten minutes. ASA VINTNER LITTON He's using the threat of the amendment to frighten the rebels into an immediate surrender. SCHUYLER COLFAX I imagine we'd rejoice to see that. ASA VINTNER LITTON Will you rejoice when the Southern states have re-joined the Union, pell-mell, as Lincoln intends them to, and one by one each refuses to ratify the amendment? If we pass it, which we won't. (TO STEVENS:) Why are we co-operating with, with him? We all know what he's doing and we all know what he'll do. We can't offer up abolition's best legal prayer to his games and tricks. BLUFF WADE He's said he'd welcome the South back with all its slaves in chains. JAMES ASHLEY Three years ago he said that! To calm the border states when we were- THADDEUS STEVENS I don't. This confuses the room. Stevens turns to Vintner Litton. THADDEUS STEVENS (CONT'D) You said "we all know what he'll do." I don't know. ASA VINTNER LITTON You know he isn't to be trusted. THADDEUS STEVENS Trust? I'm sorry, I was under the misapprehension your chosen profession was politics. I've never trusted the President. I never 32. trust anyone. But... Hasn't he surprised you? ASA VINTNER LITTON No, Mr. Stevens, he hasn't. THADDEUS STEVENS Nothing surprises you, Asa, therefore nothing about you is surprising. Perhaps that is why your constituents did not re-elect you to the coming term. (collecting his cane and STANDING:) It's late, I'm old, I'm going home. Stevens limps to the door, opens it, and turns. THADDEUS STEVENS (CONT'D) Lincoln the inveterate dawdler, Lincoln the Southerner, Lincoln the capitulating compromiser, our adversary - and leader of the godforsaken Republican Party, our party - Abraham Lincoln has asked us to work with him to accomplish the death of slavery in America. (BEAT:) Retain, even in opposition, your capacity for astonishment. Stevens leaves, shutting the door. They watch him go, Ashley excited, Litton unmoved, insulted, skeptical. INT. PRIVATE DINING ROOM, OLD TAVERN IN WASHINGTON DC - NIGHT In a cramped private alcove, a low, sagging timber ceiling, sooty walls, sawdusted floor, ancient curtain closing it off, Seward sits at a small table with ROBERT LATHAM, an Albany NY political operative, RICHARD SCHELL, a Wall Street speculator, and W.N. BILBO, a Tennessee lawyer and lobbyist. A chandelier with candles drips wax on them. On the table, a leather folio lies open: prospectuses for jobs in the administration. Latham and Schell study these. Bilbo is studying Seward. SEWARD The President is never to be mentioned. Nor I. You're paid for your discretion. 33. W.N. BILBO Hell, you can have that for nothin', what we need money for is bribes. It'd speed things up. SEWARD No. Nothing strictly illegal. ROBERT LATHAM It's not illegal to bribe Congressmen. They starve otherwise. RICHARD SCHELL I have explained to Mr. Bilbo and Mr. Latham that we're offering patronage jobs to the Dems who vote yes. Jobs and nothing more. SEWARD That's correct. W.N. BILBO Congressmen come cheap! Few thousand bucks'll buy you all you need. SEWARD The President would be unhappy to hear you did that. W.N. BILBO Well, will he be unhappy if we lose? A WAITRESS brings in a platter of roasted crabs, which she slams down on the table, and leaves. SEWARD The money I managed to raise for this endeavor is only for your fees, food, and lodgings. W.N. BILBO Uh huh. If that squirrel-infested attic you've quartered us in's any measure, you ain't raised much. RICHARD SCHELL Shall we get to work? Bilbo takes a mallet to a crab, smashing it! 34. INT. FLOOR OF THE HOUSE OF REPRESENTATIVES - DAY A gavel slams down on a sounding block in an attempt to silence the raucous tumult in the large chamber. It subsides enough for Colfax to be heard from his chair atop the central DAIS: SCHUYLER COLFAX The House recognizes Fernando Wood, the honorable representative from New York. TITLE: THE HOUSE DEBATE BEGINS JANUARY 9 Floor and balcony are full, although the desks of representatives from seceded states are bare and unoccupied. On the Democratic side, 81 members applaud FERNANDO WOOD (D, NY) as he takes the podium. The Democratic leadership, including GEORGE YEAMAN (KY), has gathered around House minority leader GEORGE PENDLETON(OH). On the Republican side of the aisle, enraged booing from the 102 Republicans, including HIRAM PRICE (IA), GEORGE JULIAN (IN), Vintner Litton and Ashley, all gathered around Stevens's desk. FERNANDO WOOD Estimable colleagues. Two bloody years ago this month, his Highness, King Abraham Africanus the First - our Great Usurping Caesar, violator of habeas corpus and freedom of the press, abuser of states' rights - HIRAM PRICE FERNANDO WOOD (loud:) - radical republican autocrat If Lincoln really were a ruling by fiat and martial tyrant, Mr. Wood, he'd'a had law affixed his name to his your empty head impaled on a heinous and illicit pike, and the country better Emancipation Proclamation, for it! promising it would hasten the end of the war, which yet rages on and on. Murmuring from the floor and the balcony, in the front row of which Mary and Elizabeth Keckley sit. Mary turns her gaze from the floor to watch Latham and Schell, a few seats away, scrutinize the floor, whispering, Latham taking notes. Schell holds the leather prospectus folio in his lap. Bilbo sits behind them. They study the other NY Democrats - CHARLES HANSON, NELSON MERRICK, HENRY LANFORD, HOMER BENSON, GILES STUART - who 35. comprise a cluster of glum uncomfortable passivity on that side of the aisle. FERNANDO WOOD (CONT'D) ROBERT LATHAM He claimed, as tyrants do, (whispering to Schell:) that the war's emergencies The New York delegation's permitted him to turn our looking decidedly uninspired. army into the unwilling instrument of his monarchical AMBITIONS - Wood points at Stevens, granite-faced. Stevens's eyes burn back at Wood. FERNANDO WOOD (CONT'D) - and radical Republicanism's abolitionist fanaticism! This prompts shouts and boos from the Republicans. FERNANDO WOOD (CONT'D) His Emancipation Proclamation has obliterated millions of dollars' worth of personal property rights - Schell examines the Pennsylvania Democrats: an openly appalled ARCHIBALD MORAN, AMBROSE BAILER, and, chewing his thumb, a painful fake grin pinned to his face, ALEXANDER COFFROTH. Schell leans in to Latham. FERNANDO WOOD (CONT'D) RICHARD SCHELL - and "liberated" the Over in Pennsylvania - who's hundreds of thousands of the sweaty man eating his hopelessly indolent Negro thumb? refugees, bred by nature for servility, to settle in ROBERT LATHAM squalor in our Northern Unknown to me. Seems jumpy. cities! RICHARD SCHELL Perhaps he'll jump. Cheering and booing. In the Connecticut delegation, JOHN ELLIS winds his pocket watch, looking contemptuously at Wood. Schell makes a note. 36. FERNANDO WOOD (CONT'D) W.N. BILBO But all that was not enough Jesus, when's this son-of- for this dictator, who now liberty sonofabitch gonna sit seeks to insinuate his down? miscegenist pollution into the Constitution itself! RICHARD SCHELL John Ellis is going to break his watch if he doesn't stop - FERNANDO WOOD (CONT'D) We are once again asked - nay, commanded - to consider a proposed thirteenth amendment which, if passed, shall set at immediate liberty four million coloreds while manacling the limbs of the white race in America. If it is passed - but it shall not pass! Wild cheering and booing. FERNANDO WOOD (CONT'D) ROBERT LATHAM Every member of the House What's more interesting is loyal to the Democratic Party how dismal and disgruntled and the constituents it Mr. Yeaman appears. He should serves shall oppose- be cheering right now, but... W.N. BILBO Looks like he ate a bad oyster. Thaddeus Stevens calls out from his desk. THADDEUS STEVENS A point of order, Mr. Speaker, if you please? When will Mr. Wood - FERNANDO WOOD Mr. Speaker, I still have the floor and the gentleman from Pennsylvania is out of order! THADDEUS STEVENS - when will Mr. Wood conclude his interminable gabble? Some of us breathe oxygen, and we find the mephitic fumes of his oratory a lethal challenge to our pleural capacities. Wild cheering, applause from the Republicans. 37. FERNANDO WOOD We shall oppose this amendment, and any legislation that so affronts natural law, insulting to God as to man! Congress must never declare equal those whom God created unequal! The Democrats cheer. Mary watches with concern. Mrs. Keckley is angry and uncomfortable. THADDEUS STEVENS Slavery is the only insult to natural law, you fatuous nincompoop! GEORGE PENDLETON Order! Procedure! Mr. Speaker, Mr. Wood has the floor! (TO STEVENS:) Instruct us, Oh Great Commoner, what is unnatural, in your opinion? Niggrahs casting ballots? Niggrah representatives? Is that natural, Stevens? Intermarriage? THADDEUS STEVENS What violates natural law? Slavery, and you, Pendleton, you insult God, you unnatural noise. An avalanche of boos and cheers as Democrats surge towards Wood, Republicans towards Stevens. Ashley rushes to Colfax, CALLING: JAMES ASHLEY Mr. Colfax! Please, use your gavel! They are - (to the Democrats:) You are out of order! (TO COLFAX:) Direct the sergeant of arms to suppress this! (back to the Democrats:) We are in session! INT. SECOND FLOOR CORRIDOR OF THE WHITE HOUSE - MORNING The corridor as usual is lined with petitioners. They've lined up along both sides of the wall and are hooting, laughing, clapping and cheering, egging on Tad as, with furious concentration, he drives a cart pulled at considerable speed by a large and seriously annoyed goat down 38. the hall. White House doorkeeper and unofficial child-minder TOM PENDEL follows, admonishing the petitioners as he goes. TOM PENDEL Please don't encourage this! Don't encourage this! ROBERT LINCOLN, 21, enters from the stairs carrying several pieces of large and heavy luggage. Tad sees him, jumps out of the goat cart, runs up to and tackles Robert, causing him to drop his luggage. They embrace as Pendel captures the goat and leads it away. TAD You're back you're back you're back you're back you're - ROBERT (LAUGHING) I am. Your goat got big. Robert disentangles himself from Tad and hands him a suitcase. ROBERT (CONT'D) Here, help me get one of these to my room. (a nervous glance at the door to Mary's bedroom SUITE:) Is she in there? As Robert hoists the rest of the luggage himself, Tad chatters and A PETITIONER comes forward. He grabs the trunk as Robert's lifting it. 39. TAD PETITIONER She's asleep, probably, they You need help, sir? I can... went to see Avonia Jones last night in a play about ROBERT Israelites. Daddy's meeting No, sir, I don't. No. with a famous scientist now and he's nervous because of PETITIONER how smart the man is and the Could you bring your pa this man is angry about, `cause letter I writ about my there's a new book that Sam insolvency proceedings? Beckwith says is about finches, and finches' beaks, ROBERT about how they change, it Let it go please, thank you. takes years and years and You deliver your own years but - goddamned petition, thank you... PETITIONER Please, please. Robert wrestles the trunk out of the man's grasp just as Mary enters the hall and sees him. MARY He's here... (calling down the hall:) He's here, Mrs. Cuthbert! He's here! (TO ROBERT:) Robbie... Oh Robbie! Robbie! ROBERT (EMBRACING HER:) Hi, mama. Hey. Hey... MARY (CONT'D) (OVERJOYED) Oh! She instantly eyes Robert's amount of luggage with suspicion. MARY (CONT'D) TAD You're only staying a few - but what's made everyone days. Why'd you pack all of really cross with the man, that? the man who wrote the finch book, is he says people are ROBERT cousins to monkeys, but he Well, I don't know how long was going to say - I'M - MARY (CONT'D) (TO TAD:) Go tell your father Robert's home! 40. TAD Mr. Nicolay says daddy's secluded with Mr. Blair. MARY Tell him anyway. Tad drops the suitcase and runs to the office. Mary strokes Robert's face, looking concerned. MARY (CONT'D) You forget to eat, exactly like him. ROBERT (LAUGHS) No... MARY You'll linger a few days extra, after the reception, before you go back to school. ROBERT Well, I don't know if I'm gonna go back to - She stops him with an alarmed look. MARY We'll fatten you up before you return to Boston. ROBERT All right, mama. MARY All right. (beaming at him, ADORINGLY:) Oh Robbie... INT. LINCOLN'S OFFICE, WHITE HOUSE - MORNING Preston Blair, still in his traveling cloak, and Lincoln stand near the fireplace facing one another. PRESTON BLAIR Jefferson Davis is sending three delegates: Stephens, Hunter and Campbell: Vice President of the Confederacy, their former Secretary of State, and their Assistant 41. Secretary of War. They're coming in earnest to propose peace. Both men look into the fire. Preston moves closer. PRESTON BLAIR (CONT'D) I know this is unwelcome news for you. Now hear me: I went to Richmond to talk to traitors, to smile at and plead with traitors, because it'll be spring in two months, the roads'll be passable, the Spring slaughter commences. Four bloody Springs now! Think of my Frank, who you've taken to your heart, how you'll blame yourself if the war takes my son as it's taken multitudes of sons. Think of all the boys who'll die if you don't make peace. You must talk with these men! LINCOLN I intend to, Preston. And in return, I must ask you - PRESTON BLAIR LINCOLN No, this is not horsetrading, - to support our push for this is life and - the amendment when it reaches THE - There's a knock on the door. LINCOLN (CONT'D) Not now! Robert enters. Nicolay stands behind him, apologetic. LINCOLN (CONT'D) Oh. Bob. I'm sorry. Welcome home. He shakes hands with his son, stiffly. ROBERT Thank you. LINCOLN PRESTON BLAIR (to Robert:) (pointedly:) I'm talking to Preston Blair, You're looking fit, Robert. we - Harvard agrees with you. Fit ROBERT and rested. Mr. Blair. 42. LINCOLN (dismissing Robert, UNINTENTIONALLY ABRUPT) Just give us a moment please, Robert. Thank you. He turns to Preston. Robert, stung, hesitates, then leaves the room, Nicolay shutting the door behind him. PRESTON BLAIR I will procure your votes for you, as I promised. You've always kept your word to me. Those Southern men are coming. (taking Lincoln's hand) I beg you, in the name of Gentle CHRIST - PRESTON BLAIR (CONT'D) LINCOLN Talk peace with these men. Preston, I understand... LINCOLN (SHARPLY) I understand, Preston. EXT. ON THE MALL - AFTERNOON JACOB GRAYLOR (D, PA) and Bilbo walk outside the Capitol. Graylor looks over the prospectuses. ROBERT LATHAM (V.O.) We have one abstention so far - RICHARD SCHELL (V.O.) Jacob Graylor - Graylor selects one and hands it to Bilbo. RICHARD SCHELL (V.O.) He'd like to be Federal Revenue Assessor for the Fifth District of Pennsylvania. INT. A BEDROOM IN THE ST. CHARLES HOTEL - NIGHT A small room, two beds, in disarray: newspapers, overflowing ashtrays, whiskey bottles empty on the floor. Latham and Schell stand at a table strewn with the remnants of a poker game. Bilbo lies on one of the beds. All three are in their shirtsleeves. Seward is at the table. 43. ROBERT LATHAM - so the total of representatives voting three weeks from today is reduced to 182, which means 122 yes votes to reach the requisite two- thirds of the House. Assuming all Republicans vote for the amendment...? Seward nods, less assertively than Latham would like. ROBERT LATHAM (CONT'D) Then, despite our abstention, to reach a two-thirds majority we remain 20 yeses short. INT. THE OLD TAVERN, WASHINGTON - NIGHT Bilbo is drinking schooners of beer with EDWIN LECLERK (D, OH) and CLAY HAWKINS (D, OH). Hawkins listens as Bilbo gives his pitch. LeClerk looks at the prospectuses. ROBERT LATHAM (V.O.) For which we're seeking from among 64 lame duck Democrats. Fully 39 of these we deem unredeemable no votes. LeClerk throws his beer in Bilbo's face, soaking Bilbo and the prospectuses. Hawkins looks shocked. LeClerk storms out. INT. THE ROOM IN THE ST. CHARLES HOTEL - NIGHT W.N. BILBO The kind that hates niggers, hates God for making niggers. ROBERT LATHAM The Good Lord on High would despair of their souls. SEWARD (DISTASTEFULLY:) Thank you for that pithy explanation, Mr. Bilbo. RICHARD SCHELL We've abandoned these 39 to the Devil that possesses them. 44. EXT. A WORKING CLASS NEIGHBORHOOD IN WASHINGTON - DAY Schell stands at the door of a small, grubby row house. He presents the folio, warped from its beer bath, to WILLIAM HUTTON(D, IN), eyes red from crying, dressed in mourning black. Hutton slams the door in Schell's face. A funeral wreath that adorns the door falls to the ground. A daguerreotype attached to the wreath depicts a young officer, Hutton's brother Frederick. INT. THE ROOM IN THE ST. CHARLES HOTEL - NIGHT RICHARD SCHELL The remaining lame ducks, on whom we've been working with a purpose - Schell hands Latham a stack of folded prospectuses, each with a name scrawled on it. ROBERT LATHAM Charles Hanson. EXT. IN FRONT OF THE CAPITOL - TWILIGHT Representatives Merrick, Lanford, Benson, Stuart and Hanson, the New York lame ducks, descend the stairs, discussing the opening of the amendment debate, to which they've just been listening. Latham smoothly holds Hanson back from the group, extending a hand, the still pristine portfolio under his arm. He smiles as the other NY lame ducks proceed down the stairs, unaware, then nods his head back up toward the Capitol steps, where Bilbo and Schell wait. Latham opens the folio as he talks to Hanson. INT. THE ROOM IN THE ST. CHARLES HOTEL - NIGHT ROBERT LATHAM Giles Stuart. INT. THE TREASURY DEPARTMENT - DAY In the grand lobby there are Federal bank windows. Schell is in line at one of these behind Giles Stuart, who completes a transaction and leaves, counting money. Bilbo, barrelling the other way, intentionally slams into Stuart, causing him to drop his money. Bilbo and Schell both kneel to help. 45. Schell places the open folio in Stuart's hands. As the men pile his recovered money into the folio, Stuart's puzzled, then intrigued. Schell gives him a meaningful look. CLOSE ON A SMALL WOODEN FILE BOX A folded prospectus, now with the name "Stuart" scrawled on it, is added to a growing file. INT. THE US PATENT OFFICE, WASHINGTON - DAY Visitors file past cabinets containing animal and plant specimens and inventions; the line circles around a large case in which an amputated leg capped with a brass plate is displayed. A sign identifies it: LEFT LEG OF GENERAL DANIEL SICKLES, AT GETTYSBURG, JULY 5, 1863. ROBERT LATHAM (V.O.) Nelson Merrick. Latham looks through the case at Schell, who's next to Nelson Merrick, who nods, solemnly staring at the leg. Schell proffers Merrick the folio. Merrick flips through the folio. ROBERT LATHAM (V.O.) Homer Benson. INT. A WORKINGMENS' LUNCHROOM, WASHINGTON - DAY A hall packed with working men, soaped-up windows. A GYPSY FIDDLER saws away. Homer Benson, incongruous in a suit, slurps. As he lifts his spoon to his mouth, the folio is placed in front of him. He looks over, puzzled, as Schell smiles and extends a hand. Benson takes the folio. Schell slides his chair closer. INT. THE ROOM IN THE ST. CHARLES HOTEL - NIGHT Another prospectus joins the pile: "Benson" ROBERT LATHAM And lastly... Bilbo retrieves a paper from the floor and hands it to Seward. W.N. BILBO Clay Hawkins. Of Ohio. 46. EXT. A WOODS ALONG THE POTOMAC RIVER - MORNING Bilbo walks with Clay Hawkins, who peruses the folio. Bilbo has a small covered wicker basket slung over his shoulder. Hawkins follows, happy and sick with fear. CLAY HAWKINS T-tax collector for the Western Reserve. Th-th-that pays handsomely. W.N. BILBO Don't just reach for the highest branches. They sway in every breeze. Assistant Port Inspector of Marlston looks like the ticket to me. CLAY HAWKINS Uh, boats, they, they make me sick. Bilbo retrieves a snare; a small bird is trapped by the foot. Bilbo stuffs the bird in the basket. CLAY HAWKINS (CONT'D) So just stand on the dock. Let the Assistant Assistant Port Inspector's stomach go weak. Bilbo eyes Hawkins, who anxiously eyes the folio. INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING Seward hands the last prospectus to Nicolay, who unfolds it, places it on top of the other prospectuses, and records details about Hawkins's appointment in a notebook. Seward smokes a cigar, Nicolay a pipe. Lincoln sits, feet up, examining a newspaper. SEWARD And lastly, Democratic yes vote number six. Hawkins from Ohio. LINCOLN Six. SEWARD Well, thus far. Plus Graylor's abstention. From tiny acorns and so on. LINCOLN What'd Hawkins get? 47. JOHN NICOLAY (STILL WRITING:) Postmaster of the Millersburg Post Office. LINCOLN He's selling himself cheap, ain't he? SEWARD He wanted tax collector of the Western Reserve - a first-term congressman who couldn't manage re- election, I felt it unseemly and they bargained him down to Postmaster. (TO NICOLAY:) Scatter `em over several rounds of appointments, so no one notices. And burn this ledger, please, after you're done. Lincoln stands. LINCOLN (TO NICOLAY:) Time for my public opinion bath. Might as well let `em in. Nicolay helps Lincoln trade his shawl for his overcoat in preparation to meet the public. LINCOLN (CONT'D) Seven yeses with Mr. Ellis! Thirteen to go! SEWARD One last item, an absurdity, but - My associates report that among the Representatives a fantastical rumor's bruited about, which I immediately disavowed, that you'd allowed bleary old Preston Blair to sojourn to Richmond to invite Jeff Davis to send commissioners up to Washington with a peace plan. Lincoln is silent. A horrifying reality dawns for Seward: SEWARD (CONT'D) I, of course, told them you would never...Not without consulting me, you wouldn't...Because why on earth would you? 48. EXT. IN AN OPEN FIELD NEAR PETERSBURG, VIRGINIA - EVENING THREE UNION CAVALRY OFFICERS consult with THREE CONFEDERATE CAVALRY OFFICERS, all mounted. The officers exchange documents and salutes. TITLE: NO MAN'S LAND OUTSIDE PETERSBURG, VIRGINIA JANUARY 11 The ranking Confederate trots to a buggy in which three Confederate officials sit: Vice President ALEXANDER STEPHENS, 53, short; JOHN A. CAMPBELL, Assistant Secretary of War, 54; and Senator R.M.T. HUNTER, 56. They're well-dressed for winter, Stephens especially heavily bundled. Stephens, Campbell and the indignant Hunter leave the buggy and are escorted by Confederate officers to the waiting company of Union cavalry and infantry. A Union Army ambulance, a large American flag painted on one side, driven by TWO BLACK SOLDIERS, stands near broken wagons and a derelict cannon. ANOTHER BLACK SOLDIER stands at attention by the ambulance's rear door. The soldier, staring coldly at these men, gestures brusquely to the ambulance. The Confederate peace commissioners hesitate; Hunter stares in horror at the black soldiers. Then Stephens pushes past Hunter. He nods to the soldier. ALEXANDER STEPHENS (with polite dignity:) Much obliged. He boards the ambulance. His fellow delegates follow in his wake, Hunter glaring with defiant hatred at the soldiers before climbing in. INT. LINCOLN'S OFFICE, WHITE HOUSE - EARLY EVENING Seward stands, stunned. Lincoln sits at the cabinet table. Nicolay is gone. SEWARD Why wasn't I consulted?! I'm Secretary of State! You, you, you informally send a reactionary dottard, to - What will happen, do you imagine, when these peace commissioners arrive? 49. LINCOLN We'll hear `em out. SEWARD Oh, splendid! And next the Democrats will invite `em up to hearings on the Hill, and the newspapers - well, the newspapers - the newspapers will ask "why risk enraging the Confederacy over the issue of slavery when they're here to make peace?" We'll lose every Democrat we've got, more than likely conservative Republicans will join `em, and all our work, all our preparing the ground for the vote, laid waste, for naught. LINCOLN The Blairs have promised support for the amendment if we listen to these people - SEWARD Oh, the Blairs promise, do they? You think they'll keep their promise once we have heard these delegates and refused them? Which we will have to do, since their proposal most certainly will be predicated on keeping their slaves! LINCOLN What hope for any Democratic votes, Willum, if word gets out that I've refused a chance to end the war? You think word won't get out? In Washington? SEWARD It's either the amendment or this Confederate peace, you cannot have both. LINCOLN "If you can look into the seeds of time, And say which grain will grow and which will not, Speak then to me..." SEWARD Oh, disaster. This is a disaster! 50. LINCOLN Time is a great thickener of things, Willum. SEWARD Yes, I suppose it is - Actually I have no idea what you mean by that. Lincoln stands. LINCOLN Get me thirteen votes. (in a thick Kentucky ACCENT:) Them fellers from Richmond ain't here yit. INT. INSIDE THE AMBULANCE WAGON - DAY The ambulance has come to a stop. The rear door opens and the soldiers immediately hop out. The commissioners squint, blinded, into the dazzling sunlight, at the River Queen, Grant's side-wheel steamer, docked on the banks of the James River. TITLE: US ARMY HEADQUARTERS CITY POINT, VIRGINIA JANUARY 12 INT. LINCOLN'S BEDROOM, SECOND FLOOR OF THE WHITE HOUSE - LATE AFTERNOON Tad, in fancy military uniform, sits on the bed, Gardener's box of glass negatives open beside him. He holds up a plate to a lamp: An old black man with a thick beard and hair, shirtless. Tad looks at another plate: A young black woman, headscarf, huge ugly scar across her cheek and down her neck. He studies these with solemn concentration. ROBERT (O.C.) You drafted half the men in Boston! What do you think their families think about me? 51. Lincoln is being dressed in formal wear by his valet, WILLIAM SLADE, a light-skinned black man in his 40s. Robert, already in his morning suit, is standing by the door. ROBERT (CONT'D) The only reason they don't throw things and spit on me is `cause you're so popular. I can't concentrate on, on British mercantile law, I don't care about British mercantile law. I might not even want to be a lawyer - LINCOLN It's a sturdy profession, and a useful one. ROBERT Yes, and I want to be useful, but now, not afterwards! Slade hands Lincoln his formal gloves. LINCOLN I ain't wearing them things, Mr. Slade, they never fit right. WILLIAM SLADE The missus will have you wear `em. Don't think about leaving `em. ROBERT You're delaying, that's your favorite tactic. WILLIAM SLADE ROBERT (to Robert:) You won't tell me no, but the Be useful and stop war will be over in a month, distracting him. and you know it will! LINCOLN (TO ROBERT:) I've found that prophesying is one of life's less prophet-able occupations! He accepts the gloves. Slade laughs a little, Robert scowls. Tad holds another glass negative up to the light. TAD Why do some slaves cost more than others? 52. ROBERT If they're still young and healthy, if the women can still conceive, they'll pay more - LINCOLN Put `em back in the box. We'll return them to Mr. Gardner's studio day after next. Be careful with `em, now. (tugging at his gloves:) These things should've stayed on the calf. TAD (to Slade, putting the PLATES AWAY:) When you were a slave, Mr. Slade, did they beat you? WILLIAM SLADE I was born a free man. Nobody beat me except I beat them right back. There's a knock on the door and Mrs. Keckley enters. ELIZABETH KECKLEY Mr. Lincoln, could you come with me- WILLIAM SLADE (TO TAD:) Mrs. Keckley was a slave. Ask her if she was beaten. TAD LINCOLN Were you - (shakes his head) Tad. ELIZABETH KECKLEY (TO TAD:) I was beaten with a fire shovel when I was younger than you. (TO LINCOLN:) You should go to Mrs. Lincoln. She's in Willie's room. ROBERT She never goes in there. Lincoln starts towards the door just as John Hay enters, dressed in the uniform of a Brevet Colonel. 53. JOHN HAY The reception line is already stretching out the door. Robert shoots an angry, envious glance at Hay's uniform as Lincoln, Slade, Mrs. Keckley and Hay leave. Robert calls to HIS FATHER: ROBERT I'll be the only man over fifteen and under sixty-five in this whole place not in uniform. TAD I'm under fifteen and I have a uniform. Robert storms out. INT. THE PRINCE OF WALES BEDROOM - CONTINUOUS Lincoln enters a dark room, its heavy drapes closed against the dim afternoon light. There are two beds. One is stripped bare. The other is canopied with a thick black veil. Mary, dressed in a deep purple gown with black flowers and beading, perfectly pitched between mourning and emergence, is seated at the head of the canopied bed. On a nightstand next to the bed there's a toy locomotive engine, a tattered book of B&O railroad schedules. Mary holds a framed photograph: an image of WILLIE, 12, handsome, bright-eyed, confident. Lincoln crosses to the window. MARY My head hurts so. (BEAT) I prayed for death the night Willie died. The headaches are how I know I didn't get my wish. How to endure the long afternoon and deep into the night. LINCOLN I know. MARY Trying not to think about him. How will I manage? LINCOLN Somehow you will. 54. MARY (SAD SMILE:) Somehow. Somehow. Somehow... Every party, every... And now, four years more in this terrible house reproaching us. He was a very sick little boy. We should've cancelled that reception, shouldn't we? LINCOLN We didn't know how sick he was. MARY I knew, I knew, I saw that night he was dying. LINCOLN Three years ago, the war was going so badly, and we had to put on a face. MARY But I saw Willie was dying. I saw HIM - He bends and kisses her hand. LINCOLN Molly. It's too hard. Too hard. Mary stares up at him, her face heavy and swollen with grief. INT. THE EAST ROOM, WHITE HOUSE - LATE AFTERNOON Mary, radiant, her charm turned to its brightest candlepower, is greeting the Blairs, who are part of a long receiving line. The Blairs proceed from Mary to Lincoln. TITLE: GRAND RECEPTION JANUARY 15 The enormous room is splendid, decked with garlands of flowers, tall candelabra burning, flags from Army divisions. An orchestra plays. Lincoln and Tad stand together. Slade is near Lincoln. Mary's a distance away from Lincoln, to his right. Robert takes his place next to his mother, as conspicuous as he'd feared he'd be in his civilian clothes. 55. A sea of people surround the President and his family. Nicolay, Hay and several clerks channel the crowd waiting to greet the Lincolns into the line: wealthy people, many more middle-class people, some working people and farmers, and many officers and soldiers. Tad watches his father shake hands. Lincoln is in his element. He stands close to each person, touches each one gently, stoops to be nearer them; he puts everyone at ease. He's bothered only by the white kid gloves he's wearing. He tugs at the right-hand glove. WILLIAM SLADE (with a glance in Mary's) She's just ten feet yonder. I'd like to keep my job. Lincoln takes off the right-hand glove - his hand-shaking hand - but keeps the other glove on. Approaching Mary on the line, Stevens, Ashley, Senators Bluff Wade and CHARLES SUMNER, all in formal wear except Stevens. MARY Senator Sumner, it has been much too long. CHARLES SUMNER "Oh, who can look on that celestial face and -" Cutting him off, she pretends not to recognize Ashley. MARY And...? JAMES ASHLEY (CONFUSED) James Ashley, ma'am, we've met several times - But she ignores him and greets Stevens. MARY (her Southern accent becoming more lustrous:) Praise Heavens, praise Heavens, just when I had abandoned hope of amusement, it's the Chairman of the House Ways and Means Committee! Stevens bows to her. 56. THADDEUS STEVENS Mrs. Lincoln. MARY Madame President if you please! (LAUGHS) Oh, don't convene another subcommittee to investigate me, sir! I'm teasing! Smile, Senator Wade. BLUFF WADE (NOT SMILING:) I believe I am smiling, Mrs. Lincoln. MARY I'll take your word for that, sir! THADDEUS STEVENS As long as your household accounts are in order, Madame, we'll have no need to investigate them. MARY You have always taken such a lively, even prosecutorial interest in my household accounts. THADDEUS STEVENS Your household accounts have always been so interesting. MARY Yes, thank you, it's true, the miracles I have wrought out of fertilizer bills and cutlery invoices. But I had to! Four years ago, when the President and I arrived, this was pure pigsty. Tobacco stains in the turkey carpets. Mushrooms, green as the moon, sprouting from ceilings! And a pauper's pittance allotted for improvements. As if your committee joined with all of Washington awaiting, in what you anticipated would be our comfort in squalor, further proof that my husband and I were prairie primitives, unsuited to the position to which an error of the people, a flaw in the democratic process, had elevated us. 57. Lincoln, suddenly without anyone in line to receive, looks to see the backlog forming behind the radicals. He notes the exchange, but says nothing. Robert sees him looking. MARY (CONT'D) The past is the past, it's a new year now and we are all getting along, or so they tell me. I gather we are working together! The White House and the other House? Hatching little plans together? Robert leans in to her. ROBERT Mother? MARY What? ROBERT You're creating a bottleneck. MARY Oh! (TO STEVENS:) Oh, I'm detaining you, and more important, the people behind you! How the people love my husband, they flock to see him, by their thousands on public days! They will never love you the way they love him. How difficult it must be for you to know that. And yet how important to remember it. She gives him a slight, lethal smile. He holds the look; his poker-face yields to a barely perceptible smile, amused and perhaps a little admiring. INT. THE WHITE HOUSE KITCHEN - EVENING The kitchen's piled with unwashed cookware, eggshells, flour bins, muffin and pastry molds, spoons and knives, the detritus of the preparations for the finger food served at the reception, which has now transitioned into a dance and is still underway upstairs. Music, the tramp of dancing feet and rhythmic clapping is audible. A BLACK FOOTMAN carrying a huge tray laden with dishes and cups comes down the stairs. He hastily beats a retreat when he sees Lincoln and Thaddeus Stevens quietly talking amid the mess. 58. LINCOLN Since we have the floor next in the debate, I thought I'd suggest you might...temper your contributions so as not to frighten our conservative friends? THADDEUS STEVENS Ashley insists you're ensuring approval by dispensing patronage to otherwise undeserving Democrats. LINCOLN I can't ensure a single damn thing if you scare the whole House with talk of land appropriations and revolutionary tribunals and punitive thisses and thats - THADDEUS STEVENS When the war ends, I intend to push for full equality, the Negro vote and much more. Congress shall mandate the seizure of every foot of rebel land and every dollar of their property. We'll use their confiscated wealth to establish hundreds of thousands of free Negro farmers, and at their side soldiers armed to occupy and transform the heritage of traitors. We'll build up a land down there of free men and free women and free children and freedom. The nation needs to know that we have such plans. LINCOLN That's the untempered version of reconstruction. It's not... It's not exactly what I intend, but we shall oppose one another in the course of time. Now we're working together, and I'm asking you - THADDEUS STEVENS For patience, I expect. LINCOLN When the people disagree, bringing them together requires going slow till they're ready to make up - 59. THADDEUS STEVENS Ah, shit on the people and what they want and what they're ready for! I don't give a goddamn about the people and what they want! This is the face of someone who has fought long and hard for the good of the people without caring much for any of `em. And I look a lot worse without the wig. The people elected me! To represent them! To lead them! And I lead! You ought to try it! LINCOLN I admire your zeal, Mr. Stevens, and I have tried to profit from the example of it. But if I'd listened to you, I'd've declared every slave free the minute the first shell struck Fort Sumter; then the border states would've gone over to the confederacy, the war would've been lost and the Union along with it, and instead of abolishing slavery, as we hope to do, in two weeks, we'd be watching helpless as infants as it spread from the American South into South America. Stevens glares at him, then smiles. THADDEUS STEVENS Oh, how you have longed to say that to me. You claim you trust them - but you know what the people are. You know that the inner compass that should direct the soul toward justice has ossified in white men and women, north and south, unto utter uselessness through tolerating the evil of slavery. White people cannot bear the thought of sharing this country's infinite abundance with Negroes. Lincoln reaches over to Stevens and gives his shoulder a vigorous shake. Stevens endures this. LINCOLN A compass, I learnt when I was surveying, it'll - it'll point you True North from where you're standing, but it's got no advice 60. about the swamps and deserts and chasms that you'll encounter along the way. If in pursuit of your destination you plunge ahead, heedless of obstacles, and achieve nothing more than to sink in a swamp, what's the use of knowing True North? INT. MARY'S BOUDOIR, THE WHITE HOUSE - NIGHT Spectacles on, Lincoln unlaces Mary's corset. LINCOLN Robert's going to plead with us to let him enlist. He's unlaced enough; she unhooks the front and steps out of her corset and petticoats, turns to him in her plain thin chemise and drawers. MARY Make time to talk to Robbie. You only have time for Tad. LINCOLN Tad's young. MARY So's Robert. Too young for the army. LINCOLN Plenty of boys younger than Robert signing up... MARY Don't take Robbie. Don't let me lose my son. There's a knock on the door. Mary turns to it, furious: MARY (CONT'D) Go away! We're occupied! Lincoln opens the door. Nicolay's standing there. JOHN NICOLAY Secretary Stanton has sent over to tell you that as of half an hour ago, the shelling of Wilmington harbor has commenced. 61. Lincoln leaves with Nicolay. Mary watches, frozen, unable to let him go, knowing she can't stop him. INT. THE TELEGRAPH OFFICE, WAR DEPARTMENT - LATE NIGHT The telegraph office looks improvised, even after four years. Formerly the War Department library, it's lined with bookcases stuffed with bundled dispatches. Telegraph cables stretch across the ceiling to the cipher-operators' desks. Stanton, perpetually exhausted and impatient, storms down the stairs with Welles and the chief telegraph operator, MAJOR THOMAS ECKERT, 40, in his wake. STANTON They cannot possibly maintain under this kind of an assault. Terry's got ten thousand men surrounding the Goddamned fort! Why doesn't he answer my cables? WELLES MAJOR ECKERT Fort Fisher is a mountain of It's the largest fort they a building, Edwin. Twenty-two have, sir. They've been big seacoast guns on each reinforcing it for the last rampart - two years - They reach the desks for the key operators. Among these, SAMUEL BECKWITH, 25, and the key manager, DAVID HOMER BATES, 22, sit at their silent keys, waiting to receive news. Stanton scribbles furiously on Beckwith's small notepad. STANTON (CONT'D) They've taken 17,000 shells since yesterday! WELLES STANTON The commander is an old goat. I want to hear that Fort Fisher's ours and Wilmington MAJOR ECKERT has fallen! They said - STANTON (CONT'D) Send another damn cable! Stanton thrusts the cable at Beckwith, who taps it out immediately. Stanton turns to a table where the large map of Wilmington from the Cabinet meeting is laid out, heavily scribbled-on. GUSTAVUS FOX, assistant Secretary of the Navy, and CHARLES BENJAMIN, Stanton's clerk, are checking the marks on the map against a stack of dispatches. 62. STANTON (CONT'D) The problem's their commander, Whiting. He engineered the fortress himself. The damned thing's his child; he'll defend it till his every last man is gone. He is not thinking rationally, he's - LINCOLN (O.C.) (hollering!) "Come on out, you old rat!" Everyone's startled, and confused. They all turn to Lincoln, who sits in Major Eckert's chair, wrapped in his shawl. LINCOLN (CONT'D) That's what Ethan Allen called to the commander of Fort Ticonderoga in 1776. "Come on out, you old rat!" `Course there were only forty- odd redcoats at Ticonderoga. But, but there is one Ethan Allen story that I'm very partial to - STANTON No! No, you're, you're going to tell a story! I don't believe that I can bear to listen to another one of your stories right now! Stanton stalks out, shouting down the corridor as he goes: STANTON (CONT'D) I need the B&O sideyard schedules for Alexandria! I asked for them this morning! Lincoln pays no attention to Stanton's fulminations and continues with his story. LINCOLN It was right after the Revolution, right after peace had been concluded, and Ethan Allen went to London to help our new country conduct its business with the king. The English sneered at how rough we are, and rude and simple-minded and on like that, everywhere he went, till one day he was invited to the townhouse of a great English lord. Dinner was served, beverages imbibed, time passed, as happens, and Mr. Allen found he needed the 63. privy. He was grateful to be directed thence - relieved you might say. Everyone laughs. LINCOLN (CONT'D) Now, Mr. Allen discovered on entering the water closet that the only decoration therein was a portrait of George Washington. Ethan Allen done what he came to do and returned to the drawing room. His host and the others were disappointed when he didn't mention Washington's portrait. And finally His Lordship couldn't resist, and asked Mr. Allen had he noticed it, the picture of Washington. He had. Well, what did he think of its placement, did it seem appropriately located to Mr. Allen? Mr. Allen said it did. His host was astounded! Appropriate? George Washington's likeness in a water closet? Yes, said Mr. Allen, where it'll do good service: the whole world knows nothing'll make an Englishman shit quicker than the sight of George Washington. Everyone laughs. LINCOLN (CONT'D) I love that story. Beckwith's and Bates's keys starts clicking. They transcribe furiously. There's a general rush to the operators' desks. Lincoln walks quickly over, and is joined there by Stanton, who arrives just as the first dispatch has been completed and is being decoded. Stanton and Lincoln hold hands, as they've done many times, waiting for news of the battle. Bates hands the decoded cable to Benjamin, who reads it quickly, then announces to the room: CHARLES BENJAMIN Fort Fisher is ours. We've taken the port. WELLES And Wilmington? 64. Eckert shakes his head as Beckwith hands him the next telegram. MAJOR ECKERT We've taken the fort, but the city of Wilmington has not surrendered. A beat as this sinks in. Then: STANTON How many casualties? Eckert looks up at Stanton and Lincoln, stricken. INT. THE HOUSE CHAMBER - DAY One representative's reading a paper with the headline: THE FALLEN AT WILMINGTON, followed by hundreds of names. Pendleton and Wood are conferring. FERNANDO WOOD Heavy losses. GEORGE PENDLETON And more to come. FERNANDO WOOD Sours the national mood. That might suffice to discourage him - GEORGE PENDLETON To what? To bring this down? Not in a fight like this. This is to the death. FERNANDO WOOD It's gruesome! GEORGE PENDLETON (GETTING UPSET:) Are you despairing, or merely lazy? This fight is for The United States of America! Nothing "suffices". A rumor? Nothing! They're not lazy! They're busily buying votes! While we hope to be saved by "the national mood?!" He looks over at Stevens, who's at his desk consulting with Ashley and Julian. 65. GEORGE PENDLETON (CONT'D) Before this blood is dry, when Stevens next takes the floor, taunt him - you excel at that - get him to proclaim what we all know he believes in his coal-colored heart: that this vote is meant to set the black race on high, to niggerate America. FERNANDO WOOD George, please. Stay on course. GEORGE PENDLETON Bring Stevens to full froth. I can ensure that every newspaperman from Louisville to San Francisco will be here to witness it and print it. Colfax gavels the chamber to order, as George Yeaman approaches the podium. SCHUYLER COLFAX The floor belongs to the mellifluent gentleman from Kentucky, Mr. George Yeaman. GEORGE YEAMAN I thank you, Speaker Colfax. The Democrats applaud as Yeaman takes his place at the podium and surveys the chamber. GEORGE YEAMAN (CONT'D) Although I'm disgusted by slavery I rise on this sad and solemn day to announce that I'm opposed to the amendment. We must consider what will become of colored folk if four million are in one instant set free. Cheers and boos. ASA VINTNER LITTON They'll be free, George! That's what'll become of them! What'll become of any of us?! That's what being free means! Schell, Latham, and Bilbo are perched in their usual gallery seats, taking notes. 66. RICHARD SCHELL Think how splendid if Mr. Yeaman switched. ROBERT LATHAM (shaking his head:) Too publicly against us. He can't change course now. W.N. BILBO Not for some miserable little job anyways. GEORGE YEAMAN And, and! We will be forced to enfranchise the men of the colored race - it would be inhuman not to! Who among us is prepared to give Negroes the vote? He's momentarily silenced by cheers and boos throughout the chamber. GEORGE YEAMAN (CONT'D) And, and! What shall follow upon that? Universal enfranchisement? Votes for women? Yeaman is stopped, baffled and dismayed by the explosion he's provoked. INT. AN EMPTY COMMITTEE ROOM, THE CAPITOL - DAY Hawkins enters and stops when he sees Pendleton and Wood. It's a trap. LeClerk follows, closing the door. FERNANDO WOOD Bless my eyes, if it isn't the Post Master of Millersburg Ohio! Hawkins looks at LeClerk, who guiltily avoids his glance. GEORGE PENDLETON Mr. LeClerk felt honor-bound to inform us. Of your disgusting betrayal. Your prostitution. FERNANDO WOOD Is that true, Postmaster Hawkins? Is your maidenly virtue for sale? Hawkins sinks. 67. EXT. A WOODS ALONG THE POTOMAC RIVER - MORNING Bilbo and Clay Hawkins are again in the woods. Bilbo, with his basket, clutches a pair of noisy snared partridges. CLAY HAWKINS My neighbors hear that I voted yes for nigger freedom and no to peace, they will kill me. W.N. BILBO A deal's a deal and you men know better than to piss your pants just cause there's talk about peace talks. W.N. BILBO (CONT'D) CLAY HAWKINS My neighbors in Nashville, Look, I'll find another job. they found out I was loyal to the Union, they came after me with gelding knives! Hawkins runs away from Bilbo. Bilbo chases him. CLAY HAWKINS W.N. BILBO (to himself, as he YOU DO RIGHT, CLAY HAWKINS! runs:) AND MAKE YOURSELF SOME MONEY Any other job. IN THE BARGAIN - CLAY HAWKINS (turning back to Bilbo:) I want to do right! But I got no courage!!! Hawkins runs away, sobbing. Bilbo pursues. W.N. BILBO Wait!! You wanted, what was it, tax man for the Western Reserve, hell you can have the whole state of Ohio if you - Bilbo stops, winded. W.N. BILBO (CONT'D) Aw, crap. EXT. IN A BACK ALLEY, SOMEWHERE IN WASHINGTON - AFTERNOON Seward, smoking unhappily, strides toward his carriage, with Schell, Latham and Bilbo in pursuit. 68. SEWARD Eleven votes?! Two days ago we had twelve!! What happened? RICHARD SCHELL ROBERT LATHAM It's the goddamned rumors There are defections in the regarding the Richmond ranks... Yes! The peace delegation. offer! SEWARD ROBERT LATHAM Groundless. I told you that. And yet the rumors persist. RICHARD SCHELL They are ruining us. RICHARD SCHELL Among the few remaining representatives who seem remotely plausible there is a perceptible increase in resistance. Seward has reached the carriage, Bilbo alongside him. Before the Secretary of State can climb on board, Bilbo shuts the carriage door. Seward is outraged. W.N. BILBO Resistance, hell! Thingamabob Hollister, Dem from Indiana? I approached him, the sumbitch near to murdered me! EXT. A STREET IN GEORGETOWN - NIGHT Bilbo is talking to HAROLD HOLLISTER (D, IN), who pulls out a derringer. Bilbo bolts, dropping the folder. He stops, runs back, and bends to retrieve the folio as Hollister fires the gun over Bilbo's head. EXT. IN A BACK ALLEY, SOMEWHERE IN WASHINGTON - AFTERNOON Seward, now inside the carriage, slams the door. SEWARD Perhaps you push too hard. W.N. BILBO I push nobody. Perhaps we need reinforcements. If Jeff Davis wants to cease hostilities, who do you think'll give a genuine solid shit to free slaves? 69. SEWARD Get back to it, and good day, gentlemen. Schell and Latham lean in to the carriage. RICHARD SCHELL We are at an impasse. ROBERT LATHAM Tell Lincoln to deny the rumors. Publicly. RICHARD SCHELL Tell us what you expect of us. SEWARD I expect you to do your work! And to have sufficient sense and taste not to presume to instruct the President. Or me. Schell steps up on the running board, intent. RICHARD SCHELL Is there a Confederate offer or not? EXT. THE JAMES RIVER DOCK AT CITY POINT, VIRGINIA - DAY ULYSSES S. GRANT, 43, 5'7", beard, uniform worn and rumpled, crosses the dock, followed by three aides. They approach the gangway for the River Queen. INT. THE RIVER QUEEN SALOON, CITY POINT, VIRGINIA - DAY Grant and the commissioners stand in an expansive cabin at the stern, patriotically decorated, large windows. Grant hands the commissioners' peace proposal back to them. He's scribbled notes all over the document. GRANT I suggest you work some changes to your proposal before you give it to the President. R.M.T HUNTER We're eager to be on our way to Washington. 70. ALEXANDER STEPHENS Did Mr. Lincoln tell you to tell us this, General Grant? Grant fixes Stephens with a look - bemused, a little disappointed. GRANT It says..."securing peace for our two countries." And it goes on like that. ALEXANDER STEPHENS I don't know what you - GRANT There's just one country. You and I, we're citizens of that country. I'm fighting to protect it from armed rebels. From you. ALEXANDER STEPHENS But Mr. Blair told us, he, he told President Davis we were - GRANT A private citizen like Preston Blair can say what he pleases, since he has no authority over anything. If you want to discuss peace with President Lincoln, consider revisions. He lights a cigar. ALEXANDER STEPHENS If we're not to discuss a truce between warring nations, what in heaven's name can we discuss? GRANT Terms of surrender. EXT. THE JAMES RIVER DOCK AT CITY POINT, VIRGINIA - DAY As a somber Grant disembarks with his aides from the River QUEEN: GRANT (V.O.) "Office United States Military Telegraph, War Dept. For Abraham Lincoln, President of the United States. January 20, 1865. I will 71. state confidentially that I am convinced, upon conversation with these Commissioners, that their intentions are good and their desire sincere to restore peace and union. I fear now their going back, without any expression of interest..." Seward's voice takes over from Grant's. GRANT (V.O.) (CONT'D) SEWARD (V.O.) "...from anyone in authority, "...from anyone in authority, Mr. Lincoln..." Mr. Lincoln..." INT. SEWARD MANSION, LAFAYETTE SQUARE, WASHINGTON - NIGHT Seward's in a fancy robe and slippers, reading a telegram. SEWARD "...will have a bad influence. I will be sorry should it prove impossible for you to have an interview with them. I am awaiting your instructions. U.S. Grant, Lieutenant General Commanding Armies United States" Lincoln is in his coat, shawl over his shoulders, holding his hat. LINCOLN After four years of war and near 600,000 lives lost. He believes we can end this war now. My trust in him is marrow deep. Seward looks up at Lincoln, then down again at the telegram. He stands and crosses to Lincoln. SEWARD You could bring the delegates to Washington. In exchange for the South's immediate surrender, we could promise them the amendment's defeat. They'd agree, don't you think? We'd end the war. This week. Lincoln has closed his eyes. 72. SEWARD (CONT'D) Or. If you could manage, without seeming to do it, to - Lincoln shakes his head "no." SEWARD (CONT'D) The peace delegation might encounter delays as they travel up the James River. Particularly with the fighting around Wilmington. Within ten days time, we might pass the Thirteenth Amendment. INT. HALLWAY, THE WHITE HOUSE - LATE NIGHT Lincoln, shawl still wrapped around him, walks the long empty hall. INT. LINCOLN'S OFFICE, WHITE HOUSE - LATE NIGHT Lincoln sits before an open window. He's dishevelled, in shirtsleeves an unbuttoned vest, next to an inkwell, papers and books of law scattered about, and a lit candle in a candlestick, guttering. Grant's telegraph is in one hand, and in the other hand, his spectacles and, dangling from a chain, his open pocket watch. His bare left foot keeps time with the watch's loud ticking. He stares out into the cold night. INT. JOHN HAY AND JOHN NICOLAY'S BEDROOM - EVEN LATER The room is spare and neat. Nicolay and Hay are asleep in their beds. Lincoln is sitting at the foot of Hay's bed, spectacles on, reading a petition, the others in his lap, pencil in hand. LINCOLN Now, here's a sixteen year old boy. They're going to hang him... Hay startles awake, then settles. He's used to this. LINCOLN (CONT'D) (he reads a little FURTHER:) He was with the 15th Indiana Calvary near Beaufort, seems he lamed his horse to avoid battle. I don't think even Stanton would 73. complain if I pardoned him? You think Stanton would complain? Nicolay stirs in the next bed. JOHN HAY Ummm... I don't know, sir, I don't know who you're, uh... What time is it? LINCOLN It's three forty in the morning. JOHN NICOLAY (not waking up:) Don't... let him pardon any more deserters... Nicolay's asleep again. JOHN HAY Mr. Stanton thinks you pardon too many. He's generally apoplectic on the subject - LINCOLN He oughtn't to have done that, crippled his horse, that was cruel, but you don't just hang a sixteen year old boy for that - JOHN HAY Ask the horse what he thinks. LINCOLN - for cruelty. There'd be no sixteen year old boys left. (a beat, then:) Grant wants me to bring the secesh delegates to Washington. JOHN HAY So... There are secesh delegates? LINCOLN (scribbling a note, signing the petition:) He was afraid, that's all it was. I don't care to hang a boy for being frightened, either. What good would it do him? He signs the pardon. Then he gives Hay's leg a few hard thwacks and a squeeze. It hurts a little. Hay winces. 74. LINCOLN (CONT'D) War's nearly done. Ain't that so? What use one more corpse? Any more corpses? Putting the rest of the petitions on Hay's bed, he stands to leave. JOHN HAY Do you need company? INT. HALLWAY, THE WHITE HOUSE - LATE NIGHT As before, Lincoln continues his slow and solitary walk. LINCOLN (V.O.) Times like this, I'm best alone. INT. THE TELEGRAPH ROOM, WAR DEPARTMENT - PRE-DAWN Lincoln is seated at Eckert's desk, shawl wrapped around his shoulders, glasses on; he stares down into his hat, held between his knees. Homer Bates and Sam Beckwith are waiting for him. Lincoln draws a handwritten note from his hat and carefully unfolds it. LINCOLN "Lieutenant General Ulysses S. Grant, City Point. I have read your words with interest." Sam Beckwith transcribes Lincoln's words into code on a pad with a pencil. LINCOLN (CONT'D) "I ask that, regardless of any action I take in the matter of the visit of the Richmond commissioners, you maintain among your troops military preparedness for battle, as you have done until now." He stops for a moment. Beckwith waits, pencil poised. Lincoln looks at the note, folds it, tucks it in a band inside his hat. 75. LINCOLN (CONT'D) "Have Captain Saunders convey the commissioners to me here in Washington." (ANOTHER PAUSE) "A. Lincoln." And the date. SAMUEL BECKWITH (WHILE WRITING:) Yes sir. Lincoln places the hat on the floor. SAMUEL BECKWITH (CONT'D) Shall I transmit, sir? LINCOLN (a beat, then:) You think we choose to be born? SAMUEL BECKWITH I don't suppose so. LINCOLN Are we fitted to the times we're born into? SAMUEL BECKWITH I don't know about myself. You may be, sir. Fitted. LINCOLN (TO HOMER:) What do you reckon? HOMER BATES I'm an engineer. I reckon there's machinery but no one's done the fitting. LINCOLN You're an engineer, you must know Euclid's axioms and common notions. HOMER BATES I must've in school, but... LINCOLN I never had much of schooling, but I read Euclid, in an old book I borrowed. Little enough ever found its way in here - (touching his cranium) - but once learnt it stayed learnt. 76. Euclid's first common notion is this: "Things which are equal to the same thing are equal to each other." Homer doesn't get it; neither does Sam. LINCOLN (CONT'D) That's a rule of mathematical reasoning. It's true because it works; has done and always will do. In his book, Euclid says this is "self-evident." (A BEAT) D'you see? There it is, even in that two-thousand year old book of mechanical law: it is a self- evident truth that things which are equal to the same thing are equal to each other. We begin with equality. That's the origin, isn't it? That balance, that's fairness, that's justice. He looks at his scribbled note, then at Sam and Homer. LINCOLN (CONT'D) Read me the last sentence of my telegram. SAMUEL BECKWITH "Have Captain Saunders convey the commissioners to me here in Washington." LINCOLN A slight emendation, Sam, if you would. Beckwith writes as Lincoln dictates. LINCOLN (CONT'D) "Have Captain Saunders convey the gentlemen aboard the River Queen as far as Hampton Roads, Virginia, and there wait until..." (BEAT) "...further advice from me. Do not proceed to Washington." 77. INT. HOUSE CHAMBER, THE CAPITOL - LATE MORNING The chamber's noisy and packed. In the balcony's front row, a wall of newspapermen, notebooks at the ready. TITLE: HOUSE OF REPRESENTATIVES JANUARY 27 Ashley, Colfax, and Stevens approach Stevens's desk. Colfax nods towards the journalists in the balcony: SCHUYLER COLFAX The World, the Herald and the Times, New York, Chicago, the Journal of Commerce, even your hometown paper's here. JAMES ASHLEY (TO STEVENS:) Say you believe only in legal equality for all races, not racial equality, I beg you, sir. Compromise. Or you risk it all. Stevens sees Mary, with Mrs. Keckley, claiming front seats from two journalists. INT. HOUSE CHAMBER, THE CAPITOL - LATER Stevens, at the podium, is being challenged by Fernando Wood, standing at his desk. FERNANDO WOOD I've asked you a question, Mr. Stevens, and you must answer me. Do you or do you not hold that the precept that "all men are created equal" is meant literally? All eyes are on Stevens, the chamber quiet except for a scratching sound: the journalists have begun scribbling. FERNANDO WOOD (CONT'D) Is that not the true purpose of the amendment? To promote your ultimate and ardent dream to elevate - THADDEUS STEVENS The true purpose of the amendment, Mr. Wood, you perfectly-named, brainless, obstructive object? 78. FERNANDO WOOD You have always insisted, Mr. Stevens, that Negroes are the same as white men are. THADDEUS STEVENS The true purpose of the amendment - Stevens looks up at the balcony, at the waiting journalists, and Mary, who raises her eyebrows, then at Ashley and Litton at their desks. Seward watches from the balcony. Stevens returns to Wood. THADDEUS STEVENS (CONT'D) I don't hold with equality in all things only with equality before the law and nothing more. FERNANDO WOOD (SURPRISED:) That's not so! You believe that Negroes are entirely equal to white men. You've said it a thousand TIMES - GEORGE PENDLETON (leaping to his feet) For shame! For shame! Stop prevaricating and answer Representative Wood! THADDEUS STEVENS GEORGE PENDLETON I don't hold with equality in (stands:) all things, only with After the decades of fervent equality before the law and advocacy on behalf of the nothing more. colored race - JAMES ASHLEY (LEAPING UP:) He's answered your questions! This amendment has naught to do with race equality! Pendleton persists, through cheers and catcalls. GEORGE PENDLETON THADDEUS STEVENS You have long insisted, have I don't hold with equality in you not, that the dusk- all things only with equality colored race is no different before the law and nothing from the white one. more. 79. Among the amendment's supporters, including Vintner Litton, a GROUP OF WOMEN SUFFRAGISTS in the balcony, and Elizabeth Keckley, there's visible, audible shock and dismay at Stevens's capitulation. Mary's surprised by Stevens, and impressed. MARY (whispering to Mrs. KECKLEY:) Who'd ever've guessed that old nightmare capable of such control? He might make a politician someday - ELIZABETH KECKLEY (STANDING ABRUPTLY:) I need to go. Mary's startled. Mrs. Keckley leaves the balcony, pushing past journalists. On the floor: GEORGE PENDLETON Your frantic attempt to delude us now is unworthy of a representative. It is, in fact, unworthy of a white man! THADDEUS STEVENS (giving in to his anger:) How can I hold that all men are created equal, when here before me - (pointing to Pendleton:) - stands stinking the moral carcass of the gentleman from Ohio, proof that some men are inferior, endowed by their Maker with dim wits impermeable to reason with cold pallid slime in their veins instead of hot red blood! You are more reptile than man, George, so low and flat that the foot of man is incapable of crushing you! General uproar. GEORGE PENDLETON HOW DARE YOU! THADDEUS STEVENS Yet even you, Pendleton, who should have been gibbetted for treason long before today, even worthless unworthy you ought to be treated equally before the law! And so again, sir, and again and again and 80. again I say: I DO NOT HOLD WITH EQUALITY IN ALL THINGS. ONLY WITH EQUALITY BEFORE THE LAW. Ashley sits, nearly weeping with relief, while the chamber explodes: laughter, applause, boos. GEORGE PENDLETON MR. SPEAKER, WILL YOU PERMIT THIS VILE BOORISH MAN TO SLANDER AND TO THREATEN ME AND - The journalists pack up their notebooks; this is fun, but not newsworthy, and only a few bother to record it. Stevens limps out through the aisle to wild Republican applause. He looks up to the balcony; Mary is looking down approvingly. He looks down before she can see him smile. INT. A CORRIDOR OUTSIDE THE HOUSE CHAMBER - LATER Stevens sits on a bench, alone, thinking, troubled. Asa Vintner Litton approaches him. ASA VINTNER LITTON You asked if ever I was surprised. Stevens nods. ASA VINTNER LITTON (CONT'D) Today, Mr. Stevens, I was surprised. You've led the battle for race equality for thirty years! The basis of, of every hope for this country's future life, you denied Negro equality! I'm nauseated. You refused to say that all humans are, well... human! Have you lost your very soul, Mr. Stevens? Is there nothing you won't say? Stevens nods, then, quietly: THADDEUS STEVENS I'm sorry you're nauseous, Asa, that must be unpleasant. I want the amendment to pass. So that the Constitution's first and only mention of slavery is its absolute prohibition. For this amendment, for which I have worked all of my life and for which 81. countless colored men and women have fought and died and now hundreds of thousands of soldiers - no, sir, no, it seems there is very nearly nothing I won't say. EXT. THE STREETS OF WASHINGTON - MORNING Lincoln and Robert are in the buggy driven by the old soldier; a young bodyguard soldier sits beside the driver, his rifle uselessly tucked under his legs. Lincoln is on one side reading over a stack of documents. Robert's on the other side of the buggy, staring sullenly at his feet. The buggy stops outside an army hospital. Lincoln packs up his papers. ROBERT I'm not going in. LINCOLN You said you wanted to help me. ROBERT This is - This is just a clumsy attempt at discouragement. I've been to army hospitals, I've seen surgeries, I went and visited the malaria barges with mama. LINCOLN She told me she didn't take you inside. ROBERT I snuck in after - I've seen what it's like. This changes nothing. LINCOLN At all rates, I'm happy to have your company. Stepping out of the buggy, he hands his folio to the bodyguard and enters the army hospital. INT. ARMY HOSPITAL - MORNING He's met in the antechamber by an ARMY SURGEON. LINCOLN Morning, Jim. 82. ARMY SURGEON Hello, Mr. President. LINCOLN Good to see you again. They move into the main ward, Lincoln removing his hat. LINCOLN (CONT'D) Well, boys, first question: You getting enough to eat? He walks from bed to bed, shaking hands with each patient. Most are amputees. FIRST PATIENT Hello, sir. LINCOLN What's your name, soldier? FIRST PATIENT Robert. LINCOLN Robert. Good to meet you, Robert. SECOND PATIENT Nice to meet you. LINCOLN What's your name? SECOND PATIENT Kevin. LINCOLN Tell me your names as I go past. I like to know who I'm talkin' to. Kevin. THIRD PATIENT Mr. President. John. LINCOLN John. I've seen you before. FOURTH PATIENT Mr. President... EXT. OUTSIDE THE ARMY HOSPITAL - MORNING Robert, brooding, waits in the buggy. 83. Hearing a creaking, rumbling sound, Robert turns to see TWO BLACK ORDERLIES in grey uniforms wrangling a large top-heavy wheelbarrow, covered with filthy canvas. One orderly pushes while the other keeps the barrow from tipping over. Robert notices, in the barrow's wake, a trail of blood. He gets out of the buggy and follows as the orderlies turn a corner of the building. Behind the building, where the ground is bare, pitted with puddles of water, Robert watches as the orderlies reach the edge of a shallow pit. One orderly pulls the canvas back, revealing severed legs, arms, hands, rotten, burnt, shattered by bullet or bomb. Robert watches as they toss the remains into the pit. Quicklime is shoveled atop the limbs. Robert walks away, unsteady. Around the corner, he fumbles through his pockets for rolling paper and tobacco. He locates these and tries to focus on rolling a cigarette, his hands shaking. He tries harder to control his hands, his feelings, but he can't. He has a panic attack, crying, hiccupy shallow breathing, face flushed. Frustrated, he throws down the cigarette and tries to hold back tears. LINCOLN (O.C.) What's the matter, Bob? Robert looks up, mortified, to see Lincoln watching him with concern. He wipes his eyes, his mouth. ROBERT I have to do this! And I will do it and I don't need your permission to enlist. LINCOLN That same speech has been made by how many sons to how many fathers since the war began? "I don't need your damn permission, you miserable old goat, I'm gonna enlist anyhow!" And what wouldn't those numberless fathers have given to be able to say to their sons - as I now say to mine - "I'm commander-in-chief, so in point of fact, without my permission, you ain't enlisting in nothing, nowhere, young man." 84. ROBERT It's mama you're scared of, not me getting killed. Lincoln slaps Robert in the face. It shocks them both. Lincoln tries to embrace Robert, but Robert shoulders past him and walks back toward the front of he building. He turns. ROBERT (CONT'D) I have to do this! And I will! Or I will feel ashamed of myself for the rest of my life. Whether or not you fought is what's gonna matter. And not just to other people, but to myself. I won't be you, pa. I can't do that. But I don't want to be nothing. He hurries away. LINCOLN We can't lose you. INT. MARY'S BOUDOIR, SECOND FLOOR OF THE WHITE HOUSE - NIGHT Outside, driving rain and wind. Lincoln sits by the window, in his coat, vest and tie, hair combed neatly. LINCOLN He'll be fine, Molly. City Point's far from the front lines, from the fighting, he'll be an adjutant running messages for General Grant. Mary sits at her vanity in a beautiful evening dress, pale with rage. MARY The war will take our son! A sniper, or a shrapnel shell! Or typhus, same as took Willie, it takes hundreds of boys a day! He'll die, uselessly, and how will I ever forgive you? Most men, their firstborn is their favorite, but you, you've always blamed Robert for being born, for trapping you in a marriage that's only ever given you grief and caused you regret! 85. LINCOLN That's not true - MARY And if the slaughter of Cold Harbor is on your hands same as Grant, God help us! We'll pay for the oceans of spilled blood you've sanctioned, the uncountable corpses we'll be made to pay with our son's dear BLOOD - Lincoln rises from the window seat, angry. LINCOLN Just, just this once, Mrs. Lincoln, I demand of you to try and take the liberal and not the selfish point of view! You imagine Robert will forgive us if we continue to stifle his very natural ambition?! MARY (with a mocking smile:) And if I refuse to take the high road, if I won't take up the rough old cross, will you threaten me again with the madhouse, as you did when I couldn't stop crying over Willie, when I showed you what heartbreak, real heartbreak looked like, and you hadn't the courage to countenance it, to help me - LINCOLN MARY That's right. When you I was in the room with refused so much as to comfort Willie, I was holding him in Tad - my arms as he died! LINCOLN MARY - the child who was not only How dare you! sick, dangerously sick, but beside himself with grief? LINCOLN MARY Oh but your grief, your How dare you throw that at grief, your inexhaustible me?! grief! 86. LINCOLN MARY And his mother won't let him I couldn't let Tad in! I near her, `cause she's couldn't risk him seeing how screaming from morning to angry I was! night pacing the corridors, howling at shadows and furniture and ghosts! I ought to have done it, I ought have done for Tad's sake, for everybody's goddamned sake, I should have clapped you in the madhouse! MARY (CONT'D) THEN DO IT! Do it! Don't you threaten me, you do it this time! Lock me away! You'll have to, I swear, if Robert is killed! Silence. Then: LINCOLN I couldn't tolerate you grieving so for Willie because I couldn't permit it in myself, though I wanted to, Mary. I wanted to crawl under the earth, into the vault with his coffin. I still do. Every day I do. Don't... talk to me about grief. (BEAT:) I must make my decisions, Bob must make his, you yours. And bear what we must, hold and carry what we must. What I carry within me - you must allow me to do it, alone as I must. And you alone, Mary, you alone may lighten this burden, or render it intolerable. As you choose. She opens her mouth to make an angry reply, then stops, and watches as he leaves the room. INT. ODD FELLOWS' HALL, WASHINGTON - NIGHT Onstage, Gounod's Faust, Act Three, scene eight, the garden outside Marguerite's cottage, a gorgeously romantic night. MARGUERITE and FAUST are alone singing. The Lincolns, in their box, watch quietly. Elizabeth Keckley sits next to Mary. 87. Mary turns to Lincoln. They speak in whispers. Mrs. Keckley tries not to listen but she can't help hearing what they say. MARY You think I'm ignorant of what you're up to because you haven't discussed this scheme with me as you ought to have done. When have I ever been so easily bamboozled? (BEAT) I believe you when you insist that amending the constitution and abolishing slavery will end this war. And since you are sending my son into the war, woe unto you if you fail to pass the amendment. LINCOLN Seward doesn't want me leaving big muddy footprints all over town. MARY No one ever lived who knows better than you the proper placement of footfalls on treacherous paths. Seward can't do it. You must. Because if you fail to secure the necessary votes, woe unto you, sir. You will answer to me. EXT. THE PORTICO OF THE WHITE HOUSE - A SHORT WHILE LATER The carriage has pulled up and Mary is entering the White House. Lincoln helps Mrs. Keckley down from the carriage. She hesitates before proceeding in. Then she faces Lincoln. ELIZABETH KECKLEY I know the vote is only four days away; I know you're concerned. Thank you for your concern over this, and I want you to know: They'll approve it. God will see to it. LINCOLN I don't envy him his task. He may wish He'd chosen an instrument for His purpose more wieldy than the House of Representatives. ELIZABETH KECKLEY Then you'll see to it. 88. Lincoln looks at her, considering. Then: LINCOLN Are you afraid of what lies ahead? For your people? If we succeed? ELIZABETH KECKLEY White people don't want us here. LINCOLN Many don't. ELIZABETH KECKLEY What about you? LINCOLN I...I don't know you, Mrs. Keckley. Any of you. You're ...familiar to me, as all people are. Unaccommodated, poor, bare, forked creatures such as we all are. You have a right to expect what I expect, and likely our expectations are not incomprehensible to each other. I assume I'll get used to you. But what you are to the nation, what'll become of you once slavery's day is done, I don't know. ELIZABETH KECKLEY What my people are to be, I can't say. Negroes have been fighting and dying for freedom since the first of us was a slave. I never heard any ask what freedom will bring. Freedom's first. As for me: My son died, fighting for the Union, wearing the Union blue. For freedom he died. I'm his mother. That's what I am to the nation, Mr. Lincoln. What else must I be? INT. A BEDROOM IN THE ST. CHARLES HOTEL - LATE NIGHT The room is far filthier and more cluttered than before. Bilbo and Latham are playing cards. Schell is asleep in bed. W.N. BILBO My whole hand's gonna be proud in about five seconds, let's see how proud you gonna be. 89. ROBERT LATHAM Oh, it is? What you got goin'? There's a quick knock on the door. W.N. BILBO Yeah? ROBERT LATHAM Go away! (TO BILBO) That watch fob, is that gold? W.N. BILBO You keep your eyes off my fob! Seward enters, displeased, as they show their cards, laughing. ROBERT LATHAM Nines paired! W.N. BILBO Oh my God damn! SEWARD Gentlemen. You have a visitor. Latham jovially collects his winnings. He stops short when Lincoln steps into the room, cloak and stovepipe, very tall. W.N. BILBO Well, I'll be fucked. LINCOLN I wouldn't bet against it, Mr...? Schell startles awake as Bilbo puts down his cigar and wipes his hand on his vest. W.N. BILBO W.N. Bilbo. LINCOLN Mr. Bilbo. Gentlemen. ROBERT LATHAM Sir... W.N. BILBO Why are you here? No offense, but Mr. Seward's banished the very mention of your name, he won't even 90. let us use fifty-cent pieces `cause they got your face on `em. LINCOLN The Secretary of State here tells me that, uh, you got eleven Democrats in the bag. That's encouraging. ROBERT LATHAM Oh, you've got no cause to be encouraged. Sir. Uh... RICHARD SCHELL Are we being...fired? Lincoln sits at the card table. LINCOLN "We have heard the chimes of midnight, Master Shallow." I'm here to alert you boys that the great day of reckoning is nigh upon us. RICHARD SCHELL The Democrats we've yet to bag, sir. The patronage jobs simply won't bag `em. They require more...convincing, Mr. President. Lincoln nods. He turns to Bilbo. LINCOLN Mm-hmm. Do me a favor, willya? W.N. BILBO Sure. LINCOLN Snagged my eye in the paper this morning. Governor Curtin is set to declare a winner in the disputed Congressional election for the - W.N. BILBO Pennsylvania 16th District. LINCOLN What a joy to be comprehended. Hop on a train to Philadell, call on the Governor - 91. SEWARD (looking askance at BILBO'S APPEARANCE:) Send Latham. Or Schell. LINCOLN (TO BILBO:) No, he'll do fine, just polish yourself up first. Bilbo, cigar back in mouth, laughs. ROBERT LATHAM The incumbent is claiming he won it. Name of, uh... W.N. BILBO Coffroth. LINCOLN That's him. RICHARD SCHELL Coffroth. He is a Democrat. LINCOLN W.N. BILBO I understand he is. Silly name. Let Governor Curtin know it'd be much appreciated if he'd invite the House of Representatives to decide who won. He's entitled to do that. He'll agree to it. (TO SCHELL:) Then advise Coffroth, if he hopes to retain his seat, that he'd better pay a visit to Thaddeus Stevens. SEWARD Pity poor Coffroth. INT. THADDEUS STEVENS'S OFFICE, THE CAPITOL - NIGHT Stevens is at his desk, paperwork piled high. There's a knock at the door. THADDEUS STEVENS It opens! A nervous man enters hesitantly: Alexander Coffroth. 92. Stevens glares at him with what looks like horror. Coffroth's frightened smile transforms into a rictus of pain. Then: THADDEUS STEVENS (CONT'D) You are Canfrey? ALEXANDER COFFROTH Coffroth, Mr. Stevens, Alexander Coffroth, I'm, I'm - THADDEUS STEVENS (SKEPTICAL) Are we representatives of the same state? ALEXANDER COFFROTH Y-yes sir! We sit only three desks APART - Stevens waves him into a chair. THADDEUS STEVENS I haven't noticed you. I'm a Republican, and you, Coughdrop, are a Democrat? ALEXANDER COFFROTH Well, I... Um, that is to say... I - THADDEUS STEVENS The modern travesty of Thomas Jefferson's political organization to which you have attached yourself like a barnacle has the effrontery to call itself The Democratic Party. You are a Dem-o-crat. What's the matter with you? Are you wicked? ALEXANDER COFFROTH Well, I felt, um, formerly, I - THADDEUS STEVENS Never mind, Coffsnot. You were ignominiously trounced at the hustings in November's election by your worthy challenger, a REPUBLICAN - ALEXANDER COFFROTH No, sir, I was not, um, trounced! Uh, he wants to steal my seat! I didn't lose the election - 93. THADDEUS STEVENS What difference does it make if you lost or not?! The governor of our state, is...? A Democrat? ALEXANDER COFFROTH No, he's a... (baffled, terrified:) A, um, a Ruh... THADDEUS STEVENS Re. ALEXANDER COFFROTH Re. THADDEUS STEVENS (NODS) Pub. ALEXANDER COFFROTH Pub. THADDEUS STEVENS Li. ALEXANDER COFFROTH Li. THADDEUS STEVENS Can. ALEXANDER COFFROTH Can. Republican. THADDEUS STEVENS I know what he is. This is a rhetorical exercise. And Congress is controlled by what party? Yours? Coffroth doesn't know whether to answer. He shakes his head. THADDEUS STEVENS (CONT'D) Your party was beaten, your challenger's party now controls the House, and hence the House Committee on Elections, so you have been beaten. You shall shortly be sent home in disgrace. Unless. 94. ALEXANDER COFFROTH I know what I must do, sir! I will immediately become a Republican and vote yes for - THADDEUS STEVENS NO! Coffroth will vote yes but Coffroth will remain a Democrat until after he does so. ALEXANDER COFFROTH Why wait to switch? I'm happy to SWITCH - THADDEUS STEVENS We want to show the amendment has bipartisan support, you idiot. Early in the next Congress, when I tell you to do so, you will switch parties. Now congratulations on your victory, and get out. INT. A BEDROOM IN THE ST. CHARLES HOTEL - LATE NIGHT Continue with Lincoln and his operatives around the card table. LINCOLN Now give me the names of whoever else you been hunting. Schell, Latham and Bilbo exchange looks, then: ROBERT LATHAM George Yeaman. RICHARD SCHELL Yes. Yeaman. W.N. BILBO Among others. But Yeaman: That'd count. ROBERT LATHAM (HELPFULLY) Y-E-A-M-A-N Lincoln looks up from his notepad, smiling. LINCOLN I got it. 95. ROBERT LATHAM Kentucky. INT. SEWARD'S OFFICE, STATE DEPARTMENT - DAY Seward sits at his grand desk, looking on with an anxious scowl. Lincoln sits on the edge of Seward's desk. Yeaman sits in a chair facing him. GEORGE YEAMAN I can't vote for the amendment, Mr. Lincoln. LINCOLN I saw a barge once, Mr. Yeaman, filled with colored men in chains, heading down the Mississippi to the New Orleans slave markets. It sickened me, `n more than that, it brought a shadow down, a pall around my eyes. (BEAT) Slavery troubled me, as long as I can remember, in a way it never troubled my father, though he hated it. In his own fashion. He knew no smallholding dirt farmer could compete with slave plantations. He took us out from Kentucky to get away from `em. He wanted Indiana kept free. He wasn't a kind man, but there was a rough moral urge for fairness, for freedom in him. I learnt that from him, I suppose, if little else from him. We didn't care for one another, Mr. Yeaman. GEORGE YEAMAN (EMBARRASSED) I... Well, I'm sorry to hear that - LINCOLN Lovingkindness, that most ordinary thing, came to me from other sources. I'm grateful for that. GEORGE YEAMAN I hate it, too, sir, slavery, but - but we're entirely unready for emancipation. There's too many QUESTIONS - 96. LINCOLN (LAUGHS) We're unready for peace too, ain't we? When it comes, it'll present us with conundrums and dangers greater than any we've faced during the war, bloody as it's been. We'll have to extemporize and experiment with what it is when it is. Lincoln moves from the desk to take the seat beside Yeaman, no longer towering over him. He leans forward and rests a hand on Yeaman's knee. LINCOLN (CONT'D) I read your speech, George. Negroes and the vote, that's a puzzle. GEORGE YEAMAN No, no, but, but, but - But Negroes can't, um, vote, Mr. Lincoln. You're not suggesting that we enfranchise colored people. LINCOLN I'm asking only that you disenthrall yourself from the slave powers. I'll let you know when there's an offer on my desk for surrender. There's none before us now. What's before us now, that's the vote on the Thirteenth Amendment. It's going to be so very close. You see what you can do. Lincoln leaves Yeaman, considering. EXT. A WORKING CLASS NEIGHBORHOOD IN WASHINGTON - NIGHT Lincoln stands in front of William Hutton's row house, talking to Hutton. The funeral wreath still hangs on the door behind them, displaying the marks of time passing: faded, weatherbeaten, dusty. WILLIAM HUTTON I can't make sense of it, what he died for. Mr. Lincoln, I hate them all, I do, all black people. I am a prejudiced man. The door opens slightly behind Hutton. His wife looks out. Hutton exchanges a glance with her, and the door shuts again. 97. LINCOLN I'd change that in you if I could, but that's not why I come. I might be wrong, Mr. Hutton, but I expect... Colored people will most likely be free, and when that's so, it's simple truth that your brother's bravery, and his death, helped make it so. Only you can decide whether that's sense enough for you, or not. Hutton walks slowly back to his house. LINCOLN (CONT'D) My deepest sympathies to your family. Lincoln goes back to his buggy. Hutton pauses at his door to watch Lincoln's buggy drive away. INT. LINCOLN'S OFFICE - NIGHT Lincoln is seated at the head of the cabinet table along with Seward. Ashley, Preston and Montgomery Blair. Hay and Nicolay sit in their usual chairs. PRESTON BLAIR (ANGRY:) We've managed our members to a fare- thee-well, you've had no defections from the Republican right to trouble you, whereas as to what you promised - Where the hell are the commissioners?! JAMES ASHLEY Oh God... (TO LINCOLN:) It's true! You, you...lied to me, Mr. Lincoln! You evaded my requests for a denial that, that there is a Confederate peace offer because, because there is one! We are absolutely guaranteed to lose the whole thing - 98. JAMES ASHLEY (CONT'D) MONTGOMERY BLAIR - and we'll be discredited, We don't need a goddamned the amendment itself will be abolition amendment! Leave tainted. What if, what if the Constitution alone! State these peace commissioners by state you can extirpate - appear today? Or worse, on the morning - LINCOLN I can't listen to this anymore! I can't accomplish a goddamned thing of any human meaning or worth until we cure ourselves of slavery and end this pestilential war, and whether any of you or anyone else knows it, I know I need this! This amendment is that cure! We're stepped out upon the world's stage now, now, with the fate of human dignity in our hands! Blood's been spilt to afford us this moment! He points around the table at Ashley, Monty, Preston. LINCOLN (CONT'D) Now now now! And you grousle and heckle and dodge about like pettifogging Tammany Hall hucksters! See what is before you! See the here and now! That's the hardest thing, the only thing that accounts! Abolishing slavery by constitutional provision settles the fate, for all coming time, not only of the millions now in bondage but of unborn millions to come. Two votes stand in its way, and these votes must be procured. SEWARD We need two yeses, three abstentions, or four yeses and one more abstention and the amendment will pass - LINCOLN You got a night and a day and a night and several perfectly good hours! Now get the hell out of here and get `em! JAMES ASHLEY Yes but how? 99. LINCOLN Buzzards' guts, man. Lincoln rises, and keeps rising, till he seems eight feet tall. LINCOLN (CONT'D) I am the President of the United States of America, clothed in immense power! You will procure me these votes. INT. THE HOUSE CHAMBER - DAWN The chamber is quiet and dark. Pages and clerks prepare the desks, laying out pens and paper, filling inkwells. TITLE: THE MORNING OF THE VOTE JANUARY 31, 1865 A CLERK is draping red-white-and-blue bunting on the desks of representatives from seceded states. These will of course remain unoccupied during the vote. The first Congressman to arrive, Thaddeus Stevens clumps in. He goes to his desk and sits. He looks around the empty chamber, ready and waiting. INT. THE HOUSE CHAMBER - MORNING, SEVERAL HOURS LATER Thaddeus Stevens is at his desk. The House is in session, the floor full of congressmen caucusing and arguing. The balcony's packed. Mary and Keckley sit at the front, Nicolay and Hay behind them. The Blairs are among other officials, rich people, foreign dignitaries. There's a sudden quiet, then murmuring. Ashley, Stevens and everyone on the floor look up, Ellis, Hollister, Hutton and Hawkins among these. In the balcony, twenty WELL-TO-DO BLACK PEOPLE, mostly men, are escorted by several Senators, including Sumner and Wade, to a reserved section of the balcony. The black people glance at their surroundings but are rigidly composed. Asa Vintner Litton sees them enter. He looks about, at the representatives caucusing, or staring up at the visitors. Something powerful strikes him. In a voice coarse with emotion, he calls up to the black visitors: 100. ASA VINTNER LITTON We welcome you, ladies and gentlemen, first in the history of this people's chamber, to your House! There's tense applause. Some of the black guests bow; most aren't sure how to respond. Yeaman watches this, deeply moved. Bilbo catches Hawkins's eye and waves. Hawkins looks anxiously around, blushing. Everyone is seated, and the place is packed. Schuyler Colfax is in his high seat atop the rostrum, the SERGEANT-AT-ARMS to his right. Colfax gavels the House into session. Ashley is at the podium. SCHUYLER COLFAX Mr. Ashley, the floor is yours. JAMES ASHLEY On the matter of the joint resolution before us, presenting a Thirteenth Amendment to our national Constitution, which was passed last year by the Senate, and which has been debated now by this estimable body for the past several weeks. Today we will vote... Cheers, boos, applause. JAMES ASHLEY (CONT'D) By mutual agreement we shall hear brief final statements - General cheering for this, laughing. JAMES ASHLEY (CONT'D) - beginning with the honorable George Pendleton of Ohio. Applause, boos. Pendleton, taking the podium, is handed several letters by Wood. He holds them over his head. The chamber's quiet. GEORGE PENDLETON I've just received confirmation of what previously has been merely rumored! Affidavits from loyal citizens recently returned from 101. Richmond. They testify that Commissioners have indeed come north and ought to have arrived by now in Washington City! Bearing an offer of immediate cessation of our civil war! The chamber explodes. Through the ensuing ruckus: FERNANDO WOOD (to Ashley, fake shock:) Are there Confederate commissioners in the Capitol? JAMES ASHLEY I don't... I have no idea where they are or if they've arrived or - FERNANDO WOOD If they've arrived?! GEORGE PENDLETON I appeal to my fellow Democrats, to all Republican representatives who give a fig for peace! Postpone this vote until we have answers from the President himself! In the balcony, Hay and Nicolay exchange worried glances. FERNANDO WOOD Postpone the vote! Ashley turns to Stevens: "DO SOMETHING!" as Pendleton's Democrats begin to chant "POSTPONE THE VOTE!" Mary, worried, looks from Mrs. Keckley to Preston Blair, who is focused on the leader of the conservative Republican representatives, AARON HADDAM (R, KY). Haddam looks up at Preston, awaiting instructions. Democrats and Republicans rush to the Speaker to support or protest the motion. In the balcony, Preston slowly stands, saddened and angry. FERNANDO WOOD (CONT'D) I have made a motion! Does anyone here care to second - Preston nods at Haddam: "Go ahead." Haddam rises. 102. AARON HADDAM (in a powerful voice:) Gentlemen. The conservative faction of border and western Republicans cannot approve this amendment, about which we harbor grave doubts, if a peace offer is being held hostage to its success. Joining with our Democratic colleagues, I second the motion to postpone. The debate swells again as, in the balcony, Schell scribbles in a notebook while Latham whispers furiously in his ear. Latham rips the page out before Schell's finished; Bilbo snatches it from him. ROBERT LATHAM Quick, man! Quick! Bilbo pushes his way out of the balcony. Nicolay, then Hay, follow on his heels. Mary sees this; she's concerned. EXT. OUTSIDE THE CAPITOL - AFTERNOON Hay and Nicolay emerge. They see Bilbo running, far ahead. Hay immediately sprints after him and trips. Nicolay continues running. INT/EXT. WHITE HOUSE PORTICO, FOYER, STAIRS - AFTERNOON Bilbo puffs his way across the portico, through the door, and up the stairs. Hay gains on him. It's become a race! In the second floor hallway, Bilbo gets winded, and Hay dashes past him. Hay reaches the doors to Lincoln's office and flings them open. INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON Lincoln is at his desk, working, when Hay bursts in. Bilbo appears in the doorway, beet-red and gasping for air. Hay's too winded to speak. Bilbo holds out the note, limp with sweat, and brings it to Lincoln. Lincoln reads it. LINCOLN This is precisely what Mr. Wood wishes me to respond to? 103. Tad runs into the room, excited by the commotion. He wraps his arm around his father's neck, then tears wildly out of the room. LINCOLN (CONT'D) Word for word? This is precisely the assurance that he demands of me? W.N. BILBO Yes sir. As Nicolay heaves into the room in last place, wheezing terribly, Lincoln deliberates for a moment, then writes a note. He blots, folds and hands it to Hay, who immediately reads it, Nicolay looking on. LINCOLN Give this to Mr. Ashley. Hay looks at Nicolay, who can't speak; he waves at Hay to speak for him. JOHN HAY I feel, um, I have to say, Mr. Lincoln, that this - (annoyed, impatient, to BILBO:) Could you please just step outside?! W.N. BILBO You gonna have a chat now, with with the whole of the House of Representatives waiting on that? Nicolay continues gasping, trying to speak. He can't. JOHN HAY (TO LINCOLN:) Making false representation to Congress is, it's, um - JOHN NICOLAY It's, it's - LINCOLN Impeachable. I've made no false representation. JOHN HAY But there are - (WHISPERING:) 104. There is a delegation from Richmond. LINCOLN Give me the note, Johnnie. Hay gives Lincoln the note. Lincoln takes it, holding on to Hay's hand; with his free hand, Lincoln passes the note to Bilbo. LINCOLN (CONT'D) (TO BILBO:) Please deliver that to Mr. Ashley. INT. THE HOUSE CHAMBER AND BALCONY - AFTERNOON Bilbo, pushing past the pages, runs in, holding the note, Ashley snatches it, reading as he makes his way to the podium. All eyes are on Ashley. JAMES ASHLEY From the President: The chamber falls silent. JAMES ASHLEY (CONT'D) "So far as I know, there are no peace commissioners in the city nor are there likely to be." Applause, booing, furious discussion. GEORGE PENDLETON "So far as I know-"?! That means nothing! Are there commissioners from the South or aren't there?! In the balcony, Mary looks to Mrs. Keckley. JAMES ASHLEY The President has answered you, sir! Your peace offer is a fiction! GEORGE PENDLETON That is not a denial, it is a lawyer's dodge! JAMES ASHLEY Mr. Haddam? Is your faction satisfied? 105. Preston, in the balcony, hesitates. He looks at his daughter, who gives him a questioning look: "Do you want this on your head?" Preston doesn't. He indicates to Haddam with a small shake of his venerable head: "Drop it." AARON HADDAM The conservative Republican faction's satisfied, and we thank Mr. Lincoln. I move to table Mr. Wood's motion. SCHUYLER COLFAX Tabled! There's an angry response, but Wood and Pendleton sit, thwarted. JAMES ASHLEY Speaker Colfax, I order the main question. SCHUYLER COLFAX A motion has been made to bring the bill for the Thirteenth Amendment to a vote. Do I hear a second? ASA VINTNER LITTON I second the motion. SCHUYLER COLFAX So moved, so ordered. The Clerk will now - (a rap of the gavel) Quiet please. The noise of the chamber and balcony reduce to a rumble. SCHUYLER COLFAX (CONT'D) The clerk will now call the roll for voting. Thaddeus Stevens sits silently, tired, concentrated: the moment has come. THE CLERK OF THE HOUSE We begin with Connecticut. Mr. Augustus Benjamin, on the matter of this amendment, how say you? The chamber is completely silent for the first time. 106. AUGUSTUS BENJAMIN Nay! The clerk records his vote. THE CLERK OF THE HOUSE Mr. Arthur Bentleigh. ARTHUR BENTLEIGH Nay! THE CLERK OF THE HOUSE Mr. John Ellis, how say you? JOHN ELLIS Aye! Angry shouts from Ellis's fellow Democrats, forcing Colfax to gavel for order. DEMOCRATIC SENATOR What?! Shameful! THE CLERK OF THE HOUSE Missouri next. Mr. Walter Appleton. WALTER APPLETON I vote no! THE CLERK OF THE HOUSE Mr. Josiah Burton. JOSIAH BURTON rises to his feet. He is very, very tall and thin. JOSIAH BURTON Beanpole Burton is pleased to vote yea! Mary watches from the balcony, pleased, but anxious. THE CLERK OF THE HOUSE The State of New Jersey. Mr. Nehemiah Cleary. NEHEMIAH CLEARY No. THE CLERK OF THE HOUSE Mr. James Martinson. 107. JAMES ASHLEY Mr. Martinson has delegated me to say he is indisposed and he abstains. THE CLERK OF THE HOUSE Mr. Austin J. Roberts. JAMES ASHLEY Also indisposed, also abstaining. Shocked anger from the Democrats. Pendleton starts calculating votes on a sheet of paper. Wood grabs it and begins to calculate more rapidly. In the balcony, Mary keeps track on her own list. She writes carefully next to Roberts's name: "15 TO WIN" THE CLERK OF THE HOUSE Illinois concluded. Mr. Harold Hollister, how say you? Hollister glowers next to Hutton, who's silently praying. HAROLD HOLLISTER No. THE CLERK OF THE HOUSE Mr. Hutton? Mr. William Hutton, cast your vote. Hutton looks up from his prayer. WILLIAM HUTTON William Hutton, remembering at this moment his beloved brother, Fredrick, votes against the amendment. INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON Lincoln watches Tad stacking books to make a fort for his lead toy soldiers. INT/EXT. ROTUNDA AND FRONT DOOR OF THE CAPITOL - AFTERNOON A field telegraph has been set up near the steps, at the front of the enormous crowd that's assembled before the Capitol. Poles are held up in the crowd by soldiers along which the telegraph wire is stretched. 108. A soldier stationed at the door of the Capitol relays the vote to another soldier manning the cipher key: SOLDIER Webster Allen votes no. The cipher operator instantly transmits. INT. GRANT'S TELEGRAPH ROOM AT CITY POINT - AFTERNOON OFFICERS are crowded in the small room, watching a SERGEANT transcribe as his cipher key clicks. SERGEANT Webster Allen, Illinois, Democrat, votes...no. The cipher key clicks again. SERGEANT (CONT'D) Halberd Law, Indiana, Democrat, votes...no. Grant observes this from the balcony above. Robert, in a captain's uniform, stands near him. Like his mother, Robert has a scorecard, and he's keeping track. Grant turns his back on the proceedings to light a cigar. He's concerned at how close the vote is. Behind him the count CONTINUES: SERGEANT (CONT'D) Archibald Moran...yes. Robert has been looking at Grant; he returns to his score keeping. SERGEANT (CONT'D) Ambrose Bailer...yes. INT. THE HOUSE CHAMBER AND BALCONY - AFTERNOON The Clerk continues. THE CLERK OF THE HOUSE Mr. Walter H. Washburn. WALTER H. WASHBURN Votes no. THE CLERK OF THE HOUSE And Mr. George Yeaman, how say you? 109. Yeaman doesn't respond. The silence this causes lengthens, till representatives begin to look to see what's happened. Yeaman sits, staring ahead, not responding. Thaddeus Stevens, sensing something's happening, looks in Yeaman's direction. Yeaman, still staring ahead, mumbles something, but it's inaudible. THE CLERK OF THE HOUSE (CONT'D) Sorry Mr. Yeaman, I didn't hear you VOTE - GEORGE YEAMAN (rising to his feet) I said aye, Mr. McPherson. AYE!!! Great surprise, loud cheers and angry shouts. FERNANDO WOOD TRAITOR! TRAITOR! Yeaman looks ready to faint. To the consternation of the Democrats, a mob of gleeful Republicans rushes across the aisle that separates the two parties; they surround Yeaman, shaking his hand, slapping him on the back. Colfax bangs the gavel. SCHUYLER COLFAX Order! Pendleton is speechless. Litton turns to Ashley, both astonished; Ashley turns to Stevens, who watches, sharp, observant, giving nothing away. Mary updates her tally: "8 TO WIN" SCHUYLER COLFAX (CONT'D) Order in the chamber! Yeaman collapses back into his seat. The room quiets. SCHUYLER COLFAX (CONT'D) Mr. MacPherson, you may proceed. THE CLERK OF THE HOUSE Mr. Clay R. Hawkins of Ohio. Hawkins seems to have been startled out of a reverie. Sick with fear, he looks up at the sound of his name. He can't speak. Wood and Pendleton watch this, deeply alarmed. Hawkins snaps out of it. CLAY HAWKINS Goddamn it, I'm voting yes. 110. A huge reaction to this. LeClerk gapes at Hawkins. CLAY HAWKINS (CONT'D) (right at Pendleton and Wood!) I don't care, shoot me dead! You shoot me dead I, I am voting yes! THE CLERK OF THE HOUSE Mr. Edwin F. LeClerk. LeClerk, seated next to Hawkins and transfixed by his courage, turns dazedly to McPherson. EDWIN LECLERK No. (then, standing abruptly:) Oh to hell with it, shoot me dead too. Yes! The noise gets wilder. Pendleton fixes LeClerk and Hawkins with a murderous look. EDWIN LECLERK (CONT'D) I mean, abstention. Abstention. Disgust briefly flashing across his face, McPherson crosses out and changes LeClerk's vote to an abstention. The cheering and booing degenerates to intense argument about what this means for the vote count. In the balcony, Bilbo looks at Hawkins, well-pleased. THE CLERK OF THE HOUSE Mr. Alexander Coffroth. Coffroth looks towards Stevens, who doesn't look at him. ALEXANDER COFFROTH (proud of himself and happy about the reward HE'LL GET:) I. Vote. Yes. Applause. Stevens still doesn't look at Coffroth, but, tickled, he grins and nods. INT. GRANT'S TELEGRAPH ROOM AT CITY POINT - AFTERNOON Grant stands with Robert at the balcony rail, waiting. SERGEANT James Brooks...nay. 111. On a nearby board, a large map has been tacked backwards; on its reverse side, the count is being scrawled by an officer, who marks off the votes in quintiles in columns marked YEA and NAY. SERGEANT AT ARMS Josiah Grinnell...yea. Meyer Straus... INT. THE HOUSE CHAMBER AND BALCONY - AFTERNOON STRAUS rises. MEYER STRAUS Nay. THE CLERK OF THE HOUSE Mr. Joseph Marstern? JOSEPH MARSTERN Nay. THE CLERK OF THE HOUSE Mr. Chilton A. Elliot? CHILTON A. ELLIOT No! THE CLERK OF THE HOUSE Mr. Daniel G. Stuart? DANIEL G. STUART I vote yes. Then, in a sequence of rapid cuts: THE CLERK OF THE HOUSE Mr. Howard Guilefoyle. HOWARD GUILEFOYLE Yea. THE CLERK OF THE HOUSE John F. McKenzie. JOHN F. MCKENZIE Yea. THE CLERK OF THE HOUSE Andrew E. Fink. ANDREW E. FINK Nay. 112. THE CLERK OF THE HOUSE Mr. John A. Kassim. JOHN A. KASSIM Yea. THE CLERK OF THE HOUSE Mr. Hanready. AVON HANREADY Nay. THE CLERK OF THE HOUSE And Mr. Rufus Warren? RUFUS WARREN Yea. INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON Tad is on Lincoln's lap. They're examining a book, the pages of which feature illustrations comparing the varieties of species of insects, zebras, finches. INT. THE HOUSE CHAMBER AND BALCONY - AFTERNOON The room is quiet and tense. THE CLERK OF THE HOUSE The roll call concludes, voting is completed, now - SCHUYLER COLFAX Mr. Clerk, please call my name, I want to cast a vote. GEORGE PENDLETON I object! The Speaker doesn't vote! SCHUYLER COLFAX The Speaker may vote if he so chooses. GEORGE PENDLETON It is highly unusual, sir - SCHUYLER COLFAX This isn't usual, Mr. Pendleton, this is history. THE CLERK OF THE HOUSE How does Mr. Schuyler Colfax vote? 113. SCHUYLER COLFAX (a look of surprise that this needs to be asked, then, stating the OBVIOUS:) Aye, of course. Laughter in the chamber. The Clerk tallies the vote, then passes the recorded vote to the Speaker. There's absolute silence. In the balcony, Mary checks her own tally, not quite believing it. SCHUYLER COLFAX (CONT'D) The final vote: eight absent or not voting, fifty six votes against, one hundred nineteen votes for. With a margin of two votes - INT. LINCOLN'S OFFICE, THE WHITE HOUSE - AFTERNOON Lincoln stands, waiting. The only sound is the ticking of the clock. And then the ticking is slowly drowned out as bells begin to peal throughout the city. Lincoln raises the window as Tad rushes to him. The bells are joined by a cannonade. The sound of jubilation fills his office. Lincoln turns from the window to Tad, who stares out eagerly, seeking out the source of the noise. Lincoln puts his hand on Tad's head. He looks down at his son, silent. INT. THE HOUSE CHAMBER, THE CAPITOL - LATE AFTERNOON Representatives throw papers in the air, embrace, weep, shout, dance, climb on desks. In the balcony, Mary stands slowly, beyond tears or joy; Mrs. Keckley stands with her, smiling, crying. Preston Blair applauds vigorously. The black visitors join the general exultation, overwhelmed, some praying, others embracing and weeping. Latham's, Schell's and Bilbo's seats are empty; they've gone. Ashley, grinning from ear to ear, tears streaming down his face, is hoisted up on shoulders and marched around the room, as on the floor and in the balcony, people start singing "The Battle Cry of Freedom." Pendleton, with the face of someone who's seen his world collapse into ruin, walks straight at Yeaman, who's listening to the singing, deeply moved, his face full of wonder. Pendleton turns, without a word, and leaves the House. 114. Yeaman laughs, and loudly joins in singing. Stevens clumps over to the Clerk of the House, who is placing his tallies and the official copy of the amendment bill in a folio. He looks up. THE CLERK OF THE HOUSE Congratulations, Mr. Chairman. THADDEUS STEVENS The bill, Mr. McPherson, may I...? The Clerk hands the bill to Stevens, who folds it and pockets it. THE CLERK OF THE HOUSE That's...That's the official bill. THADDEUS STEVENS I'll return it in the morning. Creased, but unharmed. EXT. A STREET, WASHINGTON - DUSK Celebrating crowds move towards the Mall, singing, carrying placards proclaiming the passage of the amendment. Thaddeus Stevens is hobbling in the opposite direction, making difficult headway against the crowd, pushed and shoved, unrecognized; he shoves back, his ferocious scowl utterly at odds with the prevailing festive mood. He reaches a modest house, unlocks the door and steps inside. INT. THADDEUS STEVENS'S HOUSE - NIGHT Stevens is met at the door by LYDIA SMITH, a black woman in her fifties. As she helps him off with his coat, he takes a piece of paper from his pocket. THADDEUS STEVENS A gift for you. She takes it. THADDEUS STEVENS (CONT'D) The greatest measure of the Nineteenth Century. Passed by corruption, aided and abetted by the purest man in America. 115. INT. THE BEDROOM IN THADDEUS STEVENS'S HOUSE - NIGHT Stevens, in his nightgown, takes off his wig. He's bald. He lies down in bed. Mrs. Smith is in bed already beside him. She's holding the paper he gave her. THADDEUS STEVENS I wish you'd been present. LYDIA SMITH I wish I'd been. THADDEUS STEVENS It was a spectacle. LYDIA SMITH You can't bring your housekeeper to the House. I won't give them gossip. (THE PAPER) This is enough. This is... It's more than enough for now. They kiss. He lies back. He grabs her hand. THADDEUS STEVENS Read it to me again, my love. LYDIA SMITH "PROPOSED -" THADDEUS STEVENS And adopted. LYDIA SMITH Adopted. "An Amendment to the Constitution of the United States. Section One: Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction." THADDEUS STEVENS SECTION TWO: LYDIA SMITH "Congress shall have power to enforce this amendment by appropriate legislation." 116. Thaddeus Stevens grins, nods, thinking, eyes sparkling. INT./EXT. THE DOCK AT FORTRESS MONROE, HAMPTON ROADS, VIRGINIA - LATE AFTERNOON Sailors cheer Lincoln's arrival. Lincoln walks across the gangway. Seward greets him amidst the cheers. INT. THE SALOON ON BOARD THE RIVER QUEEN, HAMPTON ROADS, VIRGINIA - DAY Lincoln, Seward and the commissioners are seated. Seward looks concerned at Lincoln's fatigue. ALEXANDER STEPHENS Let me be blunt. Will the southern states resume their former position in the Union speedily enough to enable us to block ratification of the Thirteenth Amendment? LINCOLN I'd like peace immediately. ALEXANDER STEPHENS Yes, and...? LINCOLN I'd like your states restored to their practical relations to the Union immediately. Silence. ALEXANDER STEPHENS If this could be given me in writing, as Vice President of the Confederacy, I'd bring that document with celerity to Jefferson Davis. SEWARD Surrender and we can discuss reconstruction. ALEXANDER STEPHENS Surrender won't be thought of unless you've assured us, in writing, that we'll be readmitted in time to block this amendment. 117. R.M.T. HUNTER This is the arrogant demand of a conqueror for a humiliating, ABJECT - SEWARD You'll not be conquered people, Mr. Hunter. You will be citizens, returned to the laws and the guarantees of rights of the Constitution. ALEXANDER STEPHENS Which now extinguishes slavery. And with it our economy. All our laws will be determined by a Congress of vengeful Yankees, all our rights'll be subject to a Supreme Court benched by Black Republican radicals. All our traditions will be obliterated. We won't know ourselves anymore. LINCOLN (a nod, then:) We ain't here to discuss reconstruction, we have no legal basis for that discussion. But I don't want to deal falsely. The Northern states'll ratify, most of `em. As I figure, it remains for two of the Southern states to do the same, even after all are readmitted. And I been working on that. ALEXANDER STEPHENS Tennessee and Louisiana. LINCOLN Arkansas too, most likely. It'll be ratified. Slavery, sir, it's done. Hunter storms out of the cabin. LINCOLN (CONT'D) If we submit ourselves to law, Alex, even submit to losing freedoms - the freedom to oppress, for instance - we may discover other freedoms previously unknown to us. Had you kept faith with democratic process, as frustrating as that can be - 118. JOHN A. CAMPBELL Come sir, spare us at least these pieties. Did you defeat us with ballots? ALEXANDER STEPHENS How've you held your Union together? Through democracy? How many hundreds of thousands have died during your administration? Your Union, sir, is bonded in cannonfire and death. LINCOLN It may be you're right. But say all we done is show the world that democracy isn't chaos, that there is a great invisible strength in a people's union? Say we've shown that a people can endure awful sacrifice and yet cohere? Mightn't that save at least the idea of democracy, to aspire to? Eventually, to become worthy of? At all rates, whatever may be proven by blood and sacrifice must've been proved by now. Shall we stop this bleeding? EXT. A CITY ON A SOUTHERN RIVER - NIGHT Like a vision of apocalypse, a city on the banks of a broad river is being consumed in a hellish fire, as artillery shells rend the dark sky asunder, raining down destruction. EXT. SIEGE LINES BEFORE PETERSBURG, VIRGINIA - MORNING The morning is grey, and a dense fog covers a vast field. Lincoln, his stovepipe hat atop his head, is mounted on a horse on a rise at one end of the field. Behind him, several UNION OFFICERS are also mounted. It's chilly; the breath of the men and the horses is visible. TITLE: OUTSIDE PETERSBURG, VIRGINIA APRIL 3 Lincoln flicks the reins of his horse, which starts down the slope. The officers follow behind him. No one speaks. 119. Lincoln rides slowly, his focus on the ground before him. Debris is scattered all around him, along with the bodies of fallen soldiers. He looks up and across the battlefield; a terrible battle has concluded a couple of hours ago. Looking down, as he rides, he sees soldiers killed by artillery fire, whose bodies lie twisted, burned, headless, limbless, torn in two, blown out of their clothing or charred too badly to tell. He sees soldiers killed by rifle and bayonet, whose corpses are intact. At the beginning of his ride, all the dead and wounded are in Union blue, the casualties of Confederate cannon fire, felled as the Union army, about six hours earlier, began its final, successful drive to break through Confederate lines. As Lincoln and his escorts move across the battlefield, grey and blue uniformed corpses and badly wounded men intermingle. He reaches the other side of the field, passing a Confederate flag to enter the now-ruined town of Petersburg. EXT. THE THOMAS WALLACE HOUSE, GRANT'S TEMPORARY HEADQUARTERS, ON MARKET STREET, PETERSBURG - MORNING Grant, smoking his cigar, his uniform dusty and rumpled, is sitting on the small porch. He stares piercingly at Lincoln, in a rocker next to him, watching his troops pass by as they move in to secure the conquered town. Lincoln closes his eyes. He has grown older, the skin around his eyes is cobwebbed with fine creases, and his hair's thinner, softer, suffused with grey. His brow has grown smoother. LINCOLN Once he surrenders, send his boys back to their homes, their farms, their shops. GRANT Yes sir, as we discussed. LINCOLN Liberality all around. No punishment. I don't want that. And the leaders - Jeff and the rest of `em - if they escape, leave the country while my back's turned, that wouldn't upset me none. 120. When peace comes it mustn't just be hangings. GRANT By outward appearance, you're ten years older than you were a year ago. LINCOLN Some weariness has bit at my bones. (BEAT) I never seen the like of it before. What I seen today. Never seen the like of it before. GRANT You always knew that, what this was going to be. Intimate, and ugly. You must've needed to see it close when you decided to come down here. LINCOLN We've made it possible for one another to do terrible things. GRANT And we've won the war. Now you have to lead us out of it. EXT. THE MCLEAN HOUSE, APPOMATTOX COURT HOUSE, VIRGINIA - AFTERNOON OFFICERS OF THE CONFEDERATE AND UNION ARMY stand around in the afternoon sun. Everyone's solemn, even stunned by what's just happened. No one is speaking. TITLE: APPOMATTOX COURTHOUSE, VIRGINIA APRIL 9, 1865 ROBERT E. LEE comes down the steps of the McLean house, as a CONFEDERATE OFFICER brings his horse to him. His face is blank. Lee mounts his waiting horse. Lee should leave, having just surrendered to Grant inside; but he's immobile. Some of the officers of both sides look at Lee, some can't bear it. Lee tries out various expressions: pride, defiance, blankness. Grant stomps onto the porch of the house, followed by his staff. Among them is Robert Lincoln. 121. Grant, lost in thought, stops, taken aback, realizing that Lee's still there, astride his horse. Everyone looks at the two men who look awkwardly at one another. Then Grant removes his famous slouch hat. Everyone freezes for a moment, and then one by one, the officers of the Union Army remove their hats. Lee is visibly moved by this gesture of respect. He raises his hat, briefly, only an inch from his head. Then, pulling slightly on his horse's reins, he rides away. EXT. A BUGGY RIDE THROUGH WASHINGTON - AFTERNOON A beautiful spring afternoon. Lincoln and Mary are riding in the buggy, driven by the old soldier. MARY You've an itch to travel? LINCOLN I'd like that. To the West by rail. MARY (shaking her head no:) Overseas. LINCOLN The Holy Land. MARY (a laugh, then:) Awfully pious for a man who takes his wife out buggy-riding on Good Friday. LINCOLN Jerusalem. Where David and Solomon walked. I dream of walking in that ancient city. She seems sadder. They ride in silence. MARY All anyone will remember of me is I was crazy and I ruined your happiness. LINCOLN Anyone thinks that doesn't understand, Molly. She nods; then, tenderly: 122. MARY When they look at you, at what it cost to live at the heart of this, they'll wonder at it. They'll wonder at you. They should. But they should also look at the wretched woman by your side, if they want to understand what this was truly like. For an ordinary person. For anyone other than you. Lincoln laughs, takes her hand. She leans against him. LINCOLN We must try to be happier. We must. Both of us. We've been so miserable for so long. INT. LINCOLN'S OFFICE - EVENING Lincoln's in the shirtsleeves and vest of his formal evening wear, his hair brushed down and plastered in place. William Slade is working the tie and gloves. James Ashley and Schuyler Colfax stand with him, holding glasses of scotch whiskey. Slade waits with Lincoln's coat, clothes brush, the stovepipe hat and gloves on the table. John Hay tears down several of the military maps, heavily marked, from the bookcases where they're tacked. He drops these on the floor. As they watch Hay: LINCOLN I did say some colored men, the intelligent, the educated, and veterans, I qualified it. JAMES ASHLEY Mr. Stevens is furious, he wants to know why you qualified it - SCHUYLER COLFAX No one heard the intelligent or the educated part. All they heard was the first time any president has ever made mention of Negro voting. LINCOLN Still, I wish I'd mentioned it in a better speech. JAMES ASHLEY Mr. Stevens also wants to know why you didn't make a better speech. 123. They laugh. There's a knock on the door; Nicolay enters. JOHN NICOLAY (TO LINCOLN:) Mrs. Lincoln's waiting in the carriage. She wants me to remind you of the hour, and that you'll have to pick up Miss Harris and Major Rathbone. Lincoln nods. Slade enters with Lincoln's hat, coat, and gloves. Lincoln begins to dress hurriedly. LINCOLN Am I in trouble? WILLIAM SLADE No, sir. LINCOLN Thank you, Mr. Slade. Slade hands Lincoln his gloves as Colfax and Ashley drain their drinks and rise. LINCOLN (CONT'D) I suppose it's time to go, though I would rather stay. He leaves the room. INT. AN EMPTY CORRIDOR, SECOND FLOOR OF THE WHITE HOUSE - CONTINUOUS On the way out, Lincoln tosses the gloves on a side table. Slade grabs them, considers chasing after Lincoln, then thinks better of it. He walks back towards the office. Then some strange feeling stops him, and he turns around again. Lincoln is walking away, past the petitioners' chairs, down the empty hallway. Slade watches till Lincoln turns the corner, and he's gone. INT. A THEATER - NIGHT The theater is adorned with patriotic bunting. Onstage, a Caliph's palace. A YOUNG MAN duels with scimitars against a huge, hideous AFRIT. A YOUNG WOMAN in chains cowers in distress. The young man gymnastically avoids being killed, then plunges his scimitar into the afrit's heart. The demon screams and topples to the ground. The audience gasps as a 124. flame-colored, bejewelled bird rises up from the dead afrit's heart. The audience applauds. In the center box, Tad Lincoln is joining in, as is his companion for the evening, Tom Pendel. Onstage, the bird flies off, the young man is freeing the young woman, when the scene is halted by the red curtain lowering, surprising actors and audience. The music dies, the gas lights in the house are being raised as the owner of the theater, LEONARD GROVER, steps out before the curtain and walks to the center of the stage, pale and badly shaken. In the box, Tom Pendel glances quickly at Tad, who's fixed on the stage, eyes open, alarmed. The audience knows something's wrong. Their rising murmur of concern dies immediately when Grover raises his hands. LEONARD GROVER (VOICE SHAKING:) The President has been shot. There are screams of horror from the audience; people leap from their seats. LEONARD GROVER (CONT'D) The President has been shot at Ford's Theater! The theater is a scene of complete pandemonium. People cry, jam the aisles, call to each other across rows of seats, shout questions at Grover, who's calling for calm, inaudible in the uproar. Tom Pendel is frozen in shock, then turns to draw Tad close to him. Tad pulls away and begins shrieking, clinging to the railing so tightly that Pendel can't pry him loose. Tad can't stop screaming, his eyes wide open, seeing nothing. INT. THE BEDROOM IN PETERSON'S BOARDING HOUSE - MORNING Mary is gently escorted into a tiny room. A small, hissing gas jet in the wall bathes the scene with green light. Stanton, Speed, GENERAL HENRY HALLECK and a MINISTER, are standing. Welles sits by the head of the bed. DR. CHARLES LEALE, a young army surgeon, and DR. ROBERT STONE, the Lincoln family's doctor, stand uselessly by the foot of the bed, while DR. JOSEPH BARNES, the Surgeon General, listens to Lincoln's faint breathing. 125. Robert, in uniform, red-eyed, pale as a ghost, sits at the bedside and stares at his father, barely breathing. Lincoln lies in a crooked diagonal, his knees bent, on a bed he's too tall to fit properly, clad only in a nightshirt. Barnes moves his head closer, then closer. The room is utterly still. Barnes takes out his watch, looks at the time, softly clears his throat. DR. BARNES It's 7:22 in the morning, Saturday the 15th of April. It's all over. The President is no more. No one talks, or moves. Stanton looks at Lincoln's body. STANTON Now he belongs to the ages. Robert begins to weep. LINCOLN (V.O.) Fondly do we hope, fervently do we pray, that this mighty scourge of war may speedily pass away. EXT. THE EAST PORTICO OF THE CAPITOL - NOON Lincoln, wearing spectacles, stands at a podium before the Capitol Dome, still under scaffolding, under cloudy skies. He reads from the two pages. LINCOLN Yet, if God wills that it continue until all the wealth piled by the bondman's two hundred and fifty years of unrequited toil shall be sunk, and until every drop of blood drawn with the lash shall be paid by another drawn with the sword, as was said three thousand years ago, so still it must be said "the judgments of the Lord are true and righteous altogether." He glances at his audience: 40,000 people from all over the country, wounded soldiers, civilians in black. And for the first time, in the crowd, not at its edges, hundreds of African Americans, civilians and soldiers. 126. LINCOLN (CONT'D) With malice toward none, with charity for all, with firmness in the right as God gives us to see the right, let us strive on to finish the work we are in, to bind up the nation's wounds, to care for him who shall have borne the battle, and for his widow and his orphan, to do all which may achieve and cherish a just and a lasting peace among ourselves and with all nations. FADE TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Little Athens.txt b/unformated_scripts/Script_Little Athens.txt new file mode 100644 index 0000000000000000000000000000000000000000..943a05bcf3bcecaf8bbcefbe94a142f5d863cb98 --- /dev/null +++ b/unformated_scripts/Script_Little Athens.txt @@ -0,0 +1 @@ + LITTLE ATHENS Written by Jeff Zuber & Tom Zuber Draft: 3/17/04 FADE IN: INT. JERRY'S HOUSE, JERRY'S BEDROOM -- MORNING The room is dark and messy. JERRY, a soft, unshaven boy of about eighteen years, sits on the end of his bed in boxers and an old t- shirt. He has not quite woken up yet. Jerry pulls a huge, well-traveled SUITCASE from his closet and tosses it onto the bed. He begins grabbing articles of CLOTHING from the closet and tossing them into the Suitcase. INT. JERRY'S HOUSE, KITCHEN -- MOMENTS LATER Jerry is in his kitchen, which is no brighter than his bedroom, and not much cleaner. Jerry takes another bite of his peanut butter and jelly SANDWICH. He chews mechanically, washing it down with a can of SODA. His lazy mind is somewhere else. INT. JERRY'S HOUSE, BATHROOM -- MOMENTS LATER Jerry gargles with a generic brand of MOUTHWASH and spits into the sink. He catches a glimpse of himself in the medicine cabinet mirror - he is not very attractive. He grabs his TOOTHBRUSH and RAZOR, and exits the bathroom. INT. JERRY'S HOUSE, JERRY'S BEDROOM -- MOMENTS LATER The room has been stripped except for the bed minus its bedsheets, a naked pillow, a beat-up dresser with a small TV on top of it, an old POGO STICK propped against the wall near the GARBAGE CAN at the foot of the bed, and a few posters and scraps of trash. Jerry tosses his Toothbrush and Razor into his Suitcase next to a VIDEO GAME CONSOLE and several VIDEO GAMES, on top of which lies GRAND THEFT AUTO III. He has pitifully few belongings. He shuts the Suitcase. INT. JERRY'S HOUSE, LIVING ROOM -- MOMENTS LATER The living room is also a mess - the place is either a pig sty or a house full of bachelors. Jerry, now in sweatpants and sneakers, but still wearing the same t-shirt that he slept in, carries his Suitcase through the foyer to the front door. He about-faces to look at the interior of his home. He will not miss it. He turns to open the screen door - it's stuck. He fiddles with handle until the screen door opens. He exits, letting the screen door slam shut behind him. TITLE CARD: Little Athens 2 EXT. RESCUE SQUAD -- MORNING The old building is badly in need of a fresh paint job. A faded sign reading "ATHENS RESCUE SQUAD" stands in front. HEATHER (O.S.) You hear about your ex? ALLISON (O.S.) Jerry? INT. RESCUE SQUAD, KITCHEN -- CONTINUOUS The kitchen is empty except for HEATHER and ALLISON, both about nineteen and dressed in EMS uniforms with "EMS" stitched conspicuously on the back, seated on opposite sides of a wooden table. Heather is dark-haired, about 5'9" and built like a lingerie model. Allison has blond hair, is several inches shorter than Heather, and although not overweight, she has a softer build than Heather. Heather has take-out PANCAKES and SAUSAGES in front of her, and she is putting it away like she is preparing for famine. Allison has a BAGEL and a PEACH, which remain hardly touched - she has a lot on her mind. HEATHER Yeah, asshole Jerry. He's moving to Middletown. He left this morning. ALLISON No way. How do you know? HEATHER Carter said. He got some job at some company, giving his uncle hand-jobs. Having put away the last of her food, Heather lights a CIGARETTE and stands near the open window, careful to blow the smoke out the window. ALLISON Doesn't sound so bad. HEATHER I got us tickets to see Adam tomorrow. ALLISON I don't want to go to a baseball game. You're going with Derek anyway. HEATHER Ally, I don't want to go either, but Derek told Adam he'd go, and I'm not going by myself. 3 ALLISON I thought Adam was hurt. HEATHER I wish. Heather takes a drag of her Cigarette and exhales out the window. EXT. JIMMY'S APARTMENT -- MORNING BRAD, in jeans with his t-shirt thrown over his shoulder, is standing in front of the door, waiting. MEGAN, in shorts, a t-shirt and a baseball cap, and AMY, in a sunskirt, look on. All in their late teens, they are unmade and worn-out, as if they hadn't slept last night. Brad rings the doorbell twice and waits some more. Brad walks over to the window a few feet over from the door, trying to peer through the shades. Megan passes the time by pulling Jimmy's MAIL out of the mailbox that hangs next to the door. BRAD (banging on the window pane) Hey! Jimmy! The door opens and JIMMY answers, in his very late teens, about 5'4" and thin, dressed in boxers, a t-shirt and bedroom slippers. Jimmy's tired, but Brad's a friendly face. BRAD (CONT'D) Finally! JIMMY Office hours are nine to five. MEGAN You have a lot of credit card bills in there, Jimmy. JIMMY (holding his hand out for the Mail) I know. Megan hands Jimmy the Mail. MEGAN You're not mad that we're stopping by like this? JIMMY It's no big deal, but let's hurry up. I gotta go to work. 4 MEGAN (explaining to Amy) Jimmy's got like, six jobs. Jimmy stands aside, allowing Megan and Amy into his apartment. Megan and Amy step inside, but Brad holds back. He needs to talk to Jimmy, and the girls do not need to hear. BRAD Hey Jimmy, hold up a sec. Look, not for nothin', but you know Buggerin' Bobby Bales is askin' about you? JIMMY Askin'? Like how? BRAD Like how you owe him money on the Dallas fiasco, those chokin' motherfuckers, and you haven't been returnin' his calls. JIMMY How you hear this? BRAD Yesterday. I was puttin' a twenty-timer on Indiana for tonight, and he up and out- of-the-blue asks about you. Jimmy, man. Goddam. JIMMY (unconvincing) It ain't nothin'. He's just makin' conversation. BRAD It ain't nothin'? That faggot juicehead's gonna make a playground outta your asshole like he's back in the joint, and it ain't nothin'? And you heard all the stories I heard, about that horse-cock, and how he can't stop shootin' his mouth off about it too, like when he whipped it out at Tomlinson's party... JIMMY Alright Brad! Christ Jesus, I owe a little, shit, but I'll pay. Believe me, that guy wants his juice, his e, he comes to me. It's fine. BRAD Put some cash on Indy tonight, Jimmy. 5 JIMMY Yeah. Alright, come inside and let's do this thing. I got work. Brad steps past Jimmy into the apartment, and Jimmy shuts the door after them. EXT. POOL -- MORNING The slender white board extends majestically over the glistening blue water. PEDRO, an unshowered, pot-bellied Hispanic, about twenty-three years of age and wearing cut-off jean shorts, is standing at the end of the board, looking down at the water below as if expecting an invitation. COREY, a late teenager covered with tattoos, with twigs for arms and legs, lies against the hard concrete while inserting the pool VACUUM HOSE into one of the many pool skimmer drains. Pedro begins to bounce on the board - up, down, up, down. Pedro launches forth as if the water called out to him and, but for his want of grace, the entry would be poetic. Instead, Pedro's dive is as clumsy as it is painful. COREY Nice. PEDRO Fuck you, conjo. This is my shower. COREY Maybe back in Mexico that's a shower, in Athens that's just dirty. PEDRO Clean the pool, conjo, clean the pool. COREY At least I'm paid to be here. Pedro smiles as he paddles away from Corey, starting to enjoy his morning swim. A PAYPHONE hanging on the pool house starts ringing. Corey drops the Vacuum and runs toward the Payphone. In the background a number of enormous sand filters groan loudly. COREY (CONT'D) Wynwood Pool House, Corey speaking. EMILY, the voice on the other end, is hushed and uncertain. EMILY'S VOICE It's me. COREY Emily? EMILY'S VOICE Some other girl would be calling you? 6 COREY How'd you get this number? EMILY'S VOICE Don't you work there? COREY What do you want? EMILY'S VOICE I need you to come pick me up. COREY Are you kidding? Where are you? EMILY'S VOICE At home. COREY What for? EMILY'S VOICE Just because. I need to stay with you for a couple days. COREY Emily, our place is tiny, we got no water. Our phone just got shut off, too. You'd be miserable like us. What for anyway? EMILY'S VOICE It's no big deal. Just come pick me up. COREY Fine, forget it then. EMILY'S VOICE Corey, come on! How many times have I called you since you left? I wouldn't ask, except I don't have anywhere to go. Please. COREY Fine. Alright, fine. If you wanna stay in our little dump, fine. EMILY'S VOICE Fine. Thanks, then. INT. JESSICA'S APARTMENT -- MORNING JESSICA, about eighteen, wire-thin and plain, yet attractive in an unkept sort of way, with dirty-blond hair past her shoulders, lies on a couch sleeping. Her chokingly small living room is in a 7 devastating state of disarray, with clothes and empty food containers flung in every direction. An ALARM on a table next to the couch begins blaring, and Jessica stretches out her arm to silence it. INT. JESSICA'S APARTMENT, BATHROOM -- MOMENTS LATER Jessica is standing in front of the mirror staring at herself, still half asleep. The bathroom is tiny like the living room - pathetic rather than endearing. She puts TOOTHPASTE on her TOOTHBRUSH. INT. JESSICA'S APARTMENT, LIVING ROOM -- CONTINUOUS JINA, Jessica's mother, opens the front door and enters the living room wearing a grocery checkout clerk's uniform. Jina drops her old, worn out purse onto the coffee table and enters the hallway. She opens the bathroom door and enters. INT. JESSICA'S APARTMENT, BATHROOM -- CONTINUOUS Jessica is brushing her teeth when Jina enters. JINA Aren't you supposed to be watching Katie right now? Jina reaches around Jessica and opens the medicine cabinet, grabs a bottle of ASPIRIN, and shuts it. Jessica continues brushing as if her mother were not there. JINA (CONT'D) Did you get my message? Jessica shakes her head in the negative sense. Jina exits the bathroom and Jessica follows, still brushing her teeth. INT. JESSICA'S APARTMENT, LIVING ROOM -- CONTINUOUS Jessica walks over to the ANSWERING MACHINE and hits a button. The Answering Machine clicks on as Jessica brushes unenthusiastically. ANSWERING MACHINE (electronic voice) You have one new message. (Jina's voice) Hi Jess, it's your mother, calling to say happy birthday, since you'll be gone when I get home. I'm driving your sister to school and I'm leaving the car for her, so I'll be taking the train back. Jessica starts up as if she'd been struck. She spins around to an open window near the couch, leans out, and spits out the toothpaste 8 to the concrete sidewalk below. Her mother's voice continues to pour forth from the Answering Machine. ANSWERING MACHINE (CONT'D) By the way, you should call your sister and stop this not-talking nonsense. Jessica finishes spitting the suds from her mouth and spins back towards the Answering Machine. ANSWERING MACHINE (CONT'D) Anyway, I know how you hate long messages, so I'll see you tomorrow... Suddenly wide awake, Jessica turns to her mother. JESSICA That's fucking bullshit. JINA Here we go again. JESSICA What about my car?! JINA Jessica, your sister got into beauty school, and she's going. Now I've got about two hours sleep before I have to drive her all the way the hell up there. JESSICA Yeah, I heard that. JINA Jess, you're still living here for free. JESSICA On the couch! JINA Jessica, it's still my car, and she needs it. Can't you be happy for your sister? JESSICA Oh yeah, I'm real happy. She gets my car, and I get shit. Thanks, Jina. Do me a favor and tell her how fucking happy I am for her. JINA If you're going to be like this, I'm just going to bed. 9 Jessica storms back into the bathroom and rinses her mouth out with water. Jessica returns to the living room wearing a t-shirt that reads "Athens Youth Group" in large letters along the front. Jina is gone. Jessica runs her hand through her hair, tossing it haphazardly. She grabs a pair of large SUNGLASSES off of the coffee table and places them over her eyes. She opens the door and exits the apartment. EXT. RON'S GYM -- MORNING Jimmy's PIECE-OF-SHIT hatchback is parked in front of the small bare-bones gym. INT. RON'S GYM, LOCKER ROOM -- CONTINUOUS Jimmy now dressed in worn-out heavily-frayed khaki shorts and a short-sleeve button down shirt with a "Ron's Gym" emblem on the pocket, stands before his locker twisting the combination lock with one hand while rotating steel CHINESE STRESS BALLS with his other hand. He opens the locker and pulls out a large brown LUNCH BAG propped prominently at the base. RON (O.S.) Hey Jimmy. You fix the lat machine? RON, the tall, well-built, forty-something owner of the gym, approaches. Jimmy turns toward Ron. The row of lockers serves as a backdrop. JIMMY Yeah. RON Jimmy, I'm just gonna say this, alright? I gotta let you go. I can't afford two employees. JIMMY So you're keeping Melinda? RON Yeah. JIMMY Ron, that is totally fucked! I been here way longer than her! RON Yeah, but I'm running a business. There're guys who pay me dues just 'cause she works here. 10 JIMMY But she doesn't do anything! She just sits at the front desk all day. RON I know that. JIMMY Tell her to fix the fucking lat machine, she'll look at you cross-eyed. RON I can't afford two employees, and she attracts business. That's it. JIMMY Fucking great. Thanks. RON Jimmy, don't take it personal. If you were built like her I'd keep you. Ron exits and Jimmy sits on the bench in front of his locker, defeated. BUGGERIN' BOBBY BALES, a.k.a. Bobby the Bookie, an enormous juicehead built like an old-school NFL linebacker, naked except for a towel around his neck, having just taken a shower, is leaning against the end of a row of lockers, waiting for his chance at Jimmy. Jimmy would rather that Ron stay. RON (CONT'D) Bales. Bobby nods in response as Ron passes by on his way out. With the locker room empty, Bobby unconsciously changes demeanor. He's tender, frighteningly tender, it's so entirely genuine. Jimmy would prefer a beating - simple and final. Jimmy pulls his BACKPACK out of his locker and begins clearing his STUFF. BOBBY So where you been? JIMMY What are you talkin' about? Nowhere. I been working. BOBBY So you just don't return my phone calls. JIMMY Look, they lost, I owe you some more, so what? I'll pay you. I want to put it on Indy tonight. 11 BOBBY I can't take any more of your bets. I look like a spineless fucking fag. Bobby shuts Jimmy's locker and steps up to Jimmy so that Jimmy is now face to face with Bobby's enormous organ - a terrifying sight for mortal men and reputable women. Jimmy is struck silent, savagely clenching his Chinese Stress Balls as he struggles for thought. BOBBY (CONT'D) What the hell am I supposed to do with you Jimmy? People are talkin'. JIMMY I know they're talkin'! BOBBY You don't know a fuckin' thing. Come by my apartment tonight, we'll figure this out. JIMMY I ain't like that. BOBBY Ain't like what? JIMMY Nothin'. BOBBY You don't know what I know. You'll see. JIMMY I'm working tonight. BOBBY Jimmy, I ain't about beggin'. I'm lookin' like a fool all on account 'a you. You owe me. You owe me. I'm gettin' sick of it. Bobby moves on to his own locker. EXT. POOL -- CONTINUOUS WIDE across the width of the pool. COREY, wet, with GOGGLES on his head, holding a WRENCH and SCREW DRIVER, and BYSTANDER #1, stand over a young twenty-ish female VICTIM who lies passed out on the cement. A young female LIFEGUARD is kneeling beside the Victim, checking her pulse and breathing. The two SWIMMERS left in the pool are climbing out. PETE, a no-nonsense grounds-keeper in his late thirties, wearing cut-off shorts, a faded t-shirt and a tool belt, approaches to have a word with Corey. 12 PETE Is she alright? COREY She fainted. LIFEGUARD Alright, I'm calling 911. Everybody stay out of the pool. The Lifeguard stands and runs off toward the PAYPHONE. PETE Alright, well, quit horsing around. The Blandino's had a break-in. There's glass all over the patio. COREY That's Jerry's unit. PETE Jerry moved to Middletown. COREY He quit? PETE He left a message. You gotta take care of all his stuff now, too. COREY Aw, come on, Pete! I need off tomorrow! I told you I got community service! PETE So you're gonna have to get everything done today then. Get going. Corey tears the Goggles off his head, throws them into the pool, and about-faces toward the pool-house. As Corey leaves, a RED-HEADED IDIOT does a sloppy can-opener off the side of the pool. LIFEGUARD (O.S.) Keith, I told you to clear the pool! EXT. EMPTY PARK -- MORNING Though the park is in a poor neighborhood, it is relatively clean. The park is quiet and unused this morning except for two young GIRLS making their way across it. Prominent in the background sits an old run-down yellow CAR that Jessica drove to the park. 13 JESSICA is carrying KATIE, a plain, tiny seven-year-old girl, in piggy-back fashion, with Katie's legs dangling out in front of Jessica. Katie holds Jessica tight around the collarbone. KATIE Doesn't Carlos want his car back? JESSICA He's letting me borrow it. KATIE Well then why were you late if you had his car? JESSICA I slept late. KATIE Were you drinking last night? JESSICA No. But thanks for asking. KATIE Were you doing drugs? JESSICA Katie, I told you, drugs are for losers. KATIE And you're not a loser. JESSICA And neither are you. KATIE But it's okay to drink. JESSICA When you're older it'll be okay. KATIE How old are you? JESSICA Old enough. KATIE But you're not twenty-one yet. The law says you have to be twenty-one. JESSICA Katie, can you not ask so many questions today? I've got too much to think about. 14 KATIE Cause it's your birthday? JESSICA Yes. KATIE Happy Birthday! JESSICA Thank you. Jessica begins walking faster, soon breaking into a crippled run, the weight of Katie bearing down on her. They reach their destination - a rickety old merry-go-round. Jessica turns her back to the merry-go-round, allowing Katie to step onto it. JESSICA (CONT'D) Hold on tight or you'll get hurt. KATIE I will. Katie grabs a handle as Jessica begins to spin the machine. Katie sails around happily as Jessica steps back to watch, Katie's youthful enthusiasm lulling Jessica into a nostalgic gloom. INT. AMBULANCE -- MORNING HEATHER is driving the AMBULANCE, sirens blaring, a CIGARETTE hanging out of her mouth, with ALLISON riding shotgun. HARRY, mild- mannered, rotund, middle-aged and slightly balding, is in the back sitting on a bench extending from the side of the ambulance, adjacent to a stretcher. Harry sits expressionless, adjusting his spectacles as the ambulance shakes mildly from the driving. ALLISON (pointing) Turn left at the light. EXT. ROAD -- CONTINUOUS WIDE on the ambulance tearing through town, lights flashing. Heather is driving extremely fast in this emergency situation, recklessly passing both moving vehicles as well as stationary vehicles that have stopped to let the ambulance pass, on her way to running through a red light. In the rear of the ambulance, Harry whips back and forth on the bench, yet remains calm, as if unaware of Heather's reckless driving. EXT. POOL, PARKING LOT -- CONTINUOUS Within the parking lot, the ambulance comes to a screeching halt in front of a large picket fence encircling the pool. At the gate stands the LIFEGUARD. 15 All three climb out of the ambulance. Harry rushes toward the Lifeguard. Heather takes a final puff of her Cigarette and flicks it aside before continuing in the same direction as Harry. Allison lags behind, pulling a BACKBOARD and a large FIRST AID KIT out of the ambulance. LIFEGUARD She's in here. They enter the gate. EXT. POOL -- CONTINUOUS Heather and Harry follow the Lifeguard into the pool area, where several BYSTANDERS have gathered around the VICTIM, BYSTANDER #1 and PETE among them. Heather gets to the Victim first, but stops short - she recognizes the Victim. Harry brushes past Heather. HARRY (to Bystanders) Can you give us some room, please? The crowd backs up a bit, and Harry checks for vitals. HARRY (CONT'D) (looking up to Heather) She's breathing. Harry looks the Victim over a bit. HARRY (CONT'D) (to Lifeguard) What happened? LIFEGUARD I'm not sure. She just passed out, right where you see her. HARRY Did you see her eat anything? LIFEGUARD Uh-uh. Heather turns and walks back toward Allison coming through the gate carrying the Backboard and First Aid Kit - she wants a word with Allison. They talk in hushed tones. HEATHER I know her. ALLISON Yeah? How? 16 Allison hands Heather the First Aid Kit as they move back toward Harry. HEATHER When I was dating Steve, that slut fucked him. ALLISON How do you know? HEATHER She started dating Steve right after we broke up. I mean right after. I asked him if there was another girl, and he never answered. He couldn't answer, because he was fucking that slut. ALLISON That doesn't mean they fucked. Heather gives Allison a disapproving look, as if to say "don't be stupid, stupid." As Heather and Allison approach the Victim, Harry looks up. HARRY Alright, she ain't comin' around. Allison lays the Backboard adjacent to the Victim, and the three place her on the Backboard. Heather is a bit rough. HARRY (CONT'D) (instinctively) Whoa, easy. HEATHER (without looking up) I know what I'm doing. Harry gives a concerned look to Allison, who returns the look, but the two say nothing. They place the Victim into the back of the Ambulance as Heather looks on. EXT. ROAD -- MOMENTS LATER The Ambulance is moving along a near-empty single-lane road at a patient pace, with two CARS tailgating behind it. INT. AMBULANCE -- CONTINUOUS Allison and Harry are in the back with the Victim, and Heather is again behind the wheel, moving her head ever so slightly, as if to music playing in her head. Heather's moderate driving speed is in sharp contrast to the speed with which she responded to the scene. At the same red light that Heather recklessly ran earlier, Heather 17 stops and looks in all directions before proceeding, even though there are no cars at the intersection. HARRY Uh, Heather, you want to step on it? HEATHER We'll get there. ALLISON You don't even know for sure if she slept with Steve! Heather turns around in the driver seat, taking her eyes off the road. HEATHER Listen, fuck that slut, okay?! She can fucking rot in hell! I'm not rushing for her slut ass! ALLISON (pleading) Heather, c'mon, she's out cold! We gotta hurry! HEATHER I-don't-fucking-care!! That slut can kiss my ass! (to Victim) You hear me, you fucking bitch?! As Heather spins forward to look at the road, the Ambulance jumps as it hits a pothole. EXT. COREY AND PEDRO'S HOUSE -- MORNING The Tow Truck has just pulled up into the driveway. Pedro climbs out and makes his way up the sidewalk to his front door, carrying a gallon of MILK. Emily climbs out and trails behind him, carrying her LAUNDRY BAG and PURSE. The house is very small, with a front yard that is not much bigger than the sidewalk, and neighboring houses not much more than a body length apart from each other. Pedro notices an EVICTION NOTICE on the front door, and that a brand-new lock has been placed on the otherwise run-down door. He tries unsuccessfully to open the door. He walks over and looks through the front window into his kitchen and sees his DOG. Pedro taps on the window. The Dog looks up at Pedro, wagging its tail. Pedro tries to open the window, but it's locked. Pedro walks around to the side of the house. Emily throws her Laundry Bag over her shoulder and follows him, frustrated with the wait. He looks in the window on the pantry door. He backs up and 18 looks toward Emily, blank. He looks back up at the house, frustrated. He about-faces, steps over to the side of the neighboring house, unzips his pants, looks both ways to make sure the neighbors are not around, and starts pissing. Emily shakes her head and heads back toward the truck, turned off by the whole situation. EXT. PIZZA SHOP -- MORNING Jimmy parks his PIECE-OF-SHIT in front of a mom-and-pop pizza shop and exits. A sign that reads "Poppy's Pizzeria" hangs above the pizza shop. He enters. INT. PIZZA SHOP -- CONTINUOUS Jimmy walks past a few tables where patrons are eating. PIZZA POP, a sixty-ish pot-bellied man standing behind the counter making a PIZZA, sees him. PIZZA POP (heavy Italian accent) Hey-a, Jimmy, you don't hafta be here 'till 2:00! What's up, eh? You hungry? JIMMY Nah. I'm gonna start early, if that's alright. I could use the cash. PIZZA POP Still paying offa those credit cards, eh Jimmy? I told you them things are-a trouble. (calling into the back) Sweetheart! Don't a worry about that! Jimmy's a here and he's a gonna take care of it! In an arched entranceway to the back room we see PIZZA MOM back into view holding several PIZZA BOXES in insulated CARRYING BAGS. PIZZA MOM (smiling) Hey-a Jimmy! INT. CARLOS' CAR -- MORNING Jessica is driving the old run-down yellow CAR we saw earlier in the parking lot of the park, the window down and the radio blasting. Her CELL PHONE rings and she picks it up. JESSICA Hello? CARLOS (O.S.) Where the hell are you? 19 JESSICA Carlos? EXT. CONVENIENCE STORE -- CONTINUOUS CARLOS, a skinny Hispanic teenager, is walking out of the convenience store with a tray of NACHOS, talking on a CELL PHONE. We cut back and forth between Jessica and Carlos. CARLOS Why weren't you answering your phone?! You were supposed to bring my car back last night! JESSICA'S VOICE Yeah. Sorry. CARLOS You bringing it or what? I need it for work! JESSICA'S VOICE Not 'til this afternoon. CARLOS What the hell, Jess?! You said I'd have it last night! JESSICA'S VOICE Alright, relax, I'll bring it. CARLOS Dammit! Where are you? JESSICA'S VOICE I'm getting on the Parkway. The old run-down yellow Car passes Carlos and continues down the street. Carlos is dumbfounded. CARLOS What the hell?! Carlos runs into the street and stands staring down the road at his Car speeding away from him. JESSICA'S VOICE What's the matter? CARLOS Jess, you just passed me! In my car! Carlos continues to look as his Car makes a right turn and disappears from view. 20 CARLOS (CONT'D) Jess, this is bullshit! Bring back my car! A horn honks, and Carlos steps toward the side of the road as a STATION WAGON passes right by him. He continues to stand in the street, although to the side. CARLOS (CONT'D) Jess, I know you're coming back here. I know you're not leaving me standing here. Carlos waits impatiently. Jessica pulls up in the Car and comes to a stop alongside him - she had gone around the block to pick him up. He gets in the passenger-side door. JESSICA Sorry. The Car pulls away. INT. CARLOS' CAR -- CONTINUOUS Carlos has a look of disgust on his face. JESSICA I would have brought the car back, but I need it. CARLOS So you ask. JESSICA I said I'm sorry. CARLOS Yeah right. And why the hell are you still driving? JESSICA Fine. The Car stops, Carlos and Jessica climb out of the Car and pass in back of it without a word. Carlos climbs into the driver seat, and Jessica the passenger seat. Jessica grabs Carlos's Nachos and starts munching them down, dipping each one into the CHEESE SAUCE that is on the side. CARLOS Where's the squirt? JESSICA At my place watching TV. 21 CARLOS You left her alone? JESSICA Just for a minute. I left my novel at Aaron's. CARLOS You need it now? Aren't you supposed to be watching her? JESSICA Yeah, I'm stuck with her all weekend. I'm just gonna get through these last few weeks like I promised, and I'm done, I did a good thing, and some other moron can take a turn being her big sister. CARLOS Don't know why you wanted another sister when you hate the one you got. Jessica needs to change the subject. JESSICA What're you up to? CARLOS Guess who stopped by. JESSICA Who? CARLOS Guess. JESSICA Mary Lynn. CARLOS Yes. Gigantic beast of a woman that she is. Jessica is obviously delighting in this. She enjoys Carlos fighting off the affections of this very unattractive girl. JESSICA Aw Carlos, I think you should give her a shot. She's probably one of those personality girls. CARLOS Yeah, what you know about personality? 22 JESSICA I bet she'll give it up right away. CARLOS Now that's something you know about. JESSICA You should go for it. Drain them pipes. CARLOS Fuck you, fuck you, fuck you. Carlos reaches down and blasts the radio as the Car speeds down the road. EXT. PIZZA SHOP -- MORNING Jimmy is carrying several full insulated pizza CARRYING BAGS, with several brown LUNCH BAGS full of food on top. Although the pile looks unwieldy, Jimmy has no trouble with it. He places the pile on the roof of his PIECE-OF-SHIT, opens the passenger door, and places the pile on the passenger seat. He closes the door, and pulls a DELIVERY LIST out of his pocket to examine while walking around to the driver's side. Jimmy gets into the driver's seat and pulls out his CELL PHONE. JIMMY (into his cell phone) Hey, Car, it's me. I got a delivery in the area so I'm stopping by a little early. See you in a little while. Jimmy hangs up, starts his Piece-of-Shit, and pulls out of the parking lot. EXT. COUNTY ROAD -- MORNING A POLICE CAR is sitting off the road, positioned to surprise unsuspecting speeders. The lone occupant, DEREK, twenty, about 6' tall with athletic build, in his police-officer uniform, is reading the SPORTS SECTION of a newspaper. INT. DEREK'S POLICE CAR -- CONTINUOUS OTS on Derek as he turns the page and continues reading the sports section. A young preppy high school PUNK speeds by in a CORVETTE - the RADAR GUN reads 93 m.p.h. As he passes, the punk looks straight at Derek, mouth open, clearly surprised by Derek's presence. Derek picks up his head and returns the stare of the surprised Punk as he passes. 23 DEREK Whoa. (returning to the Sports Section) Slow down, there, buddy. Derek's CELL PHONE rings. He reaches down, fumbles around, and brings it to his ear. DEREK (CONT'D) Yeah? EXT. RESCUE SQUAD -- CONTINUOUS ALLISON is seated on a small wooden bench in the yard in front of the rescue squad. HEATHER is pacing back and forth in front of her, CELL PHONE to her ear. Both are smoking CIGARETTES. Heather is still heated from seeing Steve's girl, and Allison is uncomfortable being around Heather, who may lash out at anything. We cut back and forth between Derek and Heather. HEATHER Are you seeing anybody else? DEREK Hello? HEATHER (louder) Hello?! Are you seeing anybody else?! DEREK No. HEATHER You're not cheating on me? DEREK No. HEATHER Be honest. DEREK You're startin' to annoy me. HEATHER You're fucking annoying me! DEREK (dismissive) Fine. HEATHER Don't you hang up! 24 DEREK Then calm down. You told me to tell you when you're in one of your moods? Well guess what? DEREK hears a click, hangs up, puts his Cell Phone down and goes back to reading the Sports Section. HEATHER See? That asshole's cheating. ALLISON Just because he won't move in with you doesn't mean he's cheating. HEATHER Ally, he's a cheater. That's what he does - he cheats. Now it's my turn just like all the others. Heather grabs her PURSE off the bench, replaces her Cell Phone, and pulls out her KEYS. HEATHER (CONT'D) Let's go. ALLISON Where? Allison gets up and follows Heather toward the parking lot. EXT. AARON'S HOUSE -- MORNING CARLOS has parked in front of an old house, which is in a high state of disrepair. JESSICA gets out of the CAR with Carlos' NACHOS. JESSICA You coming in? CARLOS No, but tell asshole I said hello. JESSICA See ya. Jessica shuts the door. As she walks away, Carlos cannot take his eyes off of her - he is obsessed. Jessica walks up the steps and bangs on the screen door. PITT, African-American, medium build, in his late teens, with thick-framed glasses, walks up behind the screen door and holds it open for Jessica to walk in. 25 JESSICA (CONT'D) Aaron here? PITT No, he went to yer place lookin' fer you. INT. AARON'S HOUSE -- CONTINUOUS Jessica walks in. Pitt let's the door slam shut. JESSICA Shit. I left my novel here. PITT You got no idea why he's lookin' for you, do you? JESSICA What're you talkin' about? PITT You been fuckin' around. JESSICA No I haven't. PITT Well, someone did somethin', cause Aaron caught somethin' an' he ain't happy about it. JESSICA He caught somethin'? What the hell did he catch? PITT Wouldn't say. Just said that he ain't been with anyone, so it musta been you. JESSICA Shit. PITT You humped someone, didn't you? JESSICA I didn't do shit. PITT Well it musta been the immaculate infection, 'cuz he got somethin'. He's lookin' fer you. 26 Jessica throws the Nachos on the coffee table and sits on the couch, head in her hands, on the verge of tears. JESSICA Shit, shit... PITT Yeah, you did it. JESSICA Fuck you, Pitt. INT. POOL, MEN'S BATHROOM -- MORNING COREY is MOPPING the floor. He glances up as Pedro steps over to him. Corey and Pedro talk and argue like two kids on a playground. PEDRO Hey, mehn. COREY What're you doing back? PEDRO I got your sister. (forming breasts with his hands) She got big. COREY That's my little sister. PEDRO She's hot, mehn. Esta buenisima. COREY Just take her back to our place! PEDRO I can't because we got no place. We got thrown out. COREY He threw us out?! PEDRO Si! And all our shit's still in there! And Pancho, too! COREY That's illegal, isn't it?! He can't just lock us out! 27 PEDRO Si, he sucks cock. I mean, I gotta go find a job, I smell like shit, I'm fucked! COREY Maybe you should talk to your boss. Like, ask him to take you back. PEDRO No, fuck him, mehn! Just gimme Mr. Cocksucker's address. COREY What for? PEDRO I take care of this. COREY Don't do anything that'll get us into trouble. PEDRO Do you think I'm stupid, mehn? Don't worry about this. I talk to him. But first I take care of business. Pedro bangs on a stall door, with no response. Pedro pushes the door to the stall open. PEDRO (CONT'D) Okay, mehn. Good. Voy a cagar. Pedro disappears behind the door of the stall. Corey leans his Mop against the wall and exits. EXT. CAR'S HOUSE -- DAY JIMMY pulls his PIECE-OF-SHIT into the driveway of what appears to be a one-story house, next to a RANGE ROVER. He climbs out with the strap of his BACKPACK hanging over one shoulder and walks around the house to the back yard. The yard slopes significantly from the front yard to the back yard, and the view of the back of the house reveals two stories. As Jimmy turns the corner, he spots a black CAT walking up to him. He grabs the Cat. INT. CAR'S HOUSE -- CONTINUOUS WIDE on Jimmy holding the Cat behind a set of sliding glass doors, one door partially open. He enters and shuts the door behind him. Music is playing through stereo speakers, and a black-and-white movie is playing on the TV with the sound shut off. CAR, an Asian- American late-twenty-something, is sitting back on the couch facing 28 the TV. Magazines, junk food, remote controls and a CORDLESS PHONE are spread out on the coffee table. If Car notices Jimmy enter the room, he shows no sign of it. JIMMY Saw your cat outside. Jimmy tosses the Cat on the floor, and it scurries off to another part of the house. Jimmy sits in a recliner beside the couch, glad to take a load off. Jimmy takes a peak at the TV. JIMMY (CONT'D) I gotta get back to work. I got more pies in the car. No response. The Cordless Phone starts ringing. Car remains perfectly still. JIMMY (CONT'D) Car? No response. The Cordless Phone continues to ring. Jimmy leans over from his chair and waves a hand in front of Car. Nothing. Jimmy jumps up from his recliner. He stares at Car. He steps over, takes two fingers and checks Car's pulse. He stands back, unsure of what to do. Hesitant, Jimmy walks over to a closet, opens the door, and slides a GYM BAG out into the room. He opens the Gym Bag and pulls out a large bag of MARIJUANA and a few jars of K. He throws them into his Backpack, zips up the Gym Bag, and puts it back into the closet. Jimmy exits through the sliding glass doors. EXT. CAR'S HOUSE -- CONTINUOUS Jimmy shuts the doors behind him. He stops in his tracks just outside the doors, thoughts running through his mind. INT. CAR'S HOUSE -- CONTINUOUS WIDE on Jimmy through the doors as he about faces and stares into the house. He slides the doors open and re-enters. He picks up the Gym Bag and carries it to the front of the couch. He sets down Gym Bag and drops to his knees, all while noticing that Car appears to be staring at him. He unloads the remaining contents of the Gym Bag into his Backpack, including a few bags of PILLS, a few more jars of K, and two large bags of WHITE POWDER. He throws one strap of his Backpack over his shoulder and stands in front of Car. Jimmy stares at Car. 29 EXT. CAR'S HOUSE -- CONTINUOUS WIDE on Jimmy as he throws his Backpack into his trunk, climbs into his Piece-of-Shit, and sits, reflecting. INT. JIMMY'S CAR -- LATER Jimmy is driving through semi-busy traffic. Music is blaring from the radio, and the driver-side window is open, making the noise in the cockpit quite loud. Jimmy's left hand is simultaneously wrapped around the steering wheel and the DELIVERY LIST, which is hanging down over the steering wheel so that he can read it. Jimmy's CELL PHONE rings. JIMMY (over the wind and music) Yeah, it's Jimmy! MATT (O.S.) (barely audible) Hey Jimmy, it's Matt. I need some K. Jimmy turns off the radio and begins rolling up the driver-side window. JIMMY Matt?! Speak up, man, I can barely hear you! INT. MATT'S BEDROOM -- CONTINUOUS MATT, in his late teens, has a very short buzz-cut. He's wearing an old t-shirt and faded cargo-shorts, and he's sitting up on the edge of his unmade bed. Matt's bedroom is a shithole, with dirty clothes piled everywhere. He's talking into a CORDLESS PHONE, using his free hand to rub the back of his neck nervously. MATT (semi-whispering) I need some K, dude. I need it for tonight. We cut back and forth between Jimmy and Matt. JIMMY (still rolling up the window) What?! MATT (semi-whispering) Jesus Christ, Jimmy! My folks are home! I need some K, dude! 30 JIMMY Alright, alright! I got it, man, got plenty! I'll see you tonight! Jimmy hangs up and begins to roll down the window. The cell phone begins ringing again. Jimmy reverses himself and begins rolling the window back up. JIMMY (CONT'D) Yeah, it's Jimmy! We cut back and forth between Jimmy and Matt. Matt is now pacing back and forth in his shithole room. His voice is hushed, although the sense of urgency in it is obvious. Jimmy's still talking loud, as his Piece-of-Shit does not provide a quiet ride. MATT Jimmy! Jesus, man! Listen to me! I need one a' your special deliveries - I won't be around tonight! JIMMY Alright, man, when do you need it?! MATT Like, now, dude! For tonight! I'm taking off! JIMMY Matt, you're way out of the way, man! Wait for another delivery. MATT Look, I need it now, man! Now now now! I'm takin' off! JIMMY What's the rush?! MATT (finally confiding) Look, dude, I'm takin' out this girl - a friend of Setzer's. He said I could bang her easy if I had some K. JIMMY Really?! MATT Easy, dude, easy. Setzer's words - it's in the bag. Jimmy's eyes get very wide. 31 JIMMY Jesus! Jimmy slams on the breaks and cuts the wheel to the left. Too late. Jimmy rocks forward as the stress balls that were sitting on the passenger seat fly to the floor. EXT. TRAFFIC INTERSECTION -- CONTINUOUS Jimmy's Piece-of-Shit has just rear-ended another CAR of equal value parked in front of a STOP SIGN in an otherwise empty intersection. The DRIVER of the forward Car stirs. INT. JIMMY'S CAR -- CONTINUOUS Jimmy has his right arm draped over the Pizza Boxes in the passenger seat, protecting them from flying forward as a parent would have instinctively reached to hold back a child. His Cell Phone starts ringing again. He slowly begins to stir. EXT. TRAFFIC INTERSECTION -- CONTINUOUS The driver, DAVE, a large, ripped, soft-spoken juicehead, gets out of the forward car holding the back of his neck. He slams the door shut with his free hand, pissed, and staggers towards Jimmy's car. A twenty-something FEMALE PASSENGER is sitting motionless in the passenger seat. Dave glances up and sees Jimmy. DAVE Jimmy? (still dazed, but immediately friendly) Hey, what's up, man? Jimmy turns off the ringer on his Cell Phone and gets out of his vehicle. JIMMY Shit, Dave, sorry 'bout that. I was talkin' on the phone. I didn't see the stop sign, I guess. DAVE Don't sweat it. (regarding his Car) I could give a shit about this thing. I was hopin' some rich doctor or lawyer or somethin' hit me. Jimmy notices the Female Passenger in the passenger seat and walks toward her, with Dave following. JIMMY Holy shit, man, is she alright? 32 Jimmy and Dave both stand near the passenger side of the car. The window is completely open. The Female Passenger lies motionless, bleeding noticeably from the forehead. DAVE She'll be alright. You didn't hit us that hard - it's gotta look worse than it is. JIMMY What're you, a fuckin' doctor? We need ta get her to a hospital. DAVE Fuck that, you'll have all kinds 'a problems if we do that. Cops, insurance and whatnot. You probably got drugs on you... JIMMY Dave, look at her fuckin' head! She's bleedin' all over the place! DAVE Just give her a minute, she'll snap out of it. She's a stripper, for god-sake. JIMMY That's retarded. The Female Passenger begins to slowly stir. It is clear she is out of it - still very woozy. DAVE See? I told ya. JIMMY Dave, you're a sick fuck. I'm calling 911. Look at the blood! Jimmy reaches for his Cell Phone, but Dave again objects. DAVE Put that shit away. I'll take her home and give her some K, she'll be fine. JIMMY She needs a doctor. What the hell's K gonna do? DAVE Jimmy, listen, she's gonna be fine. A guy like you should be avoidin' that kinda' attention. 33 JIMMY You should take better care of your girl. DAVE Bro, she ain't my girl. She plows through all my drugs, and I fuck her like a goddam whore. She's a whore. FEMALE PASSENGER (O.S.) Fuck you, Dave, you asshole! DAVE See, she's fine. Dave lights a CIGARETTE. JIMMY Holy shit. You're fucked up. (seeing an opportunity) Hey, you need any juice or anythin'? DAVE No, man, I'm good. JIMMY You sure? Look, man, I just got a buncha' stuff. Coke, e, K. I gotta sell it fast, you can sell it to your crackhead friends whenever. DAVE You been placin' bets with Bobby the Bookie again? JIMMY No. I'm just, I'm payin', like, twenty percent on my cards and shit, and it drives me fuckin' nuts, pissin' all my money away. DAVE Sellin' drugs ta pay off the plastic, huh? JIMMY You want it? DAVE Look, I'm definitely interested in a little bit for myself, definitely, but I ain't no dealer like you. Lemme think about it. JIMMY Hey, your nose is bleedin'. 34 Dave reflexively puts a finger to his nostril and examines it for blood. DAVE Seriously? JIMMY No, just horsin' around. DAVE Listen, I gotta get going. Patch her head up and shit. JIMMY Yeah. (regarding Dave's Car) Sorry, man. DAVE Don't even sweat it, man, I told ya. Jimmy and Dave get in their respective cars and drive off. EXT. POOL, SWINGS -- DAY EMILY is seated on a swing off to the side of the gated pool area, smoking a CIGARETTE, looking in through the gate at the pool. She's wearing an old, yet barely worn, BASEBALL CAP. COREY (O.S.) You smoke?! EMILY Yeah, so? You do drugs. Corey enters the frame, grabs the Cigarette and stomps it out, but Emily's nonchalant demeanor remains. COREY How would you know? EMILY Everybody knows my brother does drugs. COREY So you heard about that thing that happened? EMILY Yeah. Everybody knows about that, too. COREY If you think so highly of me, what the hell are you doing here? 35 EMILY I'm just saying. Why'd you try to put everything back in the house? COREY We ran outta of gas. We were right outside his house - what the hell else were we supposed to do? He wasn't supposed to be home for another hour. At least he took it easy on us. EMILY (changing the subject) Here, I brought this. Emily hands Corey the Baseball Cap. Corey is caught off-guard. COREY What for? EMILY Dad gave it to you, remember? You left it. I brought it for you. COREY Keep it. I don't wear hats. EMILY I don't want it. Corey has no desire to wear it, so he holds it. COREY You go to see him at all? EMILY In prison? No, not lately. COREY So what's the problem? Vincent hitting you? EMILY Vincent? Vincent's gone. She's on Victor now. COREY What happened to Vincent? EMILY He found out about Victor. 36 PEDRO (O.S.) (to Corey) Vamos, I need the address! I have a pen in the truck! Pedro is standing at the gate. COREY So is Victor hitting you or what? EMILY No. COREY What then? EMILY I don't wanna talk about it. Forget it. PEDRO (to Corey) Hurry up, mehn! EMILY You know he has porno magazines all over his truck. COREY So? Corey heads toward the gate and spots KEVIN, a young boy of about ten, sitting on the MOPED that was leaning up along the interior of the pool-area fence. COREY (CONT'D) Hey, Kevin, get off my bike, alright? KEVIN It's a moped. COREY Just lay off it. Kevin gets off. Corey continues toward the gate. EXT. POOL - PARKING LOT -- MOMENTS LATER The driver-side door of a TOW TRUCK is swung wide open, with "ATHENS TOWING SERVICE" written on side. Pedro is leaning one hand on the rolled down window and his other hand on the roof of the Tow Truck, watching Corey, who is leaning over the Tow Truck's hood, writing Mr. Carson's address on a piece of PAPER with a PEN. PEDRO Gracias. 37 Pedro throws the Paper and Pen into the Tow Truck. PEDRO (CONT'D) Oye, don't get mad, but would you be mad if I try to fuck your sister? COREY If you think you can. PEDRO Maybe you think you can talk to her for me? COREY Pedro, she's fifteen! PEDRO No way, mehn. (forming breasts with his hands) No con esas tetas. COREY I'll have you sent to jail, man. I'm serious. PEDRO No way she is fifteen. She looks way older. COREY She'll look a lot younger on the witness stand, with my mom sitting in the courtroom. PEDRO Bueno, tell her I say good-bye. I call you soon. Pedro climbs behind the wheel as Corey holds the door open to talk to him. COREY So what're you gonna do? PEDRO I'm gonna find Mr. Cocksucker and say, "Look, mehn, let us into our fucking home." Corey steps aside as Pedro shuts his door and turns the ignition. 38 COREY Wait a second... Why are you still driving this thing? I thought you got fired. PEDRO Si, si, but I need it. How am I gonna drive without my truck. They fired me, mehn. Corey watches as Pedro pulls out. EXT. POLICE STATION -- DAY ESTABLISHING SHOT on the police station with a number of POLICE CARS parked neatly in front. Two middle-age MALE POLICE OFFICERS are standing in front of the entrance, talking. Heather and Allison's AMBULANCE is parked in the lot across the street, facing the police station. INT. AMBULANCE -- CONTINUOUS The engine is off. HEATHER is behind the wheel and ALLISON is slouched back on the passenger seat, both watching the two Male Police Officers standing in front of the building. ALLISON I hate this job. HEATHER I should pick up one of them assholes. ALLISON Don't you have an appointment with Dr. Cook? HEATHER Five-thirty, and I'm not missing it. ALLISON Derek probably thinks you're sleeping with your doctor. There's nothing wrong with you. HEATHER (holding the lower portion of her right ribcage) Ally, I have a pain right here that has nothing to do with my head. My dad died of heart disease, and if that asshole taught me anything, it's better to be paranoid than dead. 39 A FEMALE POLICE OFFICER, a prim-and-proper plain-jane 5'5" woman in her early twenties, exits the building and walks over to talk with the two Male Police Officers. HEATHER (CONT'D) That's her. Tess. ALLISON You're just guessing. HEATHER Ally, I know that's her. That's his type, too. That little slut. Both Heather's and Allison's BEEPERS go off. They both look down at their Beepers and sit up in their seats. ALLISON Harry's waiting. HEATHER Sorry if I snapped. ALLISON You didn't snap. HEATHER I mean this morning. ALLISON Oh. That's okay. Heather starts the Ambulance and starts to pull out of the lot. HEATHER I'm just afraid its gonna be the whole thing all over again with Derek, and then I've got to find some other asshole, and do it all again. I'm sick of the whole cycle. ALLISON So do something different. HEATHER I'm trying, but he's fucking it all up. As they pull out of the lot, the two Male Police Officers head toward their Police Cars and the Female Police Officer heads back inside the station. INT. AARON'S HOUSE -- CONTINUOUS JESSICA is on a PHONE, holding a bookmarked trash NOVEL in her hand. PITT is sitting on the couch watching TV. 40 JESSICA Yeah, where are you? CARLOS' VOICE Right down the street, gettin' some more nachos. JESSICA Can you just come back and get me? Hurry up. Jessica looks up to see TROY entering the house with AARON behind him. TROY is a shaggy, 5'10" pothead slacker in his late teens, wearing beat-up jeans, a t-shirt with a faded logo on it, and light hair above his lip and on his chin. AARON, a burly mutt, about the same age and only slightly shorter, wearing cut-off cargo pants with one of the thigh pockets ripped off, a sleeveless shirt and a tattoo on his left shoulder. Troy notices Jessica immediately. TROY Holy shit. JESSICA Aaron, I don't know how the hell you got... AARON (interrupting) Fucking bitch! Aaron shoves Troy roughly out of the way as Jessica bolts out of the room. PITT (to Jessica) Use the back door, yo! Jessica runs out the back door and around the front of the house. Aaron sees her turn the corner of the house, and he turns around to cut her off. AARON (to Pitt) Man, don't be helpin' that bitch! PITT I don't want to see you be hittin' no girl. Just calm your ass down. AARON Fuck you! Aaron runs out the front door after Jessica. 41 TROY He's gonna kill her. EXT. AARON'S HOUSE -- CONTINUOUS Aaron is out the front door, yelling at Jessica who is further down the street. AARON Where you goin', bitch?! Jessica runs to Carlos's CAR, opens the door, throws the Novel in and jumps in after it. She throws on her seatbelt and rifles through her purse, looking for her pepper spray. JESSICA Drive! CARLOS (starting the Car) What's the deal? Aaron, holding a ROCK slightly bigger than his fist, smashes the passenger-side window. CARLOS (CONT'D) What the fuck! JESSICA Fucking drive! Aaron reaches in and grabs Jessica's hair and begins to rip her out of the car, cutting his own arm while doing so. Aaron growls, more in anger than pain, as he yanks with all his might. Jessica is holding onto the inside of the passenger door with one hand, and is scratching and clawing at Aaron to get Aaron to release her with her other hand. Jessica's seat belt clearly is the only thing keeping her in the car. Carlos is pulling away slowly. Aaron releases one hand from Jessica's hair and punches at the top of her head. JESSICA (CONT'D) Fuck you! AARON Fuck you, you filthy fuckin' whore! Aaron repeatedly tries to hit Jessica with his free hand as Carlos pulls into the street. Aaron runs along with the car. Jessica reaches toward Aaron with a closed fist, where she is holding her PEPPER SPRAY. She sprays at Aaron but misses. Aaron grabs at her fist with his free hand and rips the Pepper Spray from Jessica. Jessica screams in pain as Aaron sprays away. AARON (CONT'D) You like that, bitch?! Huh?! 42 Carlos swerves violently to the side towards a parked CAR along the side of the road. Aaron is plowed along toward the Car, but releases Jessica at the last possible second, just avoiding a collision with the Car. Carlos was not fooling around. Aaron watches them tear down the street before he about-faces and walks briskly back toward the house, where Troy is standing on the front porch watching the action. INT. CARLOS' CAR -- CONTINUOUS Jessica is still reeling from the pepper spray. She can barely stammer out her words. JESSICA Oh my God, my fucking eyes! CARLOS Jesus, look at my car, Jess! JESSICA That fucking... asshole! CARLOS Now I'm screwed too. Carlos turns to look through the rear window of his car - all clear. JESSICA (practically sobbing) I'm so sorry. An otherwise believable apology, except that Carlos knows Jessica too well. Jessica does not want to be in this alone. Carlos cuts the wheel to the right and tears down a side street. EXT. LANDLORD'S HOUSE -- DAY Pedro pulls his TOW TRUCK and parallel parks on the street in front of the house. Pedro gets out of his Tow Truck and walks up to the front door. He rings the doorbell. There is no answer, so he rings the doorbell again, then knocks on the door. Again no answer, so he bangs on the door vigorously. He leans over and peers inside the window. As he does so, MR. CARSON opens the front door, apparently having just woken up. MR. CARSON Pedro? What're you doing here? Get the hell off my porch. 43 PEDRO Hey, mehn, let me into my fucking apartment. MR. CARSON Either pay me or get off my porch. Mr. Carson shuts the door. Pedro turns around and eyes the gray FORD TAURUS parked behind his Tow Truck. He walks back to his Tow Truck and grabs some tools. He begins hitching up the Ford Taurus to his Tow Truck. Mr. Carson parts the curtain behind his front window, eyes wide as he watches Pedro. The front door opens, and Mr. Carson comes storming out. MR. CARSON (CONT'D) Pedro! What the hell are you doing?! PEDRO I'm hitching up your car to my tow truck. MR. CARSON Let it down right now you psychotic sonuvabitch! PEDRO Let me in my fucking apartment, mehn! MR. CARSON Pay the damn rent! PEDRO I'm gonna pay, mehn! I got fired! MR. CARSON Bullshit! You never pay rent, and I know you've had a job! I'm sicka' this shit! Put down my car, or I'm callin' the cops to haul your ass outta here! PEDRO Listen, don't be a cocksucker. It's not needed. MR. CARSON I'm done with it. Let my car down. PEDRO I need a job, mehn, then I pay you. MR. CARSON Margaret wants you out of the house anyway. Now let my car down. 44 PEDRO You need some balls, mehn! Why do you let her slap you around?! MR. CARSON Nobody slaps nobody around. PEDRO Hay, por favor! I come by here to pay rent, I always hear her slapping your ass around. MR. CARSON I'm going inside to get the phone. If you're still here when I come back out I'm gonna dial the police with you standing right here next to me. Mr. Carson proceeds inside. Pedro watches Mr. Carson proceed back into the house as he releases the Ford Taurus back down to the ground. EXT. BASEBALL FIELD, PARKING LOT-- DAY The baseball field is empty. MATT is leaning against the driver- side door of his CAR, which is parked all by itself near a dumpster at the edge of the lot. JIMMY pulls his PIECE-OF-SHIT up and parks next to the driver-side door of Matt's Car. Jimmy climbs out of his Piece-of-Shit. MATT Dude, what the hell?! I'm ready to go here! Where the hell were you?! JIMMY I got into a freakin' accident! Matt starts walking to meet Jimmy at the rear of the cars. MATT Bullshit, man, fucking bullshit! You make me come all the way out here! I been waitin'! JIMMY Look, you're pissin' me off now! Remember who's doin' fuckin' who the favor! I got shit I gotta do! Matt pulls his WALLET out of his back pocket. 45 MATT (about to blow, then controls himself) Fine, fine! Just give it to me. JIMMY I didn't want to bring my bag to your house, with your fuckin' parents home. Jimmy opens his trunk and pulls his BACKPACK out. JIMMY (CONT'D) Where's my Grand Theft Auto? MATT I lent it to Jerry. JIMMY What'd you do that for? Get it back. MATT He moved down the shore. This morning. Rushed, Jimmy blows it off and pulls a jar of K out of his Backpack. JIMMY Alright, sixty bucks. MATT What? Fer one freakin' jar?! JIMMY Dude, stop your bitchin' and pay up. I told you this shit, I told you. MATT You said extra, I thought you meant, like, fifty! JIMMY Asshole, fifty is the regular fuckin' price! MATT This is fuckin' extortion! Knowin' I'm meetin' this chick, so you jack up the price! JIMMY Look! This is a pain in my ass, comin' way out here, and I said I'd charge you extra. I don't give a shit if its ten over the regular price, or twenty-five over your fuckin' "discount price," but you're payin' sixty bucks for this jar. 46 MATT (weakly) Man, what the hell. (looks in his Wallet) I need some cash for food and drinks, man! I'm takin' this girl out! JIMMY (considering) Gimme fifty even. MATT C'mon, man! I need as much cash as I can get! What if she wants to go somewhere?! And gas! Dude, just take forty-five! JIMMY (breaking) Fine, you cheap-ass fuckin' bastard. Jimmy accepts the Forty-Five Dollars, and gives Matt the jar of K. Jimmy is pissed. JIMMY (CONT'D) Here, man, go fuckin' get high. MATT (almost apologetic) See ya. Jimmy throws his Backpack back in the trunk and slams it shut. EXT. POOL, CLUBHOUSE -- DAY COREY is on a PAYPHONE outside the restrooms, talking to PEDRO. PEDRO'S VOICE He said "no," mehn. The cocksucker won't let us back in. EXT. CONVENIENCE STORE -- CONTINUOUS Pedro is on a PAYPHONE. We cut back and forth between Pedro and Corey. COREY That's great. PEDRO Hey, this isn't my fault, mehn. A short beat as Corey thinks. 47 PEDRO (CONT'D) Hello? Corey hangs up and puts more coins into the Payphone. Pete approaches, looking for Corey. PETE Corey. Corey tries to phase out Pete's voice. PETE (CONT'D) The Blandinos just called again. The broken glass is still there. ROB'S VOICE (via the Payphone) Hello? PETE And the grass needs to be cut. COREY (hurriedly to Pete) Okay, I'll take care of it. PETE (sarcastic) Don't forget to put gas in it. Pete exits. COREY Rob? It's Corey Becker. ROB'S VOICE Hey. COREY You got any spare cash? EXT. POOL -- MOMENTS LATER EMILY is laying back in a lounge chair. Corey enters the pool area from clubhouse carrying the BASEBALL CAP. He walks over to his MOPED chained to the gate, throws on his Baseball Cap, unlocks his Moped, and pushes it through the gate where resident KIDS are gathered around a ping pong table. Emily watches as he hops on the Moped and throws on his HELMET. KID #1, one of the younger kids at the table, spot Corey in the distance. KID #1 Corey! Hey Corey! Corey looks over as he starts his Moped. 48 KID #1 (CONT'D) Gorski says he can beat you! COREY Maybe he can. KID #1 Yeah right! Get over here and whip his ass real quick! Corey kicks the stand up on his Moped and rides off. KID #1 (CONT'D) (shouting after him) Aw, c'mon! Corey! EXT. RESCUE SQUAD -- DAY ESTABLISHING SHOT. The small wooden bench on which Heather and Allison were sitting earlier is empty. INT. RESCUE SQUAD, LOCKER ROOM -- CONTINUOUS HEATHER and ALLISON are changing back into their civies and putting away their EMS gear into their lockers. HEATHER Are you comin' with me to register tomorrow? ALLISON I dunno. HEATHER Why not? ALLISON My brother spent six thousand on tech courses and he's still painting houses. HEATHER (looking at her watch) I'm gonna be late. ALLISON Why don't you just reschedule? HEATHER You know how booked he always is. I don't wanna be referred to that quack Hengis. I don't trust women doctors. ALLISON Dr. Hengis is fine. You're the quack. 49 HEATHER Ally, I'm really feeling something. A deep ache, like someone's crushing me. This can't wait. ALLISON You still feel like going out? HEATHER Hell yes. Heather shuts her locker. EXT. ROAD -- DAY JIMMY is driving his PIECE-OF-SHIT with a clear look of anger and frustration in his face. The windows are down, but the radio is no longer playing. INT. JIMMY'S CAR -- CONTINUOUS Jimmy's CELL PHONE rings. He answers. JIMMY Yeah, its Jimmy. PIZZA POP'S VOICE Hey-a Jimmy! Where are you?! We got two calls from 45 Smith Street wondering where their food is! JIMMY (over the wind noise) I got into an accident! PIZZA POP'S VOICE An accident?! Are you okay, Jimmy?! JIMMY I'm fine! My car's banged up, but I'm on my way! PIZZA POP'S VOICE Okay! Drive careful! JIMMY Yeah! Jimmy hits a button to hang up and shuts the Cell Phone, but the cell phone immediately rings again. Jimmy flips the cell phone open again. His eyes grow wide as he stares at the caller ID, which reads "CAR LEE." Jimmy stares at the Cell Phone as it continues ringing and ringing. 50 He hits a button and replaces the Cell Phone to his ear. JIMMY (CONT'D) Hello? KWON'S VOICE Jimmy? JIMMY Who is this? INT. CAR'S HOUSE -- CONTINUOUS KWON, an Asian-American in his early twenties, holding to his ear the CORDLESS PHONE that was on the coffee table, is pacing in front of CAR, who is still seated on the couch in the exact position we saw him last. The GYM BAG that Jimmy emptied earlier is on the floor at his feet. We cut back and forth between Jimmy and Kwon. KWON You don't have caller ID? JIMMY I'm driving. Who is this? KWON Kwon. JIMMY Hey, Kwon. What's up? Where are you? KWON I'm on my cousin's phone. JIMMY Where's Car? KWON He's right here. He said you guys were supposed to meet. Jimmy runs a yellow light that turns red while he's still crossing the intersection. JIMMY He did? Well, yeah, I stopped by this morning. Nobody was there. KWON You didn't come in? JIMMY No. Nobody answered the door. 51 KWON Well, you want to come by now? I'll be here. You can make your pick-up. JIMMY Can't do it now. I'm delivering on the other side of town. KWON Deliveries? Jimmy, fuck the pizza. Stop by and get your shit. JIMMY I can't. What's the big deal? Jimmy, very anxious, runs a red light. A CAR going the other way stops and honks. KWON Jimmy, my cousin's dead, and there's a shitload 'a shit missing from our house. JIMMY Car? KWON What do you think? JIMMY I don't know. The TRAFFIC in front of Jimmy slows, and Jimmy coasts to a standstill at the tail of the traffic and in the middle of a busy intersection. KWON I want you to come over here and tell me everything that happened when you stopped by. JIMMY Nothing happened, Kwon. I knocked and no one answered. KWON You didn't ring the doorbell? Jimmy's light turns yellow while he is still at a standstill in the middle of the intersection. JIMMY That's what I meant. KWON And no one answered. 52 JIMMY No. No one answered. KWON You left a message on our house phone this morning. Why didn't you call our cells when you got here? Jimmy's light turns red, and he is still at a standstill in the middle of the intersection. A CAR at the head of the cross traffic inches up to Jimmy's Piece-of-Shit and honks, but Jimmy does not seem to notice. JIMMY (stumped) Why didn't I call. Good question. KWON What the fuck do I care, you think it's a good question?! Are you fucking kidding me?! JIMMY Look, I didn't think of it. I got a lotta shit on my mind right now. KWON Jimmy, do you have my drugs? JIMMY No. The cross traffic honking grows louder, even though there is nowhere for Jimmy to go. KWON Alright. If you hear anything, you call me. JIMMY I will. Sorry about Car. KWON Thanks, Jimmy. Jimmy hangs up. EXT. INTERSECTION -- CONTINUOUS Cars are still honking at Jimmy as he continues to sit at a standstill in the intersection. 53 JIMMY (generally to the other drivers) Fuck off! Jimmy throws his Piece-of-Shit in reverse, then cuts left, through and out of the intersection. EXT. JIMMY'S APARTMENT -- DAY JIMMY parallel parks his PIECE-OF-SHIT in front of his apartment and exits carrying his BACKPACK. He unlocks the door to his apartment, opens it, and steps one foot inside. INT. JIMMY'S APARTMENT -- CONTINUOUS Jimmy slides the Backpack into his apartment. TIGHT on the backpack as it slides across the hardwood floor, straight towards the camera, to a halt immediately in front of the camera. Jimmy steps back outside and shuts the door. EXT. ROB'S HOUSE -- DAY COREY is standing in the middle of an unkept lawn, watching ROB, about eighteen and wearing Corey's HELMET, ride Corey's MOPED in circles around him on the lawn. He's treating the Moped rather roughly, pulling wheelies and kicking the tail end out repeatedly. Corey is watching impatiently, holding the BASEBALL CAP at his side. Rob jumps the Moped over the curb into the street, then turns up the driveway and pulls up alongside Corey. Rob removes the Helmet. ROB I'll take it. INT. AARON'S HOUSE -- DAY AARON returns from the kitchen drinking from a can of SODA. TROY and PITT are on the couch, VIDEO GAME CONTROLLERS in their hands, waiting for the VIDEO GAME to load. Troy is lighting a CIGARETTE. AARON (to Troy) C'mon, let's go find her. TROY I'm not gonna go scouring the countryside lookin' fer her. AARON Gimme yer keys. PITT (to Troy) Don't give him your keys. 54 AARON (to Pitt) You want a smack? I am seriously gonna smack yer ass. PITT Don't give me no attitude, just cause you got mushrooms growin' on your balls. AARON (to Troy) Let's go, man. (re Pitt) Fuck this asshole. TROY No, man, I don't wanna see you hittin' Jess neither. The PHONE on the coffee table rings. Pitt picks it up. PITT Dominoes. (a beat, then to Aaron) It's her. Pitt tosses the Phone to Aaron. EXT. NEIGHBORHOOD STREET -- CONTINUOUS CARLOS has parked his CAR along the side of the street. JESSICA is in the passenger seat on her CELL PHONE. AARON'S VOICE Jess, come back here. JESSICA Yeah right. INT. AARON'S HOUSE -- CONTINUOUS Aaron is walking into the kitchen, and although he is furious, he is keeping his voice down so that Pitt and Troy do not hear. Cut back and forth between Aaron in his house and Jessica in Carlos' Car. AARON Jess, I'm serious. We need to talk about this. JESSICA Isn't that what we're doing? AARON Fine! Who'd you fuck? 55 JESSICA Nobody. AARON Bull-fuckin'-shit! I got bumps on my dick, and I never cheated! JESSICA Maybe its just a rash, 'cause I don't have anything. AARON Why don't we go to the doctor and get you checked out? JESSICA I can go to the doctor by myself. And if I have it, I got it from you! AARON You're fuckin' fulla shit! JESSICA Whatever. If you come after me again, I'm gonna find someone to kick your ass. I mean it. AARON I believe it, you fuckin' whore! 'Cause it's probably the same dude you been bangin' behind my back! JESSICA I never cheated. AARON Tell Carlos I'm gonna kick his ass. Aaron hangs up. INT. CARLOS' CAR -- CONTINUOUS Back to Jessica and Carlos in Carlos' parked Car. CARLOS (anxious) What's up? JESSICA He's pissed. Says he's gonna kick our asses. CARLOS Great. I got a baseball bat in the trunk. 56 JESSICA Good. CARLOS I gotta go to work in an hour. JESSICA Call in sick. CARLOS Yeah, maybe. You mean it when you said you were gonna find someone to kick his ass? JESSICA Yeah. CARLOS Who? JESSICA You don't know him. He graduated before us. Jessica notices something, turning to look out the broken passenger- side window. She's stares, interested. CARLOS He a big dude? JESSICA (still staring out the window) Not really, but he gets into fights all the time, at parties and stuff. And he knows a lot of people. Through the window, we see that Carlos' Car is parked across the street from Car's house, and that a POLICE CAR and a CORONER'S VAN are parked in front of it. Kwon is standing with a POLICE OFFICER, more distraught than the last time we saw him, answering questions. He's oblivious to Jessica and Carlos. CARLOS Call him. JESSICA I'd rather go over in person. CARLOS Why? Jessica turns back to Carlos. 57 JESSICA (not exactly confident) I can be more... persuasive in person. Jessica punches another number into her Cell Phone. CARLOS (disappointed) Swell. KATIE'S VOICE Hello, this is Katie Kinney! JESSICA Katie, it's Jessica. KATIE'S VOICE Where are you? JESSICA Have you eaten? KATIE'S VOICE I'm starving! JESSICA Okay, I'm going to be home in a little bit, okay? KATIE'S VOICE Alright. Jessica hangs up and throws her Cell Phone on top of the dashboard. JESSICA Drive. Carlos starts the Car. EXT. NEIGHBORHOOD STREET -- CONTINUOUS ESTABLISHING SHOT on the Car pulling back out onto the street as Kwon continues talking to the Police Officer in the background. EXT. LANDLORD'S HOUSE -- DAY ROB is riding his newly-acquired MOPED, with COREY on the back. Corey is holding Rob with one hand, his BASEBALL CAP with the other. He drops Corey off in front of Mr. Carson's house. As Rob pulls a wheelie and exits the frame, Corey walks up to the front door of the house. He rings the doorbell, reaching into his pocket and pulling out a wad of BILLS as he waits. Mr. Carson opens the door. 58 COREY Hey Mr. Carson. I got the rent. Mr. Carson opens the screen door, and Corey hands him the Bills. Mr. Carson begins counting them. COREY (CONT'D) Can you let us back into our apartment now? MR. CARSON This is only one month. You boys owe three. COREY That's all we have. We'll give you the rest later, as soon as we can. MR. CARSON When you get me the rest, I'll let you back in. COREY Mr. Carson, c'mon! This is just temporary. Pedro lost his job. MR. CARSON Bullshit. You're always late. You should spend less time trying to rob houses, and more time working. COREY Aren't you supposed to take us to court before you throw us out? MRS. CARSON (O.S.) Holy fuck, Shelby! Shut the goddam door already you stupid bastard! You're letting the cold air out! MR. CARSON (suddenly in a hurry) Tell it to my lawyer. COREY Aw, c'mon! Don't be like that! We're doin' our best! We're gonna be homeless! MRS. CARSON (O.S.) Shut the goddam door! MR. CARSON Three months! 59 Mr. Carson slams the door. COREY (banging on the door) C'mon! Corey stands and stares at the door a moment. He turns and leaves, resigned to a long walk back to the pool. EXT. DINER, BACK-LOT -- DAY PEDRO is driving nonchalantly toward the back-lot. A song is playing on the car radio. WIDE on a parked MUSTANG, a couple empty parking spaces on the passenger side of it. Pedro's TOW TRUCK backs up into the frame so that it's back end is almost touching the front end of the Mustang. Pedro climbs out of his Tow Truck, leaving it on, and starts walking around to the back of it. Suddenly remembering, he doubles back and sticks his head in through the driver-side window, checking the gas gage. It's more than 3/4 full. Satisfied, Pedro proceeds toward the rear of the tow truck and hitches the Mustang to the back of it. An older couple pulls into the parking lot and parks one car length from the Mustang. OLDER MAN and OLDER WOMAN climb out of their CAR. The Older Man has taken an interest in what Pedro is doing. OLDER MAN Hey, can I park here? PEDRO (very friendly) Si, si, of course. (motioning toward the Mustang) The transmission is broke. Transmissions on these cars suck. Older Woman notices that the front passenger-side tire is flat. OLDER WOMAN (pointing) Oh, and the tire's flat, too. Pedro steps around to the passenger side of the Mustang, surprised to see the FLAT TIRE. PEDRO Ah, si, but that's no big deal. That's fine, believe me. Older Man and Older Woman begin walking toward the entrance to the diner. 60 OLDER MAN Good luck. PEDRO Gracias! As Older Man and Older Woman proceed toward the diner, Pedro opens the door to his Tow Truck, and reaches in to hit the control which lifts the Mustang. EXT. DINER -- MOMENTS LATER Through the window we see PATRONS eating. Pedro drives by in his Tow Truck with the Mustang hitched to the back. INT. DR. COOK'S OFFICE, EXAMINING ROOM -- DAY HEATHER is sitting on the examining table, topless, holding her breath as DR. COOK runs a STETHOSCOPE on different areas of her back. Heather's BLOUSE and PURSE are lying on the examining table beside her. DR. COOK Breathe out. Heather lets her breath out. DR. COOK (CONT'D) It's official. You're as healthy as you were last week, and last week you were as healthy as an ox. HEATHER Are you sure you're using that thing right? I feel this ache (indicating her chest) Right here, like I'm being crushed between two boards. DR. COOK Nobody's crushing you. Honest. I'm sure. It's all in your head. I know a couple quacks... HEATHER I don't need a head doctor! DR. COOK I was just kidding there. Heather reaches into her PURSE and lights a CIGARETTE. Dr. Cook sighs - they've had a discussion about Heather's smoking before. 61 DR. COOK (CONT'D) Heather, if you're going to insist on ignoring my rules, at least put your blouse on before you light up. Heather hops off the bench and makes a sudden about-face. She is gesturing wildly, seemingly oblivious to the fact that she is half- naked. HEATHER Can't I be concerned about my health?! Is that so outrageous?! Dr. Cook is clearly uncomfortable conversing with Heather while her breasts are exposed. DR. COOK Heather... HEATHER I just don't want to be walking around tomorrow and drop dead because my heart collapses, and so that makes me weird or paranoid... DR. COOK Heather, there's nothing wrong with being concerned about your health. Please put your blouse back on. Heather grabs her Blouse from the table and puts it back on. DR. COOK (CONT'D) So I'll see you next week then. HEATHER (suddenly friendly again) Okay, yeah, see you next week. Heather leaves and shuts the door behind her. EXT. DEREK'S HOUSE -- DAY The sound of panting can be heard. Two people are having sex. There are no words, although the girl regularly lets out high- pitched groans, indicative of at least a little pain. INT. DEREK'S HOUSE, BEDROOM -- CONTINUOUS LOW ANGLE MEDIUM on ALLISON bent over the bed, mouth agape. She buries her face in the mattress, revealing DEREK thrusting from behind. Derek climaxes. Allison pops up from below. ALLISON I'm two pounds heavier I think. 62 Derek lies back to put his head on the pillow. DEREK Sorry. Allison lies on top, nestling her head in his chest. ALLISON It hurt. I knew it would hurt, but that was kinda worse than I thought. Does Heather... like it? DEREK She never let's me do it. ALLISON She doesn't? Why not? DEREK I don't know. She does shave though. How come you don't shave? ALLISON I don't know. I don't want to. Do you love her? DEREK I don't know. ALLISON How can you not know? DEREK She's got problems. ALLISON I don't understand you. Why do you even cheat on her with me? She's so pretty. So much prettier than me. DEREK She's a nutcase. I'll tell you what, I don't know why you do it. You should have a man of your own - we say it all the time, me and Heather. ALLISON Yeah, who? That slob you and Heather introduced me to last time? DEREK He outranks me. He's a good guy. 63 ALLISON Like me, I'm a good girl, and the best I can do is a guy that looks like that? DEREK No. ALLISON You must think so. You tried to set me up with him. DEREK I thought it was a bad match. It was Heather's idea. ALLISON So she thinks I can't do better. DEREK You know what she thinks better than me. Allison climbs out of bed, and her mood changes from thoughtful to business-like. She begins putting her CLOTHES on. ALLISON Let's get dressed, she'll be here. Derek looks calmly over at the ALARM CLOCK on the nightstand. DEREK Let's let her walk in on us, and look surprised. ALLISON Hurry up. Allison opens the door and walks out, a little bow-legged. INT. PIZZA SHOP -- DAY JIMMY walks through the front door. PIZZA POP spots him immediately from behind the counter. The PHONE rings, but Pizza Pop ignores it. PIZZA POP Hey-a Jimmy. Where you been? JIMMY Around. Deliverin'. PIZZA POP Hurry - sit down Anna eat something. We got more deliveries for you. Jimmy walks around the counter, grabs a couple of SLICES and throws them in the oven. Pizza Pop picks up the Phone. 64 PIZZA POP (CONT'D) (into the Phone) Poppy's! INT. JESSICA'S APARTMENT, LIVING ROOM -- DAY The door bursts open and JESSICA enters, followed by CARLOS. KATIE is watching TV. JESSICA Did your parents call? KATIE Nope! Where were you? JESSICA Out with Carlos. Jessica disappears into the kitchen. KATIE The VCR is broken. INT. JESSICA'S APARTMENT, KITCHEN -- CONTINUOUS Jessica tosses a FROZEN DINNER into the microwave. JESSICA (yelling to Carlos in the living room) 'Los, are you hungry?! CARLOS (O.S.) I guess. INT. JESSICA'S APARTMENT, LIVING ROOM -- MOMENTS LATER Jessica places two Frozen Dinners, complete with a FORK apiece, down on the coffee table. Katie grabs her Fork. KATIE Are we going to have TV dinners all weekend? JESSICA No. I promise. You want some milk? KATIE Can I have ice-tea? JESSICA Of course. (to Carlos) Can you make her some ice-tea? 65 CARLOS Aren't you gonna eat? JESSICA I'm gonna take a shower. Carlos is disappointed that Jessica wants to fix herself up to see Carter. Katie is already eating. INT. JESSICA'S APARTMENT, BEDROOM -- MOMENTS LATER We're behind JESSICA as she removes her SHORTS and her SHIRT. INT. JESSICA'S APARTMENT, LIVING ROOM -- MOMENTS LATER Katie now has a glass of ICE-TEA in front of her. Carlos is behind the TV and VCR, fiddling with the wires. KATIE Are you Jessica's new boyfriend? CARLOS No. KATIE I wish you were. I don't like Aaron. CARLOS Neither do I. KATIE Don't you like Jessica? CARLOS Kind of, I guess. She's nice. INT. JESSICA'S APARTMENT, BATHROOM -- CONTINUOUS Jessica showering, obscured by the semi-opaque glass shower doors. INT. DEREK'S HOUSE, KITCHEN -- DAY HEATHER, ALLISON and DEREK are seated at the table with CHINESE TAKE-OUT in front of them. A NEWSPAPER opened to the classifieds lies near Derek's place at the table. Derek and Allison are chowing down while Heather sits watching Derek. Derek is using a FORK. HEATHER Take a look at that paper. There's at least a half dozen apartments I circled that would be perfect. Derek continues chowing down, not responding. Derek's CELL PHONE rings, and he answers it. 66 DEREK Yeah? (beat) You're joking. (beat) Alright, ten minutes. Derek hangs up, stands up, and puts the Cell Phone in his pocket. HEATHER (guessing at the purpose of the call, completely frustrated) Great. DEREK That was Tess. Said I had to come back in. HEATHER Are you fucking Tess? DEREK What? No. Look, I gotta go. I'll see you at Carter's when I get off. Derek takes another bite, gets up and heads for the door. HEATHER I'm not dropping this! DEREK Since when do you drop anything? Derek exits as Heather's eyes hang on him. HEATHER You see that? He practically said yes. Heather gets up and walks in the direction of Derek's bedroom. Allison instinctively rises and follows. ALLISON What're you doing? HEATHER I'm gonna look through his shit. INT. DEREK'S HOUSE, BEDROOM -- CONTINUOUS Heather walks over to the bed and starts rifling through the mess on the nightstand. She picks up a tube of ASTROGLIDE and nonchalantly throws it on the bed. 67 ALLISON You're finally flipping, I think. HEATHER You're a lot of help, Ally. Really. Thanks. Heather opens the nightstand drawer and immediately pulls out a box of CONDOMS, showing them to Allison. HEATHER (CONT'D) See?! See?! ALLISON So what. Condoms. HEATHER Ally, I'm on the fucking pill. He hasn't used condoms with me for weeks. ALLISON So maybe those are left-overs. HEATHER Ally, these are not left-overs. He never used regular condoms with me. ALLISON (caught off guard) Why not? HEATHER Because if he did, he took two fucking days to come. I always made him wear ultra-thin, ribbed, anything but this shit. ALLISON He took too long for you? HEATHER Ally, I'd be done, and I'd have to lie there like another hour 'till he got off. I couldn't fucking stand it. Why the hell do you think I started on the pill, Ally? Me. Putting that hormone shit in my body. ALLISON How would I know? HEATHER Well that's why. (remembering) Anyway, that's neither here nor fucking there. That asshole is using 68 (re Condoms) these things, and not on me. ALLISON Just call him and ask him. HEATHER No, no, fuck that. We're going to go to the party, have some fun. When he's all good and drunk, you're going to ask him when I'm not around. ALLISON Yeah right. HEATHER Ally, I'm serious. If he's drunk and having fun, and you just work it in on him real casual, he may slip. He'll never admit shit to me. ALLISON He won't to me either. HEATHER Ally! Just fucking try it! ALLISON I don't wanna spy on him for you! HEATHER Ally, look, he's cheating on me, I know it in my heart, but I want him to admit it, alright? Before I fucking flush what's left of this shithole relationship down the toilet, I want him to admit it. ALLISON Fine, I'll see. HEATHER Fine. EXT. PIZZA SHOP -- DAY Jimmy is sitting in an alley behind the pizza shop, finishing a COKE with plenty of ice. Kwon emerges from the back door of the pizza shop. Jimmy sees Kwon, and hides his displeasure as best he can. KWON Hey, Jimmy. JIMMY What's up. 69 KWON I'm just looking for my stuff. Let's take a ride. JIMMY Where? KWON Your place. JIMMY Can't do it 'til after work. KWON You're sitting here on your ass! JIMMY I gotta eat. I'm going back to work now. My boss needs me - I'm the only delivery guy. KWON Is that your piece-of-shit out front? JIMMY Yeah. KWON Let's check that out. JIMMY I told you, I ain't got your shit. KWON Hey! Until I find the drugs, everyone is a suspect! Jimmy's Cell Phone rings. KWON (CONT'D) (regarding the call) Fuck that. Let's look in your car. Jimmy reaches into his pocket, but instead of a cell phone, he pulls out his car KEYS, which he tosses at Kwon. Kwon storms off, and Jimmy grabs his CELL PHONE out of his other pocket and answers it. JIMMY Hey, it's Jimmy. INT. DAVE'S APARTMENT, KITCHEN -- CONTINUOUS Dave is standing in front of finishing up blending a PROTEIN DRINK, holding a CORDLESS PHONE to his ear. Cut back and forth between Jimmy and Dave. 70 DAVE Hey man, it's Dave. I got happy news for you. JIMMY You want the juice? DAVE I told ya, I got plenty. But about the other stuff, I been thinkin' 'bout your problem, and I know a guy who could help you out. Buy a lot a' your shit all at once. JIMMY The juice? DAVE No, no. I'm talkin' 'bout the coke an' shit. I might know somebody. JIMMY (lowering his voice in case Kwon comes back) Who? DAVE This spear-chucker from Manville. Sold me some fake D-ball once. I tied his brother's dog to my front bumper and we talked it out. Turned out to be an okay guy. I gave him a call and he's definitely lookin'. JIMMY For how much? Dave, having walked into the living room, takes a seat on the couch next to the FEMALE PASSENGER we saw earlier, her head now bandaged. She is snorting a line of COKE off of the coffee table. DAVE Well, he's pretty small time, but he's itchin' to move up a few notches. JIMMY He's got money? DAVE He talks so much shit it's hard to tell. You need to talk to him. Jimmy considers, then pulls a PEN and his DELIVERY LIST out of his pocket. He turns the Delivery List over to write on the back. 71 JIMMY Gimme his number, man. EXT. PIZZA SHOP -- CONTINUOUS The doors of Jimmy's PIECE-OF-SHIT are flung wide open. Kwon is hauling Jimmy's spare TIRE out of the trunk. JIMMY Kwon, what the hell are you doing? Kwon dumps the Tire on the ground and, seeing nowhere to hide anything, stands straight up and looks at Jimmy. KWON When you off work? JIMMY Don't know. Maybe nine or nine-thirty. Kwon tosses Jimmy his KEYS back, jumps in his BMW, and takes off. Jimmy becomes increasingly resolved as he watches him leave. Jimmy pulls out his Delivery List and his Cell Phone. He turns the Delivery List over to the number on the back and punches it into his Cell Phone. He paces as he talks. SINJIN'S VOICE Hello? JIMMY Is this Sinjin? SINJIN'S VOICE Yeah, who's this? JIMMY This is Jimmy. Juicehead Dave's friend. SINJIN'S VOICE Yeah, I know. EXT. POOL -- DAY PETE is on a ride-on LAWN MOWER. He spots COREY walking toward the gate to the pool area. PETE (over the noise of the lawn mower) Hey! Pete shuts off the blade and steers the Lawn Mower over to Corey, stopping just short of him. 72 PETE (CONT'D) Where the hell have you been! COREY I know, Pete. I'm real real sorry. I got things going on, you wouldn't believe it. My life is crazy right now. PETE You have a job here, Corey! You can't just go taking off! COREY I know. I'm sorry. I mean, I know, the Blandino's. I'm going now. PETE I already took care of that! (hopping off the Lawn Mower) Just finish up what I'm doing, then take care of the fertilizer spill in the utility room. COREY Okay, alright, I will. Corey hops on the Lawn Mower, turns on the blade, and picks up where Pete left off. Pete shakes his head in disgust and heads into the garage. Corey is wide-eyed as he turns the corner entering the last leg of his first lawn lap and spots PEDRO approaching in his TOW TRUCK with the MUSTANG hitched to the back of it. He shuts the blade off and steers the Lawn Mower over to the tow truck. Pedro parks as Corey hops off the Lawn Mower. COREY (CONT'D) You got your job back? PEDRO Que? COREY (pointing at the Mustang) What the hell is that?! PEDRO (looking back at the Mustang) Ah, el Mustang? COREY Yeah! 73 PEDRO That's our rent, mehn. We stole it. COREY Hey, uh-uh, no way! I didn't steal anything! PEDRO Don't worry. We're going to sell it, mehn. COREY Seriously, are you out of your mind? To who?! PEDRO This guy I know. COREY How do ya know he'll even buy it? PEDRO Don't worry. He likes Mustangs, mehn. Vamos, I got a place for us to stay. COREY Jesus, Pedro! I told you I wanna stay out of trouble! I mean, this is big trouble! PEDRO No jodas, don't worry about it. I stole it. But we need rent, mehn. I lost my job. Corey looks over at Emily, laying down in a lounge chair. PEDRO (CONT'D) So you in or out? COREY Hey, Emily! Get your stuff! PEDRO Asi me gusta, now you're being smart. EMILY Where are we going?! COREY Just get in the truck! Corey heads toward the garage. Emily looks over at Pedro sitting in the Tow Truck. Pedro sticks his hand up to say hello to Emily, awkward. She ignores him and begins gathering her stuff. 74 INT. POOL, GARAGE -- CONTINUOUS Pete is sitting on the floor repairing a WEED-WACKER. PETE You done already? Corey hops off the Lawn Mower. COREY I got an emergency, Pete. I'll come in early tomorrow and finish. He runs out the door. PETE Hey! COREY (running out the door) Sorry! The door slams shut behind Corey. EXT. CARTER'S HOUSE, BACK YARD -- EVENING Music is audible from inside the house. Carter's house is an old dilapidated house, with a tiny front yard and huge back yard surrounded by trees, with rusty old cars scattered throughout. Just about everybody enters the house from the back. BERUBI, in his early twenties, very large and athletic, wearing mesh shorts and a beat-up t-shirt, and a MALE FRIEND, of a similar age with an average build and dressed lazily in khakis and an un-tucked shirt, are unloading a KEG from the bed of a PICK-UP TRUCK onto a dolly. HEATHER and ALLISON are standing on the back porch. Heather is holding a bottle of VODKA in her hand. Heather bangs on the screen door. CARTER approaches. In his early twenties, Carter is tough, with a modestly athletic build and a gruff voice, and possessing an appetite for greasy food and cheap beer. He's a guy's guy. CARTER What's up. Heather tries to open the screen door - it's stuck. ALLISON Hey Carter. Carter slams the handle from the inside - the door opens. CARTER What's up. 75 HEATHER (busting Carter's chops with a mocking tone) What's up. As Heather passes, Carter mockingly shows Heather the back of his hand as if to smack her. Heather and Allison pass, and Carter holds the door open with his foot as he looks for something to prop it open. INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS From the inside we can see that Carter's house is the same house that Jerry moved out of this morning - Jerry was Carter's housemate. Heather and Allison walk in as if they know their way around. Carter spots a large clay LAWN DWARF on the back porch. He reaches for it. CARTER Stay outta my room. Heather holds out the vodka. HEATHER Wanna shot? CARTER Later. I wanna see how crazy it gets. HEATHER Skirt. Carter props the screen door open with the Lawn Dwarf. EXT. CARTER'S HOUSE, FRONT YARD -- EVENING PEDRO, EMILY and COREY, now wearing the BASEBALL CAP, are parked in the TOW TRUCK across the street from the front of Carter's house. Porno magazines lie on the dashboard and the floor. BERUBI, walking along the side of the house from the back yard, spots Pedro behind the wheel. He approaches. EMILY (to Corey, disapproving) I can't believe you're doing this. COREY (aside to Pedro) Ya think it's a good idea we leave it out here on the street like this? PEDRO (aside to Corey) Forget about that, mehn. (referring to Berubi) 76 I'll talk to Berubi. I know what to say to this guy. Don't worry. BERUBI Hey, Pedro, what's up with the Mustang? Berubi motions to the MUSTANG hitched to the back of it. PEDRO Que? Ah, el Mustang? Pedro starts to climb out of the Tow Truck. BERUBI Yeah. PEDRO Nada. I'm doing a favor for a friend. BERUBI So you're driving around with his car hitched to your tow truck? Pedro shuts the door to his Tow Truck and pulls up his shorts. PEDRO Bueno, he's a good friend. BERUBI Sounds good. Come on an' grab a beer. PEDRO (to Berubi) Hey, listen, can I sleep on your couch? BERUBI Kimmock's got couch. PEDRO Come on, mehn, we're in trouble here. We got thrown out of our home. BERUBI You got evicted? PEDRO Si. I went out to get a gallon of milk for my dog, I come back, my keys don't work, and the cocksucker put an eviction notice on the door. He didn't even tell us! Now my milk's spoiling in my truck, Pancho's probably pissing all over the place, I'm fucked. 77 BERUBI Hey, listen, if you want, you can crash in Jerry's room. He moved out. PEDRO He did? BERUBI Don't park there. Park in back. PEDRO Si, si. No problem, mehn. BERUBI (to Corey) What's up, Becker. Corey sticks his hand up to say hello. INT. CARLOS' CAR -- CONTINUOUS Carlos's CAR is parked in street in front of Carter's house, just down the street from where Pedro has parked, but on the opposite side of the street and facing in the opposite direction. Through the windshield, we see Berubi head back toward the house as Pedro glances at Jessica, now showered and dressed in a yellow tank-top, before climbing back into the Tow Truck and pulling back out onto the road. Carlos has noticed Pedro, but Jessica, silent as she stares at the house, has not. Finally, Carlos speaks up. CARLOS Did you know he was having a party? Jessica grabs the rear view mirror and aims it toward herself. She begins fixing her hair in the mirror. She pulls her LIPSTICK out of her PURSE and begins to apply it as Carlos watches. She puts her Lipstick away and stares at Carter's house another moment. She checks to see that her SUNGLASSES are still hanging on the front of her shirt. JESSICA Let's go. EXT. CARTER'S HOUSE, FRONT YARD -- CONTINUOUS Jessica climbs out of the car and shuts the door. Carlos follows suit. They move around the side of the house toward the back porch. Jessica stops in her tracks and turns to face Carlos. JESSICA Wait here a second and let me talk to him. 78 Without waiting for a response, Jessica turns around and climbs onto the back porch, walking its length toward Carter, who is kneeling with his back to us as he puts a TAP on the KEG. Carlos stands watching, not sure what to do. JESSICA (CONT'D) What're you doing? Carter turns around, and seems disappointed to see her. JESSICA (CONT'D) You need a hand? CARTER I'm done. Carter climbs to his feet and heads toward the back door, shaking off his hands, passing right by Jessica. Jessica pulls her Sunglasses from her shirt. JESSICA Carter, I brought your sunglasses back. Carter turns and grabs the Sunglasses. CARTER Those were Jerry's anyway. Carter heads into the house. Jessica follows Carter, and we follow Jessica. INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS JESSICA Oh. You didn't tell me that. Is he pissed? CARTER Who gives a shit? He moved out. JESSICA Carter, I gotta talk to you for a sec. CARTER I gotta wash my hands. Carter is just not interested in talking with Jessica, even if he didn't have other things on his mind. Carter enters bathroom, but Jessica follows persistently. INT. CARTER'S HOUSE, BATHROOM -- CONTINUOUS Carter turns on the sink and washes his hands. 79 JESSICA I got a problem. CARTER Yeah. JESSICA It's Aaron, that asshole. He's pissed at me. CARTER So what am I, a goddam marriage counselor? JESSICA No, but Aaron hit me, and he's gonna do it again. CARTER He hit you? Jessica sees that Carter has finally shown some interest. JESSICA Yes. CARTER Like, he slapped you? JESSICA No, he punched me. With his fist, a bunch 'a times. CARTER Why? What'd you do? JESSICA I didn't do shit. CARTER Look, I ain't gonna sit here all night. Tell me what happened. None 'a your bullshit. JESSICA Aaron thinks I cheated on him. This strikes Carter. CARTER Why's he think that? JESSICA It doesn't matter. 80 CARTER Fine. Carter starts to walk out, but Jessica stops him. JESSICA Alright, alright. He caught something - he got a rash or something. He says I gave it to him. CARTER He's got a rash?! Are you fuckin' kiddin' me?! What the hell'd he catch?! Fuckin' herpes?! JESSICA Carter! Carter notices that the door to the bathroom is still open. Although music is blasting outside, and it is unlikely that anyone could hear their conversation, Carter closes the door and locks it. CARTER What the hell'd you give him?! JESSICA Nothing! He's fulla shit! I did not cheat on him! CARTER Fuckin' A! You slept with me, like, three weeks ago! JESSICA That was the only time, that once, and there's no way he knows. CARTER And you have something?! JESSICA No! Are you fucking listening to me?! And you wore a condom anyway! What the fuck do you care! CARTER Whatever, Jess, what-the-fuck-ever. And I'm sure I'm the only one. JESSICA Look, don't even get into the cheating thing, 'cause you're seein' Rachel still. Don't call me the slut. 81 CARTER Look, I'm not gettin' into it with you. I'm through with that bullshit. JESSICA Fine. Just, I need your help with Aaron. Just help me this one last time, that's it. CARTER He's probably gonna be here tonight, Aaron. JESSICA You're kidding. You barely even know who he is! CARTER No, but I know Troy real good. He said he'd be bringin' him. I ain't got nothin' against Aaron, so I said "what the hell." JESSICA Look, can you just kick his ass for me? Please? CARTER Shit, Jess, I don't wanna be fightin' no friend 'a Troy's. Can't you just work this shit out? JESSICA Carter, he hit me! And sprayed me with pepper spray! CARTER What the hell. Carter contemplates, and Jessica realizes that the best thing to do is keep silent and let Carter's good side take over. CARTER (CONT'D) Look, if he tries anything tonight, I'll do something. JESSICA What'll you do? CARTER Whadda you mean what'll I do?! (facetious) I'm gonna dance with him! Fuckin' I'll beat his ass! I don't wanna, but if he shows up tonight and makes like he's gonna hit you, I'll beat his ass. 82 JESSICA What if he doesn't come? CARTER Troy said he was bringin' him. If he doesn't, call him or somethin'. But I'm not a fuckin' bounty hunter whose gonna chase Aaron across the goddam country. Jessica is not completely satisfied, but Carter has decided what he's going to do, and that's that. CARTER (CONT'D) Alright? JESSICA Alright, fine. CARTER You're welcome. Carter exits, leaving the door open, but Jessica doesn't follow. EXT. CARTER'S HOUSE, BACK YARD -- NIGHT JIMMY has parked his PIECE-OF-SHIT in the rear of the back yard behind all of the other CARS that have pulled in. He climbs out, slides his CHINESE STRESS BALLS into his pocket, and walks toward the house, his BACKPACK strapped over both shoulders like a schoolboy. INT. CARTER'S HOUSE, KITCHEN -- MOMENTS LATER Jimmy steps through the open screen door into the kitchen. HEATHER (O.S.) Hey, there he is! Jimmy! HEATHER and ALLISON are playing CARDS at the kitchen table with a male PARTYGOER. They jump up from the table and approach Jimmy. Jimmy pulls three small bags of MARIJUANA out of his BACKPACK. Allison pulls out some BILLS. JIMMY Thirty bucks. ALLISON (counting Bills) I only got ten. JIMMY I don't believe this shit. 83 ALLISON (finishing counting) Nine. JIMMY You got nine! Jesus Christ! You knew what you asked for! HEATHER Jimmy, relax. My God. JIMMY No, this is fuckin' ridiculous. What'd you call me for? I ain't runnin' a goddam soup kitchen here. HEATHER (mock seductive) Can't you just take care of us for tonight? JIMMY Yes, for thirty bucks. ALLISON Here then, take nine for one. JIMMY It's ten. HEATHER You know what? You need to get laid, Jimmy. Maybe you'd relax a little. JIMMY Fine. Enjoy your night. Jimmy as he stuffs the Marijuana back in his Backpack and heads into the hallway. HEATHER Well I'm not going to drop to my knees for a lousy dimebag, so fuck him. INT. CARTER'S HOUSE, BATHROOM -- NIGHT The door is shut. JESSICA is talking on her CELL PHONE. JESSICA (trying to muster a sweet voice) What are you doing? KATIE'S VOICE Watching TV. 84 JESSICA Did your parents call? KATIE'S VOICE Yeah. I told them you were in the shower. JESSICA Okay... good. Thanks. Are you okay? KATIE'S VOICE Oh, hold on! This is my favorite part! A cartoon becomes audible through Jessica's Cell Phone - KATIE has put her phone up to the TV. Jessica listens impatiently. KATIE'S VOICE (CONT'D) Can you hear it? JESSICA Yeah, I can hear it. (hurriedly) Katie? But Katie has already put her phone up to the TV again. Jessica waits, turning to face the door, wondering what's going on the other side of it. EXT. CARTER'S HOUSE, BACK PORCH -- MOMENTS LATER PEDRO and EMILY grab CUPS off the rusted washing machine that sits on the back porch. Corey takes notice of a ping pong table set up in the back yard, where BARNES is playing PING PONG PLAYER 1. Barnes is skinny but attractive, and has an even more attractive BARNES' GIRLFRIEND watching him play, along with PING PONG PLAYER 2 and various PARTYGOERS. COREY (turning to grab a Cup for himself) I don't know about leaving the car out there in the open like that. You think we should, like, hide it somewhere? PEDRO CoÒo ya! Don't take this the wrong way, mehn, but you're like a girl. Bitch, bitch, bitch. Pedro begins dispensing beer from the KEG. COREY Somebody could see it out there! 85 PEDRO Si, si. Does your pussy hurt? COREY I'm serious, Pedro! PEDRO Who's gonna see it out there by the woods? EMILY Everybody who reads tomorrow's paper. COREY Shut up Emily. EMILY No, you shut up! Do you know how embarrassing you are?! COREY Look, it was bad luck as usual. So what? EMILY The car ran out of gas in the driveway! COREY The gage was busted! EMILY Everybody at school makes fun of me! PEDRO And it was way down the block anyway. EMILY (to Corey) And then you try to put everything back! I mean, God, how stupid can you be?! COREY Just shut up, alright?! 'Cause you don't know shit about anything! EMILY The Herald had a picture of the owner laughing at you! Corey drops his BEER and moves in aggressively, grabbing Emily by the wrists. COREY Listen, I'm sick of your shit! 86 EMILY (struggling to break free) Get off me! You fucking loser! Emily falls on her ass. COREY No wonder Victor tried to fuck you. Emily stands up, turns around and heads toward the back door leading into the kitchen, storming past a TEENAGE BOY and TEENAGE GIRL passionately kissing each other against a tree in the back yard. We hang on the couple as Emily walks out of frame. As the boy works his way down to her neck, the girl's eyes open for a moment and catch someone watching her. JIMMY is standing in the kitchen in front of the door looking out onto the back porch, staring at the couple making out, momentarily transfixed. Jimmy's hand is in his pocket, turning his CHINESE STRESS BALLS over and over and over. The girl closes her eyes again, and Jimmy is forgotten, the moment lost. Jimmy is alone again, still, as usual. INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS Jimmy scans the cramped kitchen. Partygoers are talking, laughing, carrying on, making out in the way that Partygoers will. Jimmy's gaze wanders mechanically to anther part of the kitchen falls upon the entrance to the living room. The terribly familiar figure, BUGGERIN' BOBBY BALES, stands tall, proud, talking to several Partygoers, the light behind him adding a regal air to his menacing frame - a transcendent silhouette for a hellish vision. Bobby towers easily over his peers. In his powerful hands he holds a tiny notepad on which he scribbles as his clients eagerly place their bets. RJ, a young African-American early-twenty-something, easily six feet tall, built like a powerlifter, his worn-out t-shirt doing little to hide his powerful frame, appears behind Jimmy. RJ You're Jimmy? Jimmy turns around to face RJ. JIMMY You're Sinjin? RJ RJ. Sinjin said you'd be wearin' a bookbag. They're back here. 87 JESSICA moves past RJ and Jimmy toward the back door. As RJ about- faces to lead Jimmy out of the kitchen and deeper into the house, we follow Jessica outside. EXT. CARTER'S HOUSE, BACK PORCH -- CONTINUOUS Jessica sees CARLOS standing against a post on the back porch drinking his BEER. He is surrounded by several PARTYGOERS, but isn't talking to any of them. JESSICA Hey. CARLOS Where you been? JESSICA Talking to Carter. CARLOS Is he gonna help? JESSICA He said he would. Carlos pulls a pint of WHISKEY out of his back pocket. CARLOS Look. Wanna shot? Jessica accepts the Whiskey and takes a long pull. She holds onto the Whiskey without saying anything, and Carlos does not object. She begins to take in the sights and sounds of the party, and notices COREY leaning against a rusty old washing machine near the KEG as PEDRO hands him another BEER. Jessica's POV as Corey spots her standing next to Carlos. He continues to stare at Jessica, clearly taken by the sight of her, his eyes locking onto hers. The desperation of their individual struggles is lost for a moment. PEDRO You want me to talk to her? The moment quickly passes as Corey turns his attention back to Pedro. COREY No. PEDRO Si. So let's go fix the tire on the Mustang. 88 Corey attention is again drawn to the ping pong game, and Jessica takes note. CARLOS (to Jessica) You wanna play? Carlos motions toward the large kitchen window. Jessica turns to look through it. INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS Jessica and Carlos are staring through the window at the CARD game taking place at the kitchen table. HEATHER and ALLISON are back at it with the male PARTYGOER they were playing with earlier, as well as CARD PLAYER, who has recently joined them. Heather is smoking a CIGARETTE. Card Player is dealing a round of asshole. All are visibly drunk. HEATHER (examining her Cards) What's dickhead doing? I knew he was lying. Jessica turns toward the steps leading out onto the back yard, and Carlos follows. Heather and Card Player each place one card face- down on the table, exchanging one for the other. HEATHER (CONT'D) (to Card Player) This is your best card? CARD PLAYER I ain't happy about it. HEATHER Shut up and drink, asshole. (to Allison) I should call him. Card Player obeys and drinks. ALLISON He said he'll be here. HEATHER He's probably got that Tess on all fours, fucking the shit out of her like the skank she is. (thinking about it) No, you're right, fuck him. (throwing three fours down on the table face- up) Drink. Fucking everyone drink. 89 All obey Heather. INT. CARTER'S HOUSE, JERRY'S BEDROOM -- CONTINUOUS We recognize the room as Jerry's old bedroom, empty except for a bed stripped of it's sheets, a naked pillow, a beat-up dresser with a small TV on top of it, and a few posters and scraps of trash that have been left behind. JIMMY and RJ are looking across the room at SINJIN, a young African-American male about RJ's age, with an average build, sharply dressed in a button-down, and sport coat. Sinjin has his back to Jimmy, and is bouncing up and down on a rusty old POGO STICK - his behavior constituting a sharp contrast to his stylish threads. LOUIE, an overweight, slobbish Caucasian male a few years older than Sinjin, sits in a rickety old WHEELCHAIR that might creak even more than Sinjin's pogo stick - in Louie's lap rests a BOWLING BALL BAG. Upon seeing Sinjin and Louie, Jimmy fondles his WATER BOTTLE nervously. He turns around to watch RJ closing the door behind them. LOUIE Sinjin! Sinjin spins on the Pogo Stick and spots RJ and Jimmy standing at the entrance. Sinjin loses his balance and places a foot on the ground. He steps off the Pogo Stick and composes himself after his exhaustive venture. SINJIN Mr. Pizzaman! What's up? (referring to Jimmy's BACKPACK) Got any calzones in there? Sinjin tosses the Pogo Stick aside. SINJIN (CONT'D) (re the Pogo Stick) It's harder than it looks. Sinjin turns the GARBAGE CAN over and sits on it while motioning to the bed. SINJIN (CONT'D) (comfortably, to Jimmy) Sit down, man, sit down. RJ walks over to lock the door as Jimmy inches closer into the room. RJ Yo, door don't lock. 90 SINJIN Well you got to stand your big muthafuckin' ass outside then, 'cause ain't nobody comin' in here. Everybody looks at RJ. RJ I don't give a shit. RJ steps out and shuts the door behind him. SINJIN Alright. Jimmy, sit down, sit down. Jimmy is clearly uncomfortable at the sight of these two. JIMMY I like to stand usually. SINJIN Alright. I'm Sinjin. That legless waste is Louie. LOUIE I got legs little Massey muthafucka. JIMMY (to Sinjin) I thought it was gonna be just me an' you. SINJIN It is. Don't be worryin' Louie - he's just here to have a good time. EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT EMILY is standing on the front steps, wondering whether to continue outside or head back inside. She's completely out of place here among the older crowd. FEMALE PARTYGOER 1 and a PARTYGOER appear behind her in the doorway behind her. FEMALE PARTYGOER 1 Excuse me. Emily politely moves down to the bottom of the stairs and steps aside. She watches as Female Partygoer 1 and the Partygoer pass by her into the front yard. EXT. CARTER'S HOUSE, BACK YARD -- NIGHT COREY and PEDRO climb off the back porch toward the ping pong table. BARNES and PING PONG PLAYER 1 are just finishing a point, which Barnes takes easily, as PING PONG PLAYER 2 waits his turn. Barnes 91 is skinny but attractive, and has an even more attractive BARNES' GIRLFRIEND watching him play. PEDRO What the hell are you doing? We got shit to do mehn, important shit. Ping Pong Player 1 steps back and notes Corey approaching. PING PONG PLAYER 1 Corey! Hey, come beat this asshole! BARNES Hey, nineteen-ten, let's go. PING PONG PLAYER 1 Screw it, you won again. Play Corey. BARNES C'mon. Becker can't beat me. PING PONG PLAYER 1 (to Barnes' Girlfriend, handing Corey his paddle) Watch this. Corey steps to the table opposite Barnes, confident, but unenthusiastic. Corey is not playing for the fun of it - somewhere deep down Corey wants to remind himself that he's good at something. Barnes tosses the PING PONG BALL to Corey. BARNES You serve, Becker. Corey's first serve is wicked - fast and spinning wildly. Barnes has no chance. BARNES' GIRLFRIEND Not too good, baby. Pedro stands alongside and watches silently, pensive, his mind distraught over their larger dilemma. COREY Go find Mitch. Pedro leaves obediently. EXT. CARTER'S HOUSE, BACK YARD -- NIGHT JESSICA takes another pull from the WHISKEY. CARLOS is watches attentively. 92 CARLOS Take it easy. You got to go back and watch Katie. JESSICA Don't remind me. Please. CARLOS You signed up for it. JESSICA It seemed like a good idea then! Give some crappy advice every once in a while. I didn't think it'd be this constant torture, always wanting to do something, go somewhere. I'm so sick of it. CARLOS Some big sister. Jessica takes another drink and looks toward the ping pong table, where Corey is manhandling Barnes, as Ping Pong Player 1, Ping Pong Player 2, Barnes' Girlfriend and various Partygoers look on. INT. CARTER'S HOUSE, KITCHEN -- NIGHT JIMMY walks in from living room looking for Bobby. He continues on toward the back door leading out onto the back porch. INT. CARTER'S HOUSE, CARTER'S BEDROOM -- NIGHT A dense gathering of PARTYGOERS is packed tight within the confines of Carter's room, rather small despite being the largest bedroom in the house. The collection of Partygoers are watching with religious fervor the basketball game playing from the modest TV in the room. CARTER, BERUBI, AARON and TROY are among the crowd. All those gathered here have an interest in the game, but none as much as BUGGERIN' BOBBY BALES, who stands back against the far wall though the nobody in the congregation dares venture into his sightline of the television. Partygoers yell in unison at various events displayed on the screen. The door opens, and Pedro peeks into the room. BERUBI Shut the door! Pedro shuts the door. INT. CARTER'S HOUSE, LIVING ROOM -- CONTINUOUS HEATHER and ALLISON are sitting on a couch facing each other, very drunk and extremely happy. The coffee table in front of them is filled with plastic CUPS and LIQUOR BOTTLES, many of which are empty. 93 ALLISON Hey! Fuck... you! I would never! HEATHER Alright, alright! You little slut! I got one for you! (pointing to someone off camera) Right over there in front of the door! Looking down the hallway outside Jerry's bedroom we see RJ standing against the door. He does not notice the girls looking at him from the living room. ALLISON (thoughtfully) Well, he's got a nice body. He's a little scary looking ... he scares me. HEATHER You like it, too, you little slut! ALLISON Whatever! You're the slut! HEATHER No! No! Alright, okay, yeah! Maybe! (grabbing a bottle of VODKA and a Cup) Bring him a drink! Allison grabs for the Vodka, but Heather does not let go. HEATHER (CONT'D) (motherly tone) No, Ally, this one is for me. You take that handsome boy one of these other... (picking up and putting down various empty Liquor Bottles before finally grabbing a bottle of TEQUILA with a bit left) ... take him this! ALLISON Do we have any yogurt left? HEATHER I think so. Heather takes another hit of Vodka. EXT. CARTER'S HOUSE, SIDE YARD -- NIGHT JIMMY has his CELL PHONE to his ear, waiting for voicemail, anxious. 94 JIMMY Bobby, where the hell are you? I gotta talk to you. Call me back right away. Jimmy hangs up and takes a moment to think about his options. EXT. CARTER'S HOUSE, BACK YARD -- NIGHT COREY and BARNES are continue to play as PING PONG PLAYER 1, PING PONG PLAYER 2, BARNES' GIRLFRIEND and various PARTYGOERS continue to watch. In the background, JESSICA paces back and forth as CARLOS sits on the ground indian-style watching the Partygoers on the back porch. Carlos takes a shot of WHISKEY. EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT EMILY stands against the garage door, keeping to herself. INT. CARTER'S HOUSE, LIVING ROOM -- CONTINUOUS ALLISON has her head back on the couch as HEATHER lights a CIGARETTE. MITCH approaches the ladies with a BEER in his hand. Mitch is a staunch thirty-something mechanic with a beer-gut, dressed in Levis overalls, and wearing a backwards baseball cap and a beard that together hide much of his head. MITCH (primarily to Heather) Hey girls, what're you drinking? HEATHER Vodka. MITCH What're you mixing it with? HEATHER Vodka. MITCH Really? A little girl like you. You think I might get you to share a little of that? HEATHER I don't know. There's not much left. MITCH If you do something nice for me, I might do something nice for you. HEATHER I'm not that kind of girl. 95 MITCH No? (regarding Allison) How about your friend here? ALLISON Oh, now you want to talk to me? While Mitch is searching for an answer, a familiar voice cuts over the background noise. PEDRO (O.S.) Mitch! There you are! PEDRO is approaching from the kitchen carrying a nearly-full BEER. Mitch seems a bit disappointed to see him. MITCH Hey. PEDRO We're outside by the woods. We got the Mustang, mehn. It's beautiful. MITCH Yeah, I'll be out in a minute. ALLISON I feel nauseous. MITCH (to Heather and Allison, regarding Pedro) This is Pedro. We worked together 'til last week. PEDRO (to Mitch) Vamos, these girls aren't interested in you. MITCH (dumbfounded) Pedro... what the fuck... PEDRO Come on, mehn. Come check out the Mustang. Pedro leaves and Mitch follows. ALLISON Oh shit, I think I'm gonna be sick. 96 Allison plops down on all fours, and begins vomiting violently. Heather kneels down next to Allison and pulls her hair back so it doesn't get hit by the vomit. HEATHER That's nasty. Allison has a few more convulsions. ALLISON Fuck you. HEATHER Wanna wash your mouth out? Allison sits up, fixes her hair, then grabs the VODKA from Heather. Allison takes a mouthful, rinses, and spits. Allison then takes a drink. HEATHER (CONT'D) My God, Ally. EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS PEDRO and MITCH make their way into the back yard towards the ping pong table. PING PONG PLAYER 1, PING PONG PLAYER 2, BARNES' GIRLFRIEND and various PARTYGOERS are gathered around COREY and BARNES. Corey functions mechanically - his mind is not on the game. Barnes is openly frustrated as Corey finishes him off. BARNES One more. PING PONG PLAYER 2 (reaching for Barnes' RACKET) Let someone else play, Barnes. BARNES (to Ping Pong Player 2) You guys suck - he'll be at the table all night. PING PONG PLAYER 1 So let him beat someone else. Corey notices Mitch standing next to Pedro. COREY You're Mitch? MITCH Nice ta meet ya. 97 COREY (tossing his RACKET to other side the table in front of Ping Pong Player 2) Follow me. Corey heads toward the Mustang, and Pedro and Mitch follow. PING PONG PLAYER 2 (wanting to play Corey) Where you going Becker? INT. CARTER'S HOUSE, CARTER'S BEDROOM -- NIGHT PARTYGOERS yell in unison at various events displayed on the screen. JIMMY is off to the side of the room talking to BOBBY. BOBBY You know I don't get involved with that shit. You sell your drugs and pay what you owe. JIMMY That's what I'm doing! Bob, just listen to me! I'm selling, but it's Sinjin. BOBBY Sayeed's little brother? JIMMY Yes. And Louie and RJ. Fucking three guys. BOBBY One of 'em's a cripple. Don't make such a big deal. JIMMY A cripple 'cause he got shot! All I want you to do is just sit there! BOBBY Fuckin' sit there and what? Pull my fuckin' cock... JIMMY (interrupting) And nothin'! Goddamit fuckin' Bob, I'll handle everything. Everything. You just sit your big fuckin' ass there, it'll be enough. They won't fuck with you, bein' in prison and shit. 98 BOBBY Jimmy, I ain't in a mood to help you right now. I really ain't. You're wreckin' my livelihood. Soon no one pays me. And I fuckin' help you? You're a thorn in my balls. JIMMY Look Bobby, alright, I told 'em I had a partner, that's you. You're gonna help me now or you're not. And if you don't, I'm a little fucked. BOBBY What the hell's the matter with you? What the fuck is going on in your head? You comin' to me, knowin' I'm pissed at you, and what for. Jimmy is losing it, his grip on reality. He's drowning, grasping for anything that floats. JIMMY Jesus, Bobby, I'll owe you. Alright? I'll owe you. Just help me out here. Help me. EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT EMILY is standing with her back to the garage door talking to MALE PARTYGOER 1, an average size boy about Corey's age. MALE PARTYGOER 1 How come I haven't seen you before? Did you go to Athens? EMILY I still go there. I'm a freshman. MALE PARTYGOER 1 Really? I graduated last year. You know anyone my year? EMILY My brother. Corey. Becker. MALE PARTYGOER 1 Oh yeah, I know Becker. He dropped out our senior year, though. He's your bro? EMILY Unfortunately. MALE PARTYGOER 1 Yeah, he's kind of a loser. 99 EMILY (defending her brother) So what are you? Changing the subject, Male Partygoer 1 pulls a couple of white TABLETS out of his pocket. MALE PARTYGOER 1 Ever try this? EMILY Yeah... Male Partygoer 1 hands a Tablet to Emily, but she waits to see how Male Partygoer 1 take it, which he does by biting it in half and chasing it with his DRINK. Emily takes Male Partygoer 1's Drink and does the same. INT. DEREK'S POLICE CAR -- NIGHT DEREK is traveling on a busy road, with the sirens of his Police Car activated. CARS are pulling over to let him pass, but it is taking some time. He pulls out his CELL PHONE and punches in some numbers. INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS The room is crowded with PARTYGOERS. The CORDLESS PHONE is ringing, and DRUNK PARTYGOER answers it, clearly drunk. We cut back and forth between Derek and Drunk Partygoer. DRUNK PARTYGOER (yelling above the noise) Who is this?! DEREK A friend 'a Carter's. DRUNK PARTYGOER Oh, yeah, Carter! He's here! Somewhere! DEREK Tell him the cops are coming. There's been several noise complaints. DRUNK PARTYGOER What?! DEREK The cops are coming! Tell Carter! DRUNK PARTYGOER Oh yeah! Okay, I got it! Cops are comin'! Tell Carter! Who is this?! 100 DEREK A friend 'a Carter's! DRUNK PARTYGOER Oh yeah, you already said that! Drunk Partygoer hangs up and turns over to a couple of other Partygoers. DRUNK PARTYGOER (CONT'D) (to Partygoers) Cops are comin'! I'm tellin' Carter. The other Partygoers are not impressed - they continue to sit and drink. Drunk Partygoer loses focus and rejoins them. EXT. CARTER'S HOUSE, BACK YARD -- NIGHT COREY and MITCH barter over the Mustang, though Mitch seems more interested in his BEER than the car. PEDRO is putting the last touches on putting on the NEW TIRE. He picks the FLAT TIRE up and tosses it in the trunk. COREY It's a good car. MITCH It's alright. I'd have to ask Jeremy. What do you want for it? COREY Make an offer. MITCH Twelve hundred. COREY Twelve hundred! That's nothing! MITCH Look, there's a lotta shit that Jeremy's gotta do with it. It's not like he can just switch the fuckin' plates and it's a go. PEDRO CoÒo, we got thrown outta our apartment! We need more money! MITCH Steal some more cars. I'll see what I can do. Mitch polishes off his Beer and holds the empty cup up. 101 MITCH (CONT'D) You want another? EXT. CARTER'S HOUSE, BACK YARD -- NIGHT AARON and TROY step out onto the back porch and spot JESSICA and CARLOS. Upon seeing them, Carlos stands straight up. CARLOS Aaron's here. Jessica, still pacing, stops in her tracks and turns around beside Carlos. It's too late to gracefully exit, so Carlos stands there frozen. Jessica does not seem afraid. Aaron and Troy approach. It's clear Troy doesn't really want to be there. AARON (to Carlos) Hey guy. CARLOS Hey. AARON You like talking to my girl? CARLOS Aaron, I didn't mean nothin'. AARON No? Just friends? CARLOS Yeah. AARON What's the matter, don't like her that way? Carlos painfully does not answer. Jessica, unfazed, takes another hit of WHISKEY. Jessica is confident because of the booze and because of Carter's promise. Jessica and Aaron begin arguing in calm "I'm above this" mannerisms. AARON (CONT'D) (to Carlos) Go 'head, take her home. Fuck 'er brains out. She'll give you a little surprise. Carlos simply stands there, ashamed of his inability to act. 102 JESSICA Fuck you, I'm clean. You're the cheatin' asshole with bumps on your cock. AARON (to Troy) Hold this. Aaron hands his beer to Troy and then grabs the Whiskey Jessica is holding. Jessica flinches as if afraid Aaron would hit her. AARON (CONT'D) Better wipe this off good. You never know. Aaron uses his shirt to vigorously rub the mouth of the bottle before taking a long pull. The Whiskey is almost gone. Jessica grabs back the Whiskey, wipes it off as Aaron did, and polishes it off. AARON (CONT'D) You're good at that. You ready yet to go bang some dude? Maybe Carlos here? JESSICA Fuck you. I'm going to get Carter, and he's gonna kick your ass. AARON Carter ain't gonna kick shit. JESSICA We'll see, right? Jessica moves to leave, but Aaron grabs her arm. AARON Hold on a minute ... Jessica smashes the bottle over Aaron's head, knocking Aaron to the floor in a daze. JESSICA That's for the pepper spray, asshole! The PARTYGOERS in the back yard are now fixed on Jessica and Aaron. CARTER runs over, holding his CIGAR and a BEER. BERUBI is behind Carter, eager for a fight. CARTER What's goin' on? TROY She smashed a whiskey bottle over his head. 103 JESSICA He grabbed me! I'm not gonna sit and wait until he hits me again! He can just keep his fuckin' hands off me! CARTER He grabbed her? Troy shrugs his shoulders. TROY I guess so. It wasn't a big deal. AARON (recovering, to Jessica) You're dead. JESSICA See? CARTER Jess, you hit him with a bottle? JESSICA Before he fucking hit me! AARON (to Carter) Look, I ain't got no problem with you. CARTER Fine. You touch her, and I promised her I'd beat the livin' piss outta you. I'll do it. Lay off. Aaron sits up against a tree, his hands to his head. Carter starts to leave. Carlos feels even more ashamed that Carter stepped in and did something that Carlos did not have the courage to do himself. BERUBI (to Aaron) You're lucky. Jessica grabs Carter by the shirt. JESSICA Carter, what the hell?! You said you were gonna kick his ass! CARTER I said I would step in if he hit you, and he's not gonna hit you. 104 JESSICA This is fuckin' bullshit! Jessica winds up and stomps Aaron in the groin. Aaron growls in pain and doubles over. TROY (in awe of Jessica's ferociousness) Woe, dude. CARTER (to Jessica) Jessica! What the fuck are you doing?! JESSICA If you're not man enough to do what you said, I will! CARTER Jess, I'm not gettin' into this! I'm sicka' this bullshit with you! You bring this shit on yourself! (to Aaron) Don't touch her. Carter leaves, followed by Berubi. Jessica watches them leave. She turns down to Aaron. JESSICA You know what? I don't need Carter. What're you gonna do, tough guy? AARON (still recovering) Why don't you give me a minute and see? JESSICA Fuck you, you had your minute. Jessica storms toward Carlos' CAR, and Carlos follows. INT. CARTER'S HOUSE, LIVING ROOM -- NIGHT ALLISON is lying on her back on the couch with her head in HEATHER's lap. Heather is stroking Allison's hair. They're both obliterated and just stuttering away. HEATHER I'm all talk. I can't cheat on Derek. I love Derek. It's just that he makes me so mad. And that makes me a psycho. Every time a girl loses her temper, she's a 105 fucking psycho. Can't I be upset without being a psycho? Can't I just be mad? ALLISON It's just every time you find a woman near Derek, you go absolutely nuts. HEATHER Let's not use the word nuts, alright? ALLISON You know what I mean. HEATHER Yeah, well, don't say nuts. ALLISON Alright, you are mighty, mighty... not very nice when another girl is near your boyfriend. HEATHER Don't say nuts, don't say psycho, don't- ALLISON (interrupting) I don't say those things. HEATHER Yes you do! Yes you do! ALLISON What I meant, I don't mean them. I meant that I don't mean them. That I don't mean to say them. HEATHER Well, what do you mean? ALLISON I don't know. I mean, you get so angry, it's a little scary. Allison sits up on the couch. Heather sits up directly facing Allison, her hands on Allison's lap. ALLISON (CONT'D) I get scared when you get all angry. You get so mad sometimes, you start doing things, saying things to hurt people. Around you. 106 HEATHER (starting to cry) Oh, I don't mean to! I'd never say anything to hurt you, Ally! ALLISON (also starting to cry) I know. Deep down, I know. But you get so angry... HEATHER I'm so sorry! Oh, you're right! I am a psycho! A rotten-bitch-psycho! I scare you - Ally - who would never hurt anyone or, or anything! ALLISON It's alright, I know you don't mean it! Heather hugs Allison, who hugs back. Both are bawling as they embrace. HEATHER I don't mean it! You're my best friend! My sister! I love you so much! ALLISON No, maybe you shouldn't. Maybe I don't deserve it! HEATHER You deserve it! You're so perfect! ALLISON Don't say that! I'm not, I'm not! HEATHER Yes you are! WIDE on Heather and Allison. The noise of the party drowns out their conversation. Allison is whispering forcefully into Heather's ear. Heather is listening, but cannot hear. We see her lips form the word "what?" Allison continues whispering, and Heather's face becomes furious. She pushes Allison back. HEATHER (CONT'D) You fucking slut! Heather shoves Allison hard off the couch. As Allison stumbles roughly and attempts to recover, PARTYGOERS, mostly guys, gather around, cheering wildly. Heather kicks furiously at Allison, who is on all fours employing the turtle defense. We catch a glimpse of Allison's face - she is in utter panic. Heather's foot catches Allison square in the face, knocking her limp. 107 Most of the crowd has stopped cheering. Heather continues to kick at Allison's limp body, and two SKINNY GUYS pull Heather away. Heather shakes them off and leaves in a huff, while everyone is tending to Allison. INT. CARTER'S HOUSE, HALLWAY -- MOMENT'S LATER HEATHER, visibly psychotic, and still very drunk, is making a beeline straight for RJ, who shows no sign of noticing Heather until she is directly in front of him. HEATHER (pointing to Berubi's bedroom) Wanna take me in there and fuck my brains out? RJ Sure, I don't give a shit. HEATHER Fucking great, let's go. Heather heads towards Berubi's bedroom, and RJ follows, passing JIMMY and BUGGERIN' BOBBY BALES. Jimmy looks back at RJ as he passes. INT. CARTER'S HOUSE, JERRY'S BEDROOM -- CONTINUOUS Jimmy reenters the room he retreated from earlier, with Bobby in tow. The room is empty. BOBBY What the fuck Jimmy? JIMMY Just hold on. Jimmy steps further into the room and stands pensive as Bobby takes a seat. Bobby lights up a CIGARETTE. BOBBY I can't figure you Jimmy. SINJIN (O.S.) Where the fuck is RJ? The door bursts open again with a violent thrash, and LOUIE fires into view on his WHEELCHAIR with SINJIN pushing from behind. LOUIE Take it easy you stupid motherfucker! 108 Sinjin kicks the door shut with the back of his foot and wheels Louie into the room. Louie is holding a half-full bottle of JACK DANIELS in his hand, the BOWLING BALL BAG still in his lap. SINJIN This your partner? JIMMY Where you been? SINJIN Just gettin' a drink, Jimmy. You took long enough. Sinjin wheels Louie in a haphazard, indirect arc somehow closing on the center of the room. The doorknob rattles. SINJIN (CONT'D) (to Louie) Thought that shit didn't lock. Sinjin is staring at the door, but Louie is pre-occuppied. LOUIE (to Bobby) You're Buggerin' Bobby Bales. BOBBY Excuse me you cripple motherfucker? LOUIE Buggerin' Bobby Bales. Sayeed knows you. BOBBY Call me that again. Louie takes a strong pull from the bottle of Jack. SINJIN Louie, shut the fuck up. Let's just do this. LOUIE Call you what again? What everyone calls you? BOBBY Yeah. Call me that. LOUIE Buggerin' Bobby Bales. Bobby stands, tosses his Cigarette aside, and marches toward Louie. Sinjin knowingly looses his grip on the Wheelchair and steps back. 109 SINJIN Bobby, let's relax now. Louie may be a fool... Bobby grabs Louie by the collar and throws him from the Wheelchair. Louis lands heavily on his crippled frame, dazed, the Bowling Ball Bag dribbling onto the floor near Sinjin. Bobby grabs the Wheelchair in both hands and begins smashing it against the wall and into the floor. As Jimmy and Sinjin watch, dumbfounded, the large clay LAWN DWARF we saw earlier bursts trough the window and lands in the center of the room. Everyone stops to stare at the Lawn Dwarf, including Bobby. EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT JESSICA storms through the yard toward Carlos' CAR. CARLOS is right behind. JESSICA Where'd we park? CARLOS Over here. Carlos begins walking over to his CAR, and Jessica walks alongside. Jessica is clearly drunk. Passing by a now high EMILY backed up against a tree staring off into nowhere as MALE PARTYGOER 1 kisses her neck, they arrive at Carlos' Car. Carlos walks over to the driver-side door, but Jessica walks immediately over to the trunk. CARLOS (CONT'D) What are you doing? Get in. JESSICA Open the trunk. CARLOS Jess, let's get out of here. JESSICA I want your bat. CARLOS Screw that. JESSICA I'm gonna finish what I started. I'm gonna knock his teeth out. CARLOS Let's just go home. JESSICA Carlos, open the trunk! 110 Carlos grudgingly obeys. He walks back to the trunk and inserts his KEY, then lifts up. Jessica reaches in and grabs a wooden baseball BAT. She shuts the trunk and looks over to the house. AARON walks through Carter's front door and steps onto the porch, TROY right behind. Aaron is holding a bag of FROZEN VEGETABLES to his head in the area where Jessica hit him with the whiskey bottle. He spots Carlos and Jessica, and walks deliberately toward them. CARLOS Get in the car. JESSICA I'm staying, and so are you, so shut up. Carlos swallows his pride, too yellow to push the point. Aaron moves toward Jessica very quickly, but a look at the bat Jessica is holding makes Aaron keep his distance. JESSICA (CONT'D) What's the matter? Aren't you gonna put me in my place? AARON (calming down) Why don't you put that down. JESSICA Because I'm gonna use it to bash your head in. AARON You really want to do that? JESSICA You really wanna make me? AARON You're gonna do what you're gonna do, like always. JESSICA What the hell's that supposed to mean? AARON Let me show you something. Can I show you? JESSICA What? 111 AARON (inching closer to Jessica and beginning to loosen his pants) I just wanna show you something. Jessica stands back and holds the bat in a cocked position. JESSICA No more 'a this shit, Aaron. Just stand back there. I'll bash you with this, I swear. Aaron drops the Frozen Vegetables to the ground and loosens his pants. AARON Look, just hold on. I wanna show you this. I got it a little while ago, for your birthday. Aaron lowers the left side of his pants to reveal a scarring TATTOO, which is placed above and to the side of his groin. Jessica looks closer. Troy, uncomfortable and not wanting to be there, lights up another CIGARETTE. AARON (CONT'D) Can you see it? JESSICA What the hell is it? AARON It's J. H. C. I got it for your birthday. JESSICA (not knowing what to say) Bullshit. AARON Will you come closer and look? Troy, tell her. TROY (to Jessica) It's your initials. I told him it was stupid. Jessica lowers the Bat and walks cautiously up to Aaron. She attempts to read the Tattoo, which is difficult because of the low light and the scarring. AARON You like it, don't you? I knew you would. 112 JESSICA You're an idiot. AARON I know. Jessica touches the Tattoo. JESSICA Does that hurt? AARON No. Try whacking it with the bat. Jessica laughs as Aaron smiles. Troy is bored. Carlos is miserable. Jessica stands up in front of Aaron, holding the Bat loosely by her side, unsure of what to do. Aaron gently grabs Jessica around the elbows and pulls her close. He puts his arms around her and hugs her loosely. AARON (CONT'D) Can we just forget about this? JESSICA Yes. Aaron hugs Jessica tightly as she drops the Bat and hugs back. AARON Happy birthday. JESSICA Thank you. EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT EMILY, her back up against a tree, continues making out with an aggressive MALE PARTYGOER 1. As MALE PARTYGOER 1 comes up for air, we see that he has a hand down Emily's pants, fingering her. Emily's mind is somewhere else. Emily snaps back to reality and removes Male Partygoer 1's hand and pushes him away from her - she won't become another slut in a town full of them. MALE PARTYGOER 1 Hey, what's wrong? Emily makes for the front door and into the house. EXT. CARTER'S HOUSE, BACK YARD -- NIGHT MITCH has refilled his BEER and patiently waits for a counteroffer from COREY. 113 COREY How about two thousand even? Impatient with the proceedings, PEDRO walks over to the passenger door of the Mustang, swings it open, and leans inside, struggling a bit. MITCH Can't do it. COREY Why not? MITCH It's not economically... (searching for the word) Good, right, sound, whatever. Pedro reappears from the backseat, holding an expensive STEREO. PEDRO Okay, give us two thousand and I give you this nice stereo for free. MITCH Where the hell you get that? COREY Yeah, what the hell is that?! PEDRO (to Mitch) It was in the car. MITCH I don't want a stereo. PEDRO You can have it for free, mehn. MITCH Where's the speakers? PEDRO In the back. Corey walks over, opens the door and looks in the back. His gaze falls upon an item on the floor in the back seat area. PEDRO (CONT'D) (O.S.) This stereo's a motherfucker, mehn, I'm telling you. I was gonna keep it myself. 114 Corey pulls out from the back seat of the Mustang holding a large red and blue POLICE LIGHT. He is dumbfounded. Corey looks to Pedro for an explanation. PEDRO (CONT'D) What's that? COREY I thought you'd tell me! MITCH It looks like police cherries. COREY It can't be. MITCH Look fellas, I'd like to help you out, but I'm not into buying stolen cop cars. It don't seem right somehow. Corey and Pedro struggle for an explanation, but are left speechless. EXT. CARTER'S HOUSE, BACK YARD -- NIGHT JESSICA and AARON are leaning against a random partygoer's CAR. They look very calm. JESSICA I didn't cheat. AARON Fine, you say so, fine. JESSICA That's it? AARON Well what the hell can I do? There's nothin'. I got your goddam initials tattoo'd next to my balls. JESSICA It was a stupid thing to do. AARON You don't like it?! JESSICA Well of course I like it! But what if we break up? 115 AARON Yeah, I thought about that. I'll say it's for Jesus H. Christ. JESSICA Great. Then you could start going to church. Two POLICE CARS pull onto the lawn to break up the party, both cars flashing their red and blue lights. TROY approaches Jessica and Aaron. TROY Cops're here. I'm goin'. AARON (to Jessica) You need a lift? JESSICA Okay. INT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS COREY, PEDRO and MITCH notice a POLICE CAR containing POLICE OFFICER 1 and POLICE OFFICER 2 as it pulls into the back yard. Pedro is still holding the STEREO. PARTYGOERS carry on, barely concerned that the police are breaking up the party. Police Officer 2 spots the MUSTANG hitched to the TOW TRUCK, a look of knowing recognition on his face. POLICE OFFICER 2 I'll be fucked... COREY (staring at the lights) Pedro, get in the truck. PEDRO Oh shit... Police Officer 1 speaks into the C.B. POLICE OFFICER 1 Hey Janice, tell Tim I found his car. From far off, Corey understands from the manner that the police officers have focused on the Mustang that they've been spotted. COREY Pedro, let's get the hell outta here! Police Officer 2 rushes out of the car, followed by Police Officer 1. 116 Pedro turns to Mitch. PEDRO Coge, keep this. Pedro practically throws the Stereo into Mitch's stomach. Mitch, completely shocked, drops his BEER and grabs the stereo out of instinct. Pedro darts for the passenger seat of the Tow Truck. MITCH What the hell am I supposed to do with this? PEDRO Keep it, mehn! I gotta go! COREY moves to the driver-side door of the Tow Truck and opens it, and climbs behind the wheel. Pedro climbs into the passenger seat. MITCH You better bring that truck back! Harvey is pissed! Corey starts the Tow Truck and tries to shift it into gear. COREY Where the hell is first?! Pedro grabs the stick shift and throws it into first. PEDRO Drive, Pendejo! Corey hits the gas, and the transmission screeches its disapproval. PEDRO (CONT'D) Mehn, use the clutch! COREY Shit! Where! The Tow Truck conks out. COREY (CONT'D) Goddammit! PEDRO We're fucked! Pedro opens the door and jumps out. Corey remains seated, frozen, hands on the dashboard. POLICE OFFICER 1 quickly overtakes Pedro and throws him to the ground. POLICE OFFICER 2 rushes over to the Tow Truck and points his GUN at Corey. 117 POLICE OFFICER 2 Out of the truck, asshole! INT. CARTER'S HOUSE, BERUBI'S BEDROOM -- NIGHT HEATHER and RJ are in Berubi's bedroom. Heather is on top of RJ, and the sex is extremely rough. Heather notices the RED AND BLUE LIGHTS continue flashing on the curtains, staring, entranced by them. RJ looks up to see what she's staring at. RJ What the fuck?! Heather does not respond as she continues bouncing up and down on top of RJ. EXT. CARTER'S HOUSE, BACK YARD -- NIGHT COREY gets out of the truck, hands in the air. POLICE OFFICER 1 HANDCUFFS PEDRO. POLICE OFFICER 2 takes out his HANDCUFFS, spins Corey around by his arm, and throws him roughly against the tow truck, cuffing his hands behind his back. In the background, MITCH quietly places the stereo on the ground and begins walking indiscreetly toward the street. INT. CARTER'S HOUSE, JERRY'S BEDROOM -- CONTINUOUS POV on JIMMY, BOBBY, SINJIN and LOUIE staring at the wall opposite the door. Bobby is still holding what's left of Louie's WHEELCHAIR. Sinjin throws his hands up in disgust/disbelief. We see what they're staring at - KWON is climbing clumsily through the window. A large GUN falls heavily to the floor and KWON falls in after it. SINJIN Kwon! What the fuck are you doin'? Kwon grabs his Gun and stands up, slightly out of breath from his climb. KWON Those are my drugs. Jimmy watches, powerless. SINJIN I just bought these. KWON From who? (pointing his Gun at Jimmy) 118 Jimmy? I'm not here to argue. Just gimme my drugs. SINJIN Alright, hold on. Slow down a second. What is this shit, Jimmy? KWON Tell him, Jimmy. >From O.S. a CHINESE STRESS BALL hits Kwon in the forehead. Dazed, Kwon can only blink his eyes tries to gather his senses. Bobby stares at Kwon a moment before landing his large fist square on Kwon's nose, knocking him empty-handed and on his ass beside Sinjin. Sinjin stands up to get between Bobby and Kwon. SINJIN Alright everybody calm the fuck down! This shit's gettin' outta hand- BANG! Everybody freezes as the sound and smoke of a gunshot lingers, then checks to make sure they weren't hit. As doorknob starts rattling with increasing intensity, everyone checks to make sure they weren't hit, then turns to the source of the gunshot. Louie is holding the Gun as he lays on his side, having scrambled to grab the Gun. The door bursts open - it's RJ, out of breath. EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS POLICE OFFICER 1 is using one hand to hold onto PEDRO, still HANDCUFFED, by his upper arm, and the other hand to unlock and open the rear driver side door of his POLICE CAR. POLICE OFFICER 2 watches as he keeps hold of COREY by his HANDCUFFS. POLICE OFFICER 2 (to Police Officer 1) Holy shit, you hear that? The two officers hasten their actions. Police Officer 1 lowers Pedro into the Police Car, then moves to the front seat of the vehicle and grabs the C.B. POLICE OFFICER 1 This is Unit one five seven. Shot fired at 15 Saddlebrook. Repeat, shot fired at 15 Saddlebrook. Request backup immediately. INT. POLICE CAR -- CONTINUOUS Police Officer 2 shoves Corey into the POLICE CAR next to Pedro. Corey and Pedro sit in the rear of the police car, and Police Officer 2 slams the door. Through the windshield we see Police 119 Officer 2 run toward the house as he draws his PISTOL. He moves up the porch past... EXT. CARTER'S HOUSE, BACK PORCH -- NIGHT DEREK walks up the steps onto the back porch as PARTYGOERS move out of the house away from the sound of the gunshot. He notices POLICE OFFICER 2 behind him. DEREK You call that in? POLICE OFFICER 2 (moving up the porch and into the house) We should get everybody out of the house. HEATHER (O.S.) (friendly) Derek? Derek and Police Officer 2 turn to see HEATHER walking onto the back porch from the kitchen. DEREK Heather, go home. This is gonna get- Heather interrupts Derek's statement with a swift, unexpected knee to Derek's groin. Derek doubles over, and Heather grabs him by the hair. POLICE OFFICER 2 Hey! Police Officer 2 shoves Heather to the ground, grabs Derek's HANDCUFFS, and cuffs her hands behind her. Derek is still stunned from the assault. POLICE OFFICER 2 (CONT'D) Derek, you alright? ALLISON, who had been standing back watching the assault, approaches Heather, who is getting up onto her knees. Allison gets on her knees and hugs Heather, who cannot hug back because of the handcuffs. Allison is bawling. ALLISON I'm so sorry, Heather, I'm so sorry. Heather is shutting her eyes extremely tightly, struggling not to cry. She does not attempt to pull away from Allison's tight embrace. 120 INT. CARTER'S HOUSE, JERRY'S BEDROOM -- NIGHT SINJIN marches straight toward LOUIE, who wears the pathetic look of a child about to be disciplined. SINJIN Louie! What the fuck are you shootin' at? LOUIE (pointing at BOBBY) Him! BOBBY You missed. SINJIN Gimme that motherfuckin' gun. Sinjin grabs the GUN from Louie. KWON is sitting up, still dazed, holding a HANDKERCHIEF to stem the flow of blood streaming out of his nose. RJ Cops're here. Sinjin turns to inspect the room, contemplating the situation. He walks toward Jimmy's BACKPACK. RJ (CONT'D) We should go, Sinjin. SINJIN (facetious) I'm not sure about that, RJ! Let's break out the chalk board, some X's and O's, an' make fer certain! (taking command) Just toss Louie out the fuckin' window! KWON Sinjin, those are my drugs. SINJIN (holding out the Backpack) These are my drugs, (pointing at the BOWLING BALL BAG) That's your money. LOUIE (to RJ) Easy motherfucker! 121 RJ drops Louie out the window like a sack of bird seed, Louie is followed by the remains of his wheelchair, then by RJ himself. Kwon stands up and grabs the bowling ball bag. KWON That's my gun, too. SINJIN (heading out the window after RJ) I'll send it UPS. Sinjin disappears out the window. Bobby is about to follow, but turns back toward Jimmy. BOBBY You owe me. Bobby exits. Kwon stands over Jimmy. KWON (foreboding) I'll see you around, Jimmy. Jimmy watches as Kwon exits out the window. EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS Most of the PARTYGOERS are clearing out of the house moving toward their cars, but some of the more curious STRAGGLERS are gathering around on the back porch, wondering what happened. POLICE OFFICER 1 is encouraging everyone to leave. POLICE OFFICER 1 Everybody clear outta here. FEMALE PARTYGOER 2 There was a gunshot. FEMALE PARTYGOER 3 (pointing back toward the bedrooms) Over there. POLICE OFFICER 1 We've got it. Clear outta here. Police Officer 1 enters the house, passing CARLOS among the crowd making it's way out of the house. He walks across the back yard with his KEYS in his hand. He glances down at his shoes a moment as he spots JESSICA, AARON and TROY approaching. JIMMY enters and moves across the frame toward his PIECE-OF-SHIT parked in the rear of the back yard. 122 JESSICA (to Carlos) Hey. What happened in there? CARLOS I just heard a gunshot and everybody's jettin'. Probably more cops'll be here soon. (regarding Aaron) Are you goin' with him? JESSICA Yeah. TROY C'mon, let's get outta here. JESSICA (to Carlos) Are you alright? You okay to drive? CARLOS (weakly) Yeah, I'll be fine. I'm fine, I mean. I'll see you. JESSICA Call me tomorrow. Carlos walks off toward his CAR, and Jessica, Aaron and Troy walk toward Troy's CAR. INT. CARTER'S HOUSE, JERRY'S OLD BEDROOM -- CONTINUOUS POLICE OFFICER 2 is looking through Jerry's old bedroom, noticing the hole in the wall. We can hear POLICE OFFICER 1 knocking on the bathroom door in the hallway. POLICE OFFICER 1 (O.S.) Anybody in there? Open up! This is the police! We're clearing everybody out! We move past Police Officer 2 out into the hallway toward the noise... INT. CARTER'S HOUSE, HALLWAY -- CONTINUOUS Policer Officer 1 is opening the bathroom door, gun raised, and is stopped dead in his tracks by what he sees... INT. CARTER'S HOUSE, BATHROOM -- CONTINUOUS Two legs are hanging out the side of the bathtub, belonging to a girl whose the rest of whose body is obscured from view. 123 Police Officer 1 drops his gun to his side and steps into the bathroom, staring down into the bathtub. Police Officer 2 walks up into the bathroom, noticing the BULLET HOLE in the wall just beside the mirror. POLICE OFFICER 2 Oh man... We see what they do - EMILY is lying back across the width of the bathtub, eyes open but utterly vacant, a gunshot wound through her cheek just below her cheekbone. INT. CARTER'S HOUSE, HALLWAY -- MOMENTS LATER CARTER is moving from the living room toward the bedrooms. POLICE OFFICER 1 stops him. POLICE OFFICER 1 You can't come back here. CARTER Whadda ya mean I can't go back there. This is my house! Carter is persistent, and Police Officer 1 puts his hands up against Carter. INT. CARTER'S HOUSE, LIVING ROOM -- MOMENTS LATER Some of the STRAGGLERS are still scattered throughout the side of the house opposite the bedrooms and bathroom. BERUBI is forcefully waving them out of the house. CARTER (O.S.) Get your fucking hands off me! BERUBI Get the fuck out! Get the fuck out! Get the fuck out! The Stragglers exit out the front door. EXT. CARTER'S HOUSE, FRONT YARD -- CONTINUOUS STRAGGLERS are heading out the front door, joining the other PARTYGOERS in looking for their cars. EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS STRAGGLERS are heading out the back door, joining the other PARTYGOERS in looking for their cars, and for their friends. A few Partygoers remain continue to loiter in groups scattered sparsely throughout the yard. 124 EXT. CARTER'S HOUSE -- NIGHT HEATHER is seated in the back of a POLICE CAR with her hands cuffed behind her back. INT. POLICE CAR -- CONTINUOUS Heather's body is contorted to her side to relieve the discomfort caused by the HANDCUFFS. Through the window facing Carter's house we see a figure approaching. As the figure nears, we recognize DEREK, seemingly recovered from his earlier thrashing. Heather does not notice Derek as he nears the door. Derek opens the door. Heather looks up at him. HEATHER Get away from me. Derek pulls Heather from the police car, and the exhausted Heather gives only nominal resistance. Derek unlocks her handcuffs. Heather turns around. DEREK You should get out of here before the other officers come back. HEATHER Fuck you. Heather walks past Derek, and Derek does not turn to follow her. Heather notices ALLISON standing several car lengths away. Allison has her arms crossed across her body as if she were hugging herself for warmth, both her and Heather's purses strapped over her shoulder, her KEYS dangling from her hand. Heather begins walking slowly towards Allison, passing by... EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS COREY and PEDRO are seated in the back of the POLICE CAR. Corey looks over at Pedro- the look of foolish optimism usually present on Pedro's face has vanished. He looks down at the floor of the Police Car. Through the side window of the Police Car we see JESSICA, AARON, and TROY and climbing into Troy's CAR. Troy is handing Aaron his KEYS before climbing into the back seat. EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS Aaron is behind the wheel sticking the Keys into the ignition. Jessica is in the passenger seat looking through her PURSE for her CIGARETTES. Troy sits in the back seat, spent. JESSICA I left my novel in Carlos' car. 125 AARON You wanna get it? JESSICA I'll get it tomorrow. We should just get out of here. AARON Alright. Aaron starts the car as Jessica lights her Cigarette. Without warning, as Jessica takes a drag, Aaron punches Jessica square in the jaw. The lit Cigarette flies out of Jessica's mouth, and Jessica falls out of view. Aaron reaches down, grabs the Cigarette and puts it in his mouth, still angry. He slowly pulls the car out of the back yard and toward the street, passing Jimmy's PIECE-OF-SHIT parked in the opposite direction. The engine is still off. JIMMY is sitting still behind the wheel, hands down in his lap, staring straight ahead. PULL IN and HOLD on Jimmy. EXT. CARTER'S HOUSE, BACK YARD -- NIGHT ESTABLISHING SHOT with the house IN FOCUS in the background. A few STRAGGLERS remain in the backyard, smoking cigarettes, gossiping, staring back at the house, etc. RACK FOCUS to a group of stragglers in the foreground to the right of the frame, STRAGGLER 1 and STRAGGLER 2 smoking CIGARETTES among them. Straggler 2 flicks his Cigarette and leads all of the group except Straggler 1 frame left toward the street. Straggler 1 glances back at the house before taking a final puff of his Cigarette. He stomps it out under his foot and exits frame left after his buddies. HOLD on the house OUT OF FOCUS. FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Little Mermaid, The.txt b/unformated_scripts/Script_Little Mermaid, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..e9d68b62fafe450a22a00f73381d108c890e3717 --- /dev/null +++ b/unformated_scripts/Script_Little Mermaid, The.txt @@ -0,0 +1 @@ + THE LITTLE MERMAID ---------------------- The complete script Compiled by Corey Johanningmeier Portions copyright (c)1989 by Walt Disney Co.----------------------------------------------------------- (An ocean. Birds are flying and porpoises are swimming happily. From the fog a ship appears crashing through the waves)Sailors: I'll tell you a tale of the bottomless blue And it's hey to the starboard, heave ho Look out, lad, a mermaid be waitin' for you In mysterious fathoms below.Eric: Isn't this great? The salty sea air, the wind blowing in your face . . . a perfect day to be at sea!Grimsby: (Leaning over side.) Oh yes . . . delightful . . . .Sailor 1: A fine strong wind and a following sea. King Triton must be in a friendly-type mood.Eric: King Triton?Sailor 2: Why, ruler of the merpeople, lad. Thought every good sailor knew about him.Grimsby: Merpeople! Eric, pay no attention to this nautical nonsense.Sailor 2: But it ain't nonsense, it's the truth! I'm tellin' you, down in the depths o' the ocean they live. (He gestures wildly, Fish in his hand flops away and lands back in the ocean, relieved.)Sailors: Heave. ho. Heave, ho. In mysterious fathoms below. (Fish sighs and swims away.) (Titles. Various fish swimming. Merpeople converge on a great underseapalace, filling concert hall inside. Fanfare ensues.)Seahorse: Ahem . . . His royal highness, King Triton! (Triton enters dramatically to wild cheering.) And presenting the distinguished court composer, Horatio Thelonious Ignatius Crustaceous Sebastian! (Sebastion enters to mild applause.)Triton: I'm really looking forward to this performance, Sebastian.Sebastian: Oh, Your Majesty, this will be the finest concert I have ever con- ducted. Your daughters - they will be spectacular!Triton: Yes, and especially my little Ariel.Sebastian: Yes, yes, she has the most beautiful voice. . . . [sotto] If only she'd show up for rehearsals once in a while. . . . (He proceeds to podium and begins to direct orchestra.)Triton's daughters: Ah, we are the daughters of Triton. Great father who loves us and named us well: Aquata, Andrina, Arista, Atina, Adella, Allana. And then there is the youngest in her musical debut, Our seventh little sister, we're presenting her to you, To sing a song Sebastian wrote, her voice is like a bell, She's our sister, Ar-i . . . (Shell opens to reveal that Ariel is absent.)Triton: (Very angry.) Ariel!! (Cut to Ariel looking at sunken ship.)Flounder: (From distance.) Ariel, wait for me . . .Ariel: Flounder, hurry up!Flounder: (Catching up.) You know I can't swim that fast.Ariel: There it is. Isn't it fantastic?Flounder: Yeah . . . sure . . . it - it's great. Now let's get outta here.Ariel: You're not getting cold fins now, are you?Flounder: Who, me? No way. It's just, it, err . . . it looks - damp in there. Yeah. And I think I may be coming down with something. Yeah, I got this cough. (Flounder coughs unconvincingly)Ariel: All right. I'm going inside. You can just stay here and - watch for sharks. (She goes inside.)Flounder: O.K. Yeah - you go. I'll stay and - what? Sharks! Ariel! (He tries to fit through porthole.) Ariel . . . I can't . . . I mean- Ariel help!Ariel: (Laughs.) Oh, Flounder.Flounder: (Wispering.)Ariel, do you really think there might be sharks around here? (Shark passes outside.)Ariel: Flounder, don't be such a guppy.Flounder: I'm not a guppy. (Gets pulled through porthole.)This is great - I mean, I really love this. Excitement, adventure, danger lurking around every corn- YAAAAHHHHHHHH!! Ariel!! (He sees a skull, crashes into pillar causing cave in, and swims frantically away, knocking over Ariel.)Ariel: Oh, are you okay?Flounder: Yeah sure, no problem, I'm okay . . .Ariel: Shhh . . . (Seeing a fork.) Oh my gosh! Oh my gosh! Have you ever seen anything so wonderful in your entire life?Flounder: Wow, cool! But, err, what is it?Ariel: I don't know. But I bet Scuttle will. (Puts fork in bag. Skark swims by outside.)Flounder: What was that? Did you hear something?Ariel: (Distracted by pipe.) Hmm, I wonder what this one is?Flounder: Ariel . .Ariel: Flounder, will you relax. Nothing is going to happen.Flounder: (Seeing Shark looming behind him.) AAHHHH!! Run!! Run!! We're gonna die!! (Shark chases them all around. Ariel's bag is hung up. She goes back for it. Shark almost gets them. They head for porthole.) Oh No!! (They crash through and go round and round. Flounder gets knocked silly but Ariel saves him and traps Shark) You big bully. THBBBTTTT . . . (Shark snaps at him and he swims away.)Ariel: (Laughing.) Flounder, you really are a guppy.Flounder: I am not. (On surface. Scuttle on his island humming and looking through histelescope.)Ariel: Scuttle!Scuttle: (Looking through the telescope the wrong way, shouting.) Whoa! Mermaid off the port bow! Ariel, how you doin' kid? (Lowers telescope to reveal Ariel at wing's length.) Whoa, what a swim!Ariel: Scuttle - look what we found.Flounder: Yeah - we were in this sunken ship - it was really creepy.Scuttle: Human stuff, huh? Hey, lemme see. (Picks up fork.) Look at this. Wow - this is special - this is very, very unusual.Ariel: What? What is it?Scuttle: It's a dinglehopper! Humans use these little babies . . . to straighten their hair out. See - just a little twirl here an' a yank there and - voiolay! You got an aesthetically pleasing configuration of hair that humans go nuts over!Ariel: A dinglehopper!Flounder: What about that one?Scuttle: (Holding pipe) Ah - this I haven't seen in years. This is wonderful! A banded, bulbous - snarfblat.Ariel and Flounder: Oohhh.Scuttle: Now, the snarfblat dates back to prehistorical times, when humans used to sit around, and stare at each other all day. Got very boring. So, they invented the snarfblat to make fine music. Allow me. (Scuttle blows into the pipe; seaweed pops out the other end.)Ariel: Music? Oh, the concert! Oh my gosh, my father's gonna kill me!Flounder: The concert was today?Scuttle: (Still contemplating pipe.) Maybe you could make a little planter out of it or somethin'.Ariel: Uh, I'm sorry, I've gotta go. Thank you Scuttle. (Waves.)Scuttle: Anytime sweetie, anytime. (Cut to Flotsam and Jetsam, then Ursula in background watching magicprojection of Ariel swimming.)Ursula: Yeeeeeees, hurry home, princess. We wouldn't want to miss old daddy's celebration, now, would we? Huh! Celebration indeed. Bah! In MY day, we had fantastical feasts when I lived in the palace. And now, look at me - wasted away to practically nothing - banished and exiled and practically starving, while he and his flimsy fish-folk celebrate. Well, I'll give 'em something to celebrate soon enough. Flotsam! Jetsam! I want you to keep an extra close watch on this pretty little daughter of his. She may be the key to Triton's undoing. . . . (Fade to the palace throne room where Ariel is being admonished.)Triton: I just don't know what we're going to do with you, young lady.Ariel: Daddy, I'm sorry, I just forgot, I -Triton: As a result of your careless behaviour -Sebastian: Careless and reckless behaviour!Triton: - the entire celebration was, er -Sebastian: Well, it was ruined! That's all. Completely destroyed! This concert was to be the pinnacle of my distinguished career. Now thanks to you I am the laughing stock of the entire kingdom!Flounder: But it wasn't her fault! Ah - well - first, ahh, this shark chased us - yeah - yeah! And we tried to - but we couldn't - and - grrrrrrrrr - and - and we - whoooaaaaaa - oh, and then we were safe. But then this seagull came, and it was this is this, and that is that, and -Triton: Seagull? What? Oh - you went up to the surface again, didn't you? DIDN'T YOU?Ariel: Nothing - happened. . . .Triton: Oh, Ariel, How many times must we go through this? You could've been seen by one of those barbarians - by - by one of those humans!Ariel: Daddy, they're not barbarians!Triton: They're dangerous. Do you think I want to see my youngest daughter snared by some fish-eater's hook?Ariel: I'm sixteen years old - I'm not a child anymore -Triton: Don't you take that tone of voice with me young lady. As long as you live under my ocean, you'll obey my rules!Ariel: But if you would just listen -Triton: Not another word - and I am never, NEVER to hear of you going to the surface again. Is that clear? (Ariel leaves, crying.)Sebastian: Hm! Teenagers. . . . They think they know everything. You give them an inch, they swim all over you.Triton: Do you, er, think I - I was too hard on her?Sebastian: Definitely not. Why, if Ariel was my daughter, I'd show her who was boss. None of this "flitting to the surface" and other such nonsense. No, sir - I'd keep her under tight control.Triton: You're absolutely right, Sebastian.Sebastian: Of course.Triton: Ariel needs constant supervision.Sebastian: Constant.Triton: Someone to watch over her - to keep her out of trouble.Sebastian: All the time -Triton: And YOU are just the crab to do it. (Cut to Sebastion walking down corridor.)Sebastian: How do I get myself into these situations? I should be writing symphonies - not tagging along after some headstrong teenager. (Sees Ariel and Flounder sneaking off and follows.) Hmm? What is that girl up to? (He barely makes it into cave and sees Ariel's collection.) Huh?Flounder: Ariel, are you okay?Ariel: If only I could make him understand. I just don't see things the way he does. I don't see how a world that makes such wonderful things - could be bad. Look at this stuff Isn't it neat? Wouldn't you think my collection's complete? Wouldn't you think I'm the girl The girl who has ev'rything? Look at this trove Treasures untold How many wonders can one cavern hold? Lookin' around here you'd think Sure, she's got everything I've got gadgets and gizmos aplenty I've got whozits and whatzits galore (You want thingamabobs? I got twenty) But who cares? No big deal I want more I wanna be where the people are I wanna see Wanna see 'em dancin' Walkin' around on those (Whad'ya call 'em?) oh - feet Flippin' your fins you don't get too far Legs are required for jumpin', dancin' Strollin' along down a (What's that word again?) street Up where they walk Up where they run Up where they stay all day in the sun Wanderin' free Wish I could be Part of that world What would I give If I could live Outta these waters? What would I pay To spend a day Warm on the sand? Betcha on land They understand Bet they don't reprimand their daughters Bright young women Sick o' swimmin' Ready to stand And ready to know what the people know Ask 'em my questions And get some answers What's a fire and why does it (What's the word?) burn? When's it my turn? Wouldn't I love Love to explore that shore above? Out of the sea Wish I could be Part of that world (Sebastion has been struggling around and now comes crashing down making a lot of noise.)Ariel: Sebastion!?Sebastian: Ariel - what, are you mad? How could you - what is all this?Ariel: It, err, it's just my - collection. . . .Sebastian: Oh. I see. Your collection. Hmmm. IF YOUR FATHER KNEW ABOUT THIS PLACE HE'D -Flounder: You're not gonna tell him, are you?Ariel: Oh, please, Sebastian, he would never understand.Sebastian: Ariel. You're under a lot of pressure down here. Come with me, I'll take you home and get you something warm to drink. (A ship passes by overhead.)Ariel: What do you suppose?. . .Sebastion: Ariel? Ariel! (On surface. Fireworks in the sky around ship. Ariel looks on,amazed. Sebastion and Flounder arrive.)Sebastion: Ariel, what - what are you- jumpin' jellyfish! Ariel, Ariel! Please come back! (Ariel swims to ship and watches party until Max finds her.)Eric: (Whistles.) Max, here boy. Hey, come on, mutt, whatcha doing, huh Max? Good boy. (Ariel sees him and is stricken.)Scuttle: Hey there, sweetie! Quite a show, eh?Ariel: Scuttle, be quiet! They'll hear you.Scuttle: Oooh, I gotcha, I gotcha. We're being intrepidatious. WE'RE OUT TO DISCOVER! (Ariel grabs his beak.)Ariel: I've never seen a human this close before. Oh - he's very handsome, isn't he?Scuttle: (Looking at Max) I dunno, he looks kinda hairy and slobbery to me.Ariel: Not that one - the one playing the snarfblat.Grimsby: Silence! Silence! It is now my honour and privilege to present our esteemed Prince Eric with a very special, very expensive, very large birthday present.Eric: Ah, Grimsby - y'old beanpole, you shouldn't have.Grimsby: I know. Happy birthday, Eric! (Large, gaudy statue of Eric is revealed. Max growls.)Eric: Gee, Grim. It's, err, it's, err - it's really somethin'. . . .Grimsby: Yes, I commissioned it myself. Of course, I had hoped it would be a wedding present, but . . .Eric: Come on, Grim, don't start. Look, you're not still sore because I didn't fall for the princess of Glauerhaven, are you?Grimsby: Oh, Eric, it isn't me alone. The entire kingdom wants to see you happily settled down with the right girl.Eric: Well, she's out there somewhere. I just - I just haven't found her yet.Grimsby: Well, perhaps you haven't been looking hard enough.Eric: Believe me, Grim, when I find her I'll know - without a doubt. It'll just - bam! - hit me - like lightning. (Lightning and thunder appear and the sky grows dark.)Sailor: Hurricane a'commin'!! Stand fast! Secure the riggin'! (Storm hits.)Scuttle: Whoa! The wind's all of a sudden on the move here. (He is blown away.) Oh! Ariel . . . (Ship crashes through storm. Lightning starts a fire. A rock looms ahead.)Eric: Look out! . . . (Ship crashes and all are thrown overboard except Max.) Grim, hang on! (Sees Max.) Max! (Goes back to save him.) Jump Max! Come on boy, jump! You can do it Max. (He saves Max but is trapped on board.)Grimsby: ERIC! (Ship explodes. Ariel finds Eric near drowning and pulls him away.) (On beach. Ariel is sitting next to an unconscious Eric.)Ariel: Is he - dead?Scuttle: (Opens Eric's eyelid.) It's hard to say. (Puts his ear against Eric's foot.) Oh, I - I can't make out a heartbeat.Ariel: No, look! He's breathing. He's so, beautiful. What would I give To live where you are? What would I pay To stay here beside you? What would I do to see you Smiling at me? Where would we walk? Where would we run? If we could stay all day in the sun? Just you and me And I could be Part of your world (Sebastion and Flounder have washed up and are watching scene. Max and Grimsby approach. Ariel hurries away.)Grimsby: Eric! Oh, Eric. You really delight in these sadistic strains on my blood pressure, don't you?Eric: A girl - rescued me. . . . She was - singing . . . she had the most - beautiful voice.Grimsby: Ah, Eric, I think you've swallowed a bit too much seawater. Off we go. Come on, Max.Sebastian: We just gotta forget this whole thing ever happened. The sea king will never know. You won't tell him, I won't tell him. I will stay in one piece.Ariel: I don't know when I don't know how But I know something's starting right now Watch and you'll see Some day I'll be Part of your world (Flotsam and Jetsam appear. Fade to Ursula watching from her chamber.)Ursula: Oh, no, no, no, no, no, no. I can't stand it - it's too easy. The child is in love with a human. And not just any human - a prince! Her daddy'll LOVE that. King Triton's headstrong, lovesick girl would make a charming addition to my little garden. (Fade to palace. Then sister's dressing room.)Andrina: Ariel, dear, time to come out. You've been in there all morning. (Ariel emerges, singing to herself.)Atina: What is with her lately?Ariel: Morning, Daddy. (Ariel swims off.)Atina: Oh, she's got it bad.Triton: What? What has she got?Andrina: Isn't it obvious, Daddy? Ariel's in love.Triton: Ariel? In love? (Cut to Sebastion pacing on rock outside.)Sebastian: O.K. So far, so good. I don't think the king knows. But it will not be easy keeping something like this a secret for long.Ariel: (Picking petals off a flower) He loves me . . . hmmm, he loves me not. . . . He loves me! I knew it!Sebastian: Ariel, stop talking crazy.Ariel: I gotta see him again - tonight! Scuttle knows where he lives.Sebastian: Ariel - please. Will you get your head out of the clouds and back in the water where it belongs?Ariel: I'll swim up to his castle. Then Flounder will splash around to get his attention, and then with -Sebastian: Down HERE is your home! Ariel - listen to me. The human world - it's a mess. Life under the sea is better than anything they got up there. The seaweed is always greener In somebody else's lake You dream about going up there But that is a big mistake Just look at the world around you Right here on the ocean floor Such wonderful things surround you What more is you lookin' for? Under the sea Under the sea Darling it's better Down where it's wetter Take it from me Up on the shore they work all day Out in the sun they slave away While we devotin' Full time to floatin' Under the sea Down here all the fish is happy As off through the waves they roll The fish on the land ain't happy They sad 'cause they in their bowl But fish in the bowl is lucky They in for a worser fate One day when the boss get hungry Guess who's gon' be on the plate Under the sea Under the sea Nobody beat us Fry us and eat us In fricassee We what the land folks loves to cook Under the sea we off the hook We got no troubles Life is the bubbles Under the sea Under the sea Since life is sweet here We got the beat here Naturally Even the sturgeon an' the ray They get the urge 'n' start to play We got the spirit You got to hear it Under the sea The newt play the flute The carp play the harp The plaice play the bass And they soundin' sharp The bass play the brass The chub play the tub The fluke is the duke of soul (Yeah) The ray he can play The lings on the strings The trout rockin' out The blackfish she sings The smelt and the sprat They know where it's at An' oh that blowfish blow Under the sea Under the sea When the sardine Begin the beguine It's music to me What do they got? A lot of sand We got a hot crustacean band Each little clam here know how to jam here Under the sea Each little slug here Cuttin' a rug here Under the sea Each little snail here Know how to wail here That's why it's hotter Under the water Ya we in luck here Down in the muck here Under the sea (They discover that Ariel has left with Flounder.) Ariel? Ariel? Oh . . . somebody's got to nail that girl's fins to the floor.Seahorse: Sebastian! Sebastian, I've been looking all over for you. I've got an urgent message from the sea king.Sebastian: The sea king?Seahorse: He wants to see you right away - something about Ariel.Sebastian: He knows! (In palace throne room. Triton looking at flower.)Triton: Let's see, now. . . . Oh, who could the lucky merman be? (Notices Sebastion.) Come in, Sebastion.Sebastian: (Sotto) I mustn't overreact. I must remain calm. (Five octaves higher than normal) Yes - (loco) yes, Your Majesty.Triton: Now, Sebastian, I'm concerned about Ariel. Have you noticed she's been acting peculiar lately?Sebastian: Peculiar?Triton: You know, moaning about, daydreaming, singing to herself. . . . You haven't noticed, hmm?Sebastian: Oh - well, I -Triton: Sebastian. . . .Sebastian: Hmmm?Triton: I know you've been keeping something from me. . . .Sebastian: Keeping . . . something?Triton: About Ariel?Sebastian: Ariel . . . ?Triton: In love?Sebastian: I tried to stop her, sir. She wouldn't listen. I told her to stay away from humans - they are bad, they are trouble, they -Triton: Humans? WHAT ABOUT HUMANS?Sebastian: Humans? Ho ho ho ho. . . . Who said anything about humans? (Fade to Ariel and Flounder entering cave.)Ariel: Flounder, why can't you just tell me what this is all about?Flounder: You'll see. It's a suprise.Ariel: (Sees statue of Eric.) Oh, Flounder- Flounder you're the best! it looks just like him. It even has his eyes. "Why, Eric, run away with you? This is all so - so sudden. . . . (Turns around and sees Triton.) Daddy! . . .Triton: I consider myself a reasonable merman. I set certain rules, and I expect those rules to be obeyed.Ariel: But Daddy!-Triton: Is it true you rescued a human from drowing?Ariel: Daddy, I had to-Triton: Contact between the human world and the mer-world is strictly for- bidden. Ariel, you know that! Everyone knows that!Ariel: He would have died-Triton: One less human to worry about!Ariel: You don't even know him.Triton: Know him? I don't have to know him. They're all the same. Spineless, savage, harpooning, fish-eaters, incapable of any feeling-Ariel: Daddy, I love him!Triton: No . . . Have you lost your senses completely? He's a human, you're a mermaid!Ariel: I don't care.Triton: So help me Ariel, I am going to get through to you. And if this is the only way, so be it. (Begins to blast the artifacts with his trident.)Ariel: Daddy!. . . No . . . No, please- Daddy, stop!. . . Daddy, Nooo!!. . . (He blasts statue. Ariel begins crying and he leaves, ashamed.)Sebastion: Ariel, I . . .Ariel: (Still crying.) Just go away. (He leaves and Flotsan and Jetsam appear.)Flotsam: Poor child.Jetsam: Poor, sweet child.Flotsam: She has a very serious problemJetsam: If only there were something we could do.Flotsam: But there is something.Ariel: Who - who are you?Jetsam: Don't be scared.Flotsam: We represent someone who can help you.Jetsam: Someone who could make all your dreams come true.Flotsam and Jetsam: Just imagine -Jetsam: You and your prince -Flotsam and Jetsam: Together, forever. . . .Ariel: I don't understand.Jetsam: Ursula has great powersAriel: The sea witch? Why, that's - I couldn't possibly - no! Get out of here! Leave me alone!Flotsam: Suit yourself.Jetsam: It was only a suggestion. [Jetsam flicks the statue's broken face towards Ariel.]Ariel: [Looking at the face] Wait.Flotsam and Jetsam: Yeeeeeeeeeess? (Cut to outside of cave with Flounder and Sebastion.)Flounder: (snif) Poor Ariel.Sebastion: I didn't mean to tell, it was an accident. (Ariel passes by.) Ariel - where are you going? Ariel, what are you doing here with this riff-raff?riel: I'm going to see Ursula.Sebastian: Ariel, no! No, she's a demon, she's a monster!Ariel: Why don't you go tell my father? You're good at that.Sebastion: But . . . But, I . . . (To Flounder.) Come on. (They travel towards Ursula's cavern.)Flotsam and Jetsam: This way. (Ariel enters and is hung up in the garden of souls.)Ursula: Come in. Come in, my child. We mustn't lurk in doorways - it's rude. One MIGHT question your upbringing. . . . Now, then. You're here because you have a thing for this human. This, er, prince fellow. Not that I blame you - he is quite a catch, isn't he? Well, angel fish, the solution to your problem is simple. The only way to get what you want - is to become a human yourself.Ariel: Can you DO that?Ursula: My dear, sweet child. That's what I do - it's what I live for. To help unfortunate merfolk - like yourself. Poor souls with no one else to turn to. I admit that in the past I've been a nasty They weren't kidding when they called me, well, a witch But you'll find that nowadays I've mended all my ways Repented, seen the light and made a switch True? Yes And I fortunately know a little magic It's a talent that I always have possessed And here lately, please don't laugh I use it on behalf Of the miserable, lonely and depressed (Pathetic) Poor unfortunate souls In pain In need This one longing to be thinner That one wants to get the girl And do I help them? Yes, indeed Those poor unfortunate souls So sad So true They come flocking to my cauldron Crying, "Spells, Ursula please!" And I help them? Yes, I do Now it's happened once or twice Someone couldn't pay the price And I'm afraid I had to rake 'em 'cross the coals Yes, I've had the odd complaint But on the whole I've been a saint To those poor unfortunate souls Now, here's the deal. I will make you a potion that will turn you into a human for three days. Got that? Three days. Now listen, this is import- ant. Before the sun sets on the third day, you've got to get dear ol' princey to fall in love with you. That is, he's got to kiss you. Not just any kiss - the kiss of true love. If he does kiss you before the sun sets on the third day, you'll remain human, permanently, but - if he doesn't, you turn back into a mermaid, and - you belong to me.Sebastion: No Ariel! (He is silenced by Flotsam and Jetsam.)Ursula: Have we got a deal?Ariel: If I become human, I'll never be with my father or sisters again.Ursula: That's right. . . . But - you'll have your man. Life's full of tough choices, innit? Oh - and there is one more thing. We haven't discussed the subject of payment. You can't get something for nothing, you know.Ariel: But I don't have any -Ursula: I'm not asking much. Just a token, really, a trifle. You'll never even miss it. What I want from you is . . . your voice.Ariel: My voice?Ursula: You've got it, sweetcakes. No more talking, singing, zip.Ariel: But without my voice, how can I -Ursula: You'll have your looks! Your pretty face! And don't underestimate the importance of body language! Ha! The men up there don't like a lot of blabber They think a girl who gossips is a bore Yes, on land it's much preferred For ladies not to say a word And after all, dear, what is idle prattle for? Come on, they're not all that impressed with conversation True gentlemen avoid it when they can But they dote and swoon and fawn On a lady who's withdrawn It's she who holds her tongue who gets her man Come on, you poor unfortunate soul Go ahead! Make your choice! I'm a very busy woman And I haven't got all day It won't cost much Just your voice! You poor unfortunate soul It's sad But true If you want to cross a bridge, my sweet You've got to pay the toll Take a gulp and take a breath And go ahead and sign the scroll! Flotsam, Jetsam, now I've got her, boys The boss is on a roll This poor unfortunate soul. (Ariel signs contract.) Paluga, sarruga, come winds of the Caspian Sea. Now rings us glossitis and max laryngitis, La voce to me! Now . . . sing!Ariel: (Sings.)Ursula: Keep singing! (Giant magical hands rip out Ariel's voice and give it to Ursula. She laughs as Ariel is changed into a human and rushed to the surf- ace by Flounder and Sebastion.) (Fade to beach. Eric and Max are walking near castle.)Eric: (Playing flute.) That voice. I can't get it out of my head. I've looked everywhere, Max - where could she be? (On other side of rocks Ariel is washed up. Sebastion and Flounder are exausted. Ariel sees her legs and is amazed.)Scuttle: Well, look at what the catfish dragged in! Look at ya! Look at ya! There's something different. Don't tell me - I got it. It's your hairdo, right? You've been using the dinglehopper, right? No? No huh, well let me see. New . . . seashells? No new seashells. I gotta admit I can't put my foot on it right now, but if I just stand here long enough I know that I'll -Sebastian: SHE'S GOT LEGS, YOU IDIOT! She traded her voice to the sea witch and got legs. Jeez, man . . .Scuttle: I knew that.Flounder: Ariel's been turned into a human. She's gotta make the prince fall in love with her, and he's gotta ki- he's gotta kiss her. (Ariel tries to get up.)Sebastion: And she's only got three days. Just look at her. On legs. On human legs! My nerves are shot. This is a catastrophe! What would her father say? I'll tell you what her father'd say, he'd say he's gonna kill himself a crab, that's what her father'd say! I'm gonna march meself straight home right now and tell him just like I shoulda done de minute- (Ariel grabs him.) . . . and don't you shake your head at me, young lady. Maybe there's still time. If we could get that witch to give you back your voice, you could go home with all the normal fish, and just be . . . just be . . . just be miserable for the rest of your life. All right, all right. I'll try to help you find that prince. Boy. What a soft-shell I'm turning out to be.Scuttle: Now, Ariel, I'm tellin' ya, if you wanna be a human the first thing you gotta do is dress like one. Now lemme see. (Cut to Eric and Max. Max smells Ariel and gets excited.)Eric: Max? Huh . . . what, Max!Scuttle: (Whistles.) Ya look great kid. Ya look - sensational. (They hear Max. He arrives and chases Ariel up on a rock.)Eric: Max . . . Max - Quiet Max! What's gotten into you fella? (Sees Ariel.) Oh . . . Oh, I see. Are you O.K., miss? I'm sorry if this knucklehead scared you. He's harmless, really - . . . you . . . seem very familiar . . . to me. Have we met? We have met? I knew it! You're the one - the one I've been looking for! What's your name? (Ariel mouths "Ariel" but no words come out.) What's wrong? What is it? You can't speak? (Ariel shakes her head.) Oh. Then you couldn't be who I thought. (Ariel and Max look frustrated. She tries pantomime.) What is it? You're hurt? No, No . . . You need help. (She falls into him.) Whoa, whoa, careful - careful - easy. Gee, you must have really been through something. Don't worry, I'll help you. Come on . . . Come on, you'll be okay. (Fade to Ariel in bath playing with bubbles.)Carlotta: Washed up from a shipwreck. Oh, the poor thing. We'll have you feeling better in no time. [Picks up Ariel's "dress"] I'll just - I'll just get this washed for you. (Cut to Sebastion in dress getting washed.)Woman 1: Well you must have at least heard about this girl.Woman 2: Well, Gretchen says . . . (Sebastion is dunked.) . . . since when has Gretchen got anything right. I mean really, this girl shows up in rags and doesn't speak-Sebastion: Madame, please ! . . .Woman 2: . . . not my idea of a princess. If Eric's looking for a girl, I know a couple of highly available ones right here . . . (Sebastion dives into kitchen and sees various fish cooking. He faints.) (Cut to castle dining room.)Grimsby: Oh, Eric, be reasonable. Nice young ladies just don't - swim around rescuing people in the middle of the ocean and then - flutter off into oblivion, like some -Eric: I'm tellin' you, Grim, she was REAL! I'm gonna find that girl - and I'm gonna marry her.Carlotta: Ha Ha. Come on honey. Don't be shy. (Ariel enteres in a beautiful dress.)Grimsby: Oh, Eric, isn't she a vision?Eric: You look - wonderful.Grimsby: Come come come, you must be famished. Let me help you my dear. There we go - ah - quite comfy? Uh. It's - It's not ofen that we have such a lovely dinner guest, eh Eric? (Ariel starts combing hair with a fork. They look dumbfounded and she is embarrased. She sees pipe and brightens.) Uh, do you like it? It is rather - fine . . . (She blows its contents into his face. Eric laughs.)Carlotta: Oh, my!Eric: Ahem, so sorry Grim.Carlotta: Why, Eric, that's the first time I've seen you smile in weeks.Grimsby: (Wiping his face.) Oh, very amusing. Carlotta, my dear, what's for dinner?Carlotta: Oooh, you're gonna love it. Chef's been fixing his specialty, stuffed crab. (Cut to Sebastion watching Louis cook. He is humming to himself.)Louis: Les poissons Les poissons How I love les poissons Love to chop And to serve little fish First I cut off their heads Then I pull out the bones Ah mais oui Ca c'est toujours delish Les poissons Les poissons Hee hee hee Hah hah hah With the cleaver I hack them in two I pull out what's inside And I serve it up fried God, I love little fishes Don't you? Here's something for tempting the palate Prepared in the classic technique First you pound the fish flat with a mallet Then you slash through the skin Give the belly a slice Then you rub some salt in 'Cause that makes it taste nice Zut alors, I have missed one! Sacre bleu What is this? How on earth could I miss Such a sweet little succulent crab? Quel dommage What a loss Here we go in the sauce Now some flour, I think Just a dab Now I stuff you with bread It don't hurt 'cause you're dead And you're certainly lucky you are 'Cause it's gonna be hot In my big silver pot Toodle loo mon poisson Au revoir! (Sebastion hops back and Louis grabs him again.) What is this? (Sebastion pinches his nose and a battle ensues. Louis knocks over a large cabinet.) (Cut to dining room. Huge crash is heard.)Carlotta: I think I'd better go see what Louis is up to. (Back to kitchen. Louis is trashing the place.)Louis: Come out you little pipsqueak and fight like a man!Carlotta: Louis! What are you doing?Louis: Well - I - I was just - er, er, I'm sorry, madame. (Cut back to dining room.)Grimsby: You know, Eric, perhaps our young guest might enjoy seeing some of the sights of the kingdom. Something in the way of a tour?Eric: I'm sorry, Grim, what was that?Grimsby: You can't spend all your time moping about, you need to get out. Do something, have a life. (Grimsby lifts his plate's cover to reveal Sebastian cowering in the salad.) Get your mind off -Eric: Easy, Grim, Easy. (Ariel lifts her own plate cover and signals for Sebastian to hide there. Sebastian rushes across while no one is looking.) It's not a bad idea. If she's interested. Well - whaddaya say? Would you like to join me on a tour of my kingdom tomorrow? (Ariel nods vigorously, leaning heavily on her plate's cover.)Grimsby: Wonderful, now let's eat, before this crab wanders off my plate. (Fade to Ariel watching Eric and Max from balcony.)Eric: Come here boy! . . . Arrr . . . (He sees Ariel and waves. She is emb- arassed and goes back inside.)Sebastian: This has got to be, without a doubt, the single most humiliating day of my life. I hope you appreciate what I go through for you, young lady. Now - we got to make a plan to get that boy to kiss you. Tomorrow, when he takes you for that ride, you gotta look your best. You gotta bat your eyes - like this. You gotta pucker up your lips - like this. (He sees she is asleep.) Hm. You are hopeless child. You know dat? Completely hopeless . . . (Fade to undersea palace. Seahorse swims up to Triton.)Triton: Any sign of them?Seahorse: No, Your Majesty. We've searched everywhere. We've found no trace of your daughter - or Sebastian.Triton: Well, keep looking. Leave no shell unturned, no coral unexplored. Let no one in this kingdom sleep until she's safe at home.Seahorse: Yes sire. (He leaves.)Triton: Oh, what have I done? What have I done? (Morning at castle. Ariel and Eric leave for their tour. Ariel is amazedby everything.)Flounder: (As they pass water.) Has he kissed her yet?Sebastion: Not yet.Flounder: Ohh . . . (Ariel and Eric go dancing and see the town.)Scuttle: Yo, Flounder! Any kissing?Flounder: No, not yet.Scuttle: Hmm. Well they - they better get crackin'. (They leave town and Ariel drives, almost crashing. They end up rowing on a still lagoon in the even- ing.)Flounder: Move over - move your big feathers. I can't see a thing.Scuttle: Nothing is happening. . . . Only one day left, and that boy ain't puckered up once. O.K. All right, this calls for a little vocal romantic stimulation. Stand back. (He flies over and sings very badly.)Eric: Wow. Somebody should find that poor animal and put it out of its misery.Sebastian: Jeez, man, I'm surrounded by amateurs! You want something done, you've got to do it yourself. First, we got to create the mood. Percussion. . . . Strings. . . . Winds. . . . Words. . . . There you see her Sitting there across the way She don't got a lot to say But there's something about her And you don't know why But you're dying to try You wanna kiss the girlEric: Did you hear something?Sebastion: Yes, you want her Look at her, you know you do Possible she wants you too There is one way to ask her It don't take a word Not a single word Go on and kiss the girl Sha la la la la la My oh my Look like the boy too shy Ain't gonna kiss the girl Sha la la la la la Ain't that sad? Ain't it a shame? Too bad, he gonna miss the girlEric: You know, I feel really bad not knowing your name. Heh - maybe I could guess. Is it, err, Mildred? O.K., no. How 'bout - Diana? Rachel?Sebastian: Ariel. Her name is Ariel.Eric: Ariel? Ariel? Well, that's kinda pretty. O.K. - Ariel. . .Sebastion: Now's your moment Floating in a blue lagoon Boy you better do it soon No time will be better She don't say a word And she won't say a word Until you kiss the girl Sha la la la la la Don't be scared You got the mood prepared Go on and kiss the girl Sha la la la la la Don't stop now Don't try to hide it how You want to kiss the girl Sha la la la la la Float along And listen to the song The song say kiss the girl Sha la la la la The music play Do what the music say You got to kiss the girl You've got to kiss the girl You wanna kiss the girl You've gotta kiss the girl Go on and kiss the girl (The boat tips over.)Eric: Whoa, hang on - I've gottcha. (Flotsam and Jetsam congradulate each other.) (Cut to Ursula's cavern.)Ursula: Nice work, boys. That was a close one. Too close. The little tramp! Oh, she's better than I thought. At this rate, he'll be kissing her by sunset for sure. Well, it's time Ursula took matters into her own tentacles! Triton's daughter will be mine - and then I'll make him writhe. I'll see him wriggle like a worm on a hook! (Laughing, she transforms into a human with Ariel's voice.) (Fade to castle at night. Eric is playing the flute and contemplating asGrimsby approaches.)Grimsby: Eric, if I may say, far better than any dream girl, is one of flesh and blood, one warm and caring, and right before your eyes. (He sees Ariel, sighs, and tosses away flute. He is distracted by Ursula/Vanessa singing with Ariel's voice and is placed under her spell.) (Scuttle flying toward castle in morning.)Scuttle: Ariel! Ariel, wake up! Wake up! I just heard the news. Congratula- tions, kiddo, we did it!Sebastian: What is this idiot babbling about?Scuttle: Right - as if you two didn't know, uh? The whole town's buzzin' about the prince gettin' himself hitched this afternoon! You know, he's getting married! You silly sidewalker! I just wanted to wish you luck. I'll catch you later, I wouldn't miss it! (Ariel brightens and runs downstairs, only to see Eric and Vanessa together.)Grimsby: Well, uh - err, Eric. I-it appears that I was mistaken. This mystery maiden of yours does - in fact exist. And - and she is lovely. Congratula- tions, my dear.Eric: We wish to be married as soon as possible.Grimsby: Oh, yes - of course, Eric, but, er - but these things do take time, you know. . . .Eric: This afternoon, Grimsby. The wedding ship departs at sunset.Grimsby: Oh, oh - very well, Eric - as you wish. (Ariel runs off crying.) (Cut to late afternoon as wedding ship starts to leave. Ariel on piercrying bitterly as Sebastion and Flounder look on.) (Cut to Scuttle flying and humming to himself.)Vanessa: What a lovely little bride I'll make, my dear I'll look divine Things are working out according to my ultimate design Soon I'll have that little mermaid and the ocean will be mine!Scuttle: (Seeing real Ursula in mirror.) The sea witch! Oh no . . . She's- I gotta. . . (Runs into side of ship. Flies off to find Ariel.) Ariel! Ariel! Ariel. I was flying, I wa - of course I was flying - An' - I s- I saw that the watch - the witch was watchin' a mirror, and she was singin' with a stolen set o' pipes! Do you hear what I'm tellin' you? THE PRINCE IS MARRYING THE SEA WITCH IN DISGUISE!Sebastian: Are you sure about this?Scuttle: Have I ever been wrong? I mean when it's important!Flounder: What are we gonna do!? (Ariel hears Ursula's voice in her head as the sun drops.)Ursula: . . . Before the sun sets on the third day. . . . (Ariel jumps in water but can't swim well. Sebastion sends down some barrels.)Sebastion: Ariel, grab on to that. Flounder, get her to that boat as fast as your fins can carry you!Flounder: I'll try.Sebastian: I've gotta get to the sea king. He must know about this.Scuttle: What - What about me? What about ME?Sebastian: You - find a way to STALL THAT WEDDING!Scuttle: Stall the wedding. Wh- what am I - what - that's it! (He flies off to rally the animals and fish.) Move it, let's go, we got an emergency here! (Cut to wedding in progress. Max growls at Vanessa but she kicks him.)Priest: Dearly beloved . . . (Flounder is pulling Ariel toward ship.)Flounder: Don't worry Ariel. ugh - we - we're gonna make it. We're almost there.Priest: Yes, um, do you Eric, take Vanessa, to be your lawfully wedded wife, for as long as you both shall live?Eric: (Under spell.) I do.Priest: Eh, and do you . . . (Birds and animals swoop in for attack, causing great chaos.) . . . then by the power inves-Vanessa: Get away from me you slimy little- Oh, why you little- (In the struggle, the shell holding Ariel's voice it broken and it goes back to her. Eric comes out of the spell as she sings.)Eric: Ariel?Ariel: Eric.Eric: You - you can talk. You're the one.Vanessa: Eric, get away from her!Eric: It - it was you all the time.Ariel: Oh, Eric, I - I wanted to tell you.Vanessa: ERIC NO! (The sun sets and Ariel becomes a mermaid.)Ursula: You're too late! You're too late! So long, loverboy.Eric: Ariel! (Ursula and Ariel go overboard.)Ursula: Poor little princess - it's not you I'm after. I've a much bigger fish to -Triton: Ursula, stop!Ursula: Why, King Triton! Ha ha ha - How ARE you?Triton: Let her go.Ursula: Not a chance, Triton! She's mine now. We made a deal.Ariel: Daddy, I'm sorry! I - I - I didn't mean to. I didn't know - (Triton attacks the contract with a fierce blast from his trident, to no avail.)Ursula: You see? The contract's legal, binding and completely unbreakable - even for YOU. Of course, I always was a girl with an eye for a bargain. The daughter of the great sea king is a very precious commodity. But - I might be willing to make an exchange for someone even better. . . . (Cut to Eric rowing away from ship.)Grimsby: Eric! What are you doing?Eric: Grim, I lost her once. I'm not going to lose her again. (Back to Ursula and Triton.)Ursula: Now! Do we have a deal? (Triton signs contract.) Ha! It's done then. (Ariel is released and Triton is withered as Ursula laughs.)Ariel: No . . . Oh, No!Sebastion: Oh, your majesty . . .Ariel: Daddy? . . .Ursula: (Picks up crown.) At last, it's mine. Ho, Ho . . .Ariel: You - You monster!Ursula: Don't fool with me you little brat! Contract or no- AAAAHH! (She is hit with a harpoon thrown by Eric.) Why you little troll!Ariel: Eric! Eric look out!Ursula: After him! (Flotsam and Jetsam attack.)Sebastion: Come on! . . .Ursula: Say goodbye to your sweetheart. (Ariel makes her miss Eric and blast Flotsam and Jetsam.) Babies! My poor, little poopsies! (On surface as Ursula grows beneath.)Ariel: Eric, you've got to get away from here.Eric: No, I won't leave you.Ursula: (Now very large.) You pitiful, insignificant, fool!Eric: Look out!Ursula: Now I am the ruler of all the ocean! The waves obey my every whim! The sea and all its spoils bow to my power! (She wrecks havoc, creates a whirlpool and raises some shipwrecks.)Ariel: ERIC! (He gets on board one of the ships as Ariel falls to the bottom of the whirlpool. Ursula attempts to blast her.)Ursula: (Laughing wickedly.) So much for true love! (As Ursula is about to finish Ariel, Eric steers the ship into her. She is impaled and dies most horribly. Eric collapses on the shore. The trident falls back to Triton and everything reverts to normal.) (Fade to morning with Eric on beach and Ariel watching from a distance.Triton and Sebastion look on.)Triton: She really does love him, doesn't she, Sebastian?Sebastian: Well, it's like I always say, Your Majesty. Children got to be free to lead their own lives.Triton: You - always say that? (sighs) Then I guess there's just one problem left.Sebastian: And what's that, Your Majesty?Triton: How much I'm going to miss her. (He turns her into a human and she goes to meet Eric. They kiss which fades into kiss on wedding day. Everyone is happy. Sebastion is attacked by Louis. He beats Louis up and returns to the sea.)Sebastion: Yes, Thank you, thank you. (Ariel and Triton hug.)Ariel: I love you Daddy. (Big finale while "Part of Your World" music plays. Ship sails off asAriel and Eric kiss.)All: Now we can walk, Now we can run, Now we can stay all day in the sun. Just you and me, And I can be, Part of your world. THE END--------------------------------------------------------------- \ No newline at end of file diff --git a/unformated_scripts/Script_Living in Oblivion.txt b/unformated_scripts/Script_Living in Oblivion.txt new file mode 100644 index 0000000000000000000000000000000000000000..d3aebf51425a6085ffe3d19d7eb88a6e2a0b9cc3 --- /dev/null +++ b/unformated_scripts/Script_Living in Oblivion.txt @@ -0,0 +1 @@ + "LIVING IN OBLIVION" Screenplay by Tom DiCillo SHOOTING DRAFT 1995 A battered 35mm movie camera stands alone on a wooden tripod surrounded by blackness. Opening credits begin. An almost imperceptible DOLLY in toward the movie camera. The dolly forward continues throughout the credits ending in an EXTREME CU of the camera's lens, filling the frame like a giant, glass full moon. Fade to BLACK. Suddenly a door opens directly in front of the camera, wiping the lens and revealing the following scene in Black and White. EXT. STREET. NYC. NIGHT A quiet, deserted industrial street. It is over an hour before dawn and the street is still cloaked in the heavy stillness of night. In the weak light filtering out of their battered van, BERT and CYBIL -- the Craft Service Managers, finish setting out breakfast supplies on a 6' table. They work in almost complete silence, both nearly paralyzed with sleep. A cheap walkie- talkie, lying beside a paper plate of soggy Oreos, sputters and buzzes occasionally. Other items on the table include a mangled banana, seven grapes, and a box of chocolate covered donuts. BERT What time is it? CYBIL Four. Why? BERT This milk is bad. CYBIL (sniffs) When did you buy it? BERT Tuesday? I don't know. What's today? CYBIL Monday. (pause) There's a deli on Broadway. BERT Nothing closer? CYBIL Nothing that's open. BERT (sniffs the milk) Is it that bad? CYBIL I don't know. You're the one who said it was bad. At that moment a large truck grinds around the corner and shudders to a stop in front of the building. Bert replaces the carton of milk neatly beside the orange juice. EXT. STREET. NYC. NIGHT. B/W Amid low, one-word greetings, the CREW tumbles out of the trucks and stands in a groggy cluster around the Craft Service table. WOLF -- the Cameraman, assumes a place of prominence. He wears a black leather coat, a black beret, and black leather half-fingered gloves. WOLF This is the worst fucking coffee I've had in my life. CYBIL Then don't drink it. GAFFER What're we doing today? WOLF (pulls out a wrinkled callsheet) "Interior. Living Room. Ellen talks to Mom." AC Any nudity? CYBIL Yeah, you have to take your fucking pants off. AC I'll do it. I like Ellen. GAFFER Yeah, she's a babe. She was the nurse in that Richard Gere movie. BERT I worked on that. AC The shower scene. WOLF Start with the 5K in the window. Run feeders for three blonds into the living room. GAFFER Two people. Sitting? Standing? WOLF Who fuckin' knows? GAFFER (walks off) "Ellen talks to Mom." INT. CAR. NIGHT. B/W NICOLE sits quietly in the back seat of a beat-up station wagon. She glances out at the empty city moving past her window and lets out a deep sigh. JEFF, the young intern assigned as her driver, glances into the rearview mirror. JEFF Tired? NICOLE No, I've been up since four. I've got a big scene today and I'm kind of nervous. JEFF "Ellen talks to Mom." NICOLE Have you read the script? JEFF No. It's on the callsheet. NICOLE Oh. Well, it's pretty emotional. I tell my mother I never felt she really loved me. JEFF You're going to yell at each other? NICOLE I don't know. I'm just going to go with how I feel. Which is the scary part. I'm very close to this character. JEFF Problems with your own mom? NICOLE Yes. But she died before I, well before we could reconcile... JEFF You were great in that Richard Gere movie. NICOLE Thanks. EXT. RESIDENTIAL HOTEL. NIGHT. B/W CU sidewalk. A pair of women's orthopedic shoes enter the frame and begin pacing. Camera pans up to reveal CORA, a small woman in her early 60s, pacing beneath the awning of her residential hotel. She appears to be rehearsing dialogue with herself. CORA Ellen, I have no memory of this whatsoever. Ellen... Ellen I have NO memory of this whatsoever. Jeff pulls the car up to the curb and Cora gets into the back seat. INT. CAR. NIGHT. B/W NICOLE Good morning, "Mom." CORA (gruff) Morning. NICOLE Sleep well? CORA Not a wink. Cora immediately lights a cigarette. Nicole instinctively wrinkles her nose and turns away. Cora notices this and makes an exaggerated effort to keep the smoke away from Nicole by blowing it hard out the side of her mouth. Jeff glances back at the two women in the rearview mirror. No one speaks. INT. SET. DAWN. B/W NICK -- the Director, WOLF -- the Cameraman and WANDA -- the AD, stand in a loose triangle on the darkened set. All are holding coffee cups. The Gaffer can be seen in the background fumbling with a light. NICK Look, I'm not blaming anybody, Wanda. I'm just saying we left last night and I knew we didn't get that scene. WANDA I'm sorry, I thought it was a great scene, Nick. NICK It was OK; and it's going to be alright. But I'm not settling for OK today. This is a big scene and I'm not leaving till we get it. WANDA Whatever it takes, Nick. We're here for you. NICK Alright, here's what I'm thinking. Wolf, I want to do the whole scene in one shot. WOLF It's been done. NICK I know that but I'd like to try it anyway. WOLF Handheld. NICK No, dolly. We go from Close-up to Wide-shot and back to Close-up in the same shot. WOLF I'll use the 35, minimize distortion; I'll light it all from the ceiling. It could be kind of great. WANDA Sounds incredible. How long, Wolf? WOLF I'll need to see a couple run- throughs. NICK Not too many. It's a tough scene for the actors. I want them to feel relaxed, fresh... WANDA We've got all day, Nick. Whatever it takes. What do you think, Wolf -- an hour, 45? WOLF I don't know how you drink that shit black, Nick. I got to dump in the milk. It's the only way I can cut the taste. Suddenly the Gaffer turns on the 5K, flooding the room with harsh, blinding light. NICK Jesus! WOLF What the fuck?! WANDA Flame on, asshole!! The screen goes completely WHITE. INT. SET APT. DAY. B/W Screen is still white. Gradually it shifts back to proper exposure revealing NICOLE in Medium CU. Her eyes are riveting; it is obvious she is emotionally primed for the scene. A light meter is thrust in front of her face. She barely registers it. WS, the entire Living Room set. Nicole sits on a sofa facing Cora seated opposite in an overstuffed chair. Two flats have been joined at right angles to create the Living Room corner. A table lamp and assorted framed photographs complete the rather scrawny looking set. Most of the movie crew is seen, including Wolf looking through the camera. WANDA OK, picture's up. Quiet. Stop the work. Lock it up. Going for picture. Nick approaches Nicole and Cora. NICK OK, nice and easy. Cora you're doing fine. Remember, really listen and really answer. (smiles at Nicole) I've got nothing to say to you. Just let it happen. It's all there. WANDA Ready, Nick? WOLF Look at this a second, Nick. Nick moves behind the camera and looks through the eyepiece. Another CU of Nicole fills the frame. The image is visually and emotionally breathtaking. WOLF I pushed in a foot. She's incredible. It's coming right through the lens. Nick grips Wolf's shoulder in gratitude. NICK That's great, man. Beautiful. WANDA Ready, Nick? NICK Let's go. Right away. WANDA And, roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, take one. (hits the sticks) NICK Action. INT. APT. THE SCENE: TAKE 1. COLOR From the moment Nick calls "action" the film will cut directly to the shot the set camera is filming. The shot is fluid, graceful and in richly, beautiful COLOR. Nicole's performance is very strong; flawed only slightly by her nervousness. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory of this whatsoever. NICOLE You were just standing there looking at me. Then you pulled me up and said, "You're not hurt." Like I was disgusting for faking, for doing the only thing I could think of to keep him from hitting me again. CORA I was worried about Danny. NICOLE You do remember. CORA He was smaller than you. Nicole turns to Cora with the heartbreaking gaze of an abandoned child. Nick and the rest of the crew watch in awe. NICOLE You were so worried about Danny -- Suddenly the BOOM dips all the way into the shot. INT. SET APT. DAY. B/W WOLF Cut! Boom in. Sorry, I had to cut. Les, your boom was all the way in the shot. BOOM Well, where's the frame line? All the crew move around, all talking at once. WANDA OK, can we get a frame line? Hold it down. We're going again right away. Nobody moves. Les, you got the frame line? BOOM I guess so. WANDA OK, here we go. Right away. Picture's up. Nick approaches Nicole and Cora. NICK Beautiful; both of you. Stay focused. Stay with it. No big deal. Let's go, Wanda. Right away. WANDA Roll sound! SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take two. (hits the sticks) NICK And, action. INT. APT. THE SCENE: TAKE 2. COLOR NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I -- The image suddenly goes out of focus. INT. SET APT. DAY. B/W AC I'm sorry, I have to cut. I was completely off on the focus. It's my fault, I'm sorry. WANDA Thanks for the apology but you'll never work in this town again. (laughter) AC I've got it now. WANDA Here we go, right away. Lock it up. And roll sound... SOUND Speed! WANDA Roll Camera! AC Rolling! CLAPPER Scene six, take three. (hits the sticks) NICK And, action. INT. APT. THE SCENE: TAKE 3. COLOR The scene begins once again. Remarkably, Nicole's enormous commitment is just as full and sharp. Nick is in ecstasy. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory of this whatsoever. Suddenly a car stops right outside, a heavy, bass-driven rap song blasting out of its trunk-mounted speakers. INT. SET APT. DAY. B/W SOUND Street noise! WANDA That's a cut! (into her walkie) What the fuck's going on down there!? You call that a lock-up!? Get that car out of there! NICK Jesus Christ. Why doesn't the guy just get a flatbed trailer with about 600 speakers on it and tow it behind his car. Everyone nods in annoyed agreement; everyone except the Boom man who appears to be following the music with the mike, bopping to it through the headphones. Slowly, interminably, the music fades off into the distance. SOUND And... it's clear. WANDA (into her walkie) Do I have a lock-up? WALKIE (V.O.) kkkkkssst... sttttss yes. WANDA Is that a real lock-up? WALKIE (V.O.) ssssssssssssppppkkss. WANDA OK, right away. Picture's up. Roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, take four. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: TAKE 4. COLOR NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory of this whatsoever. NICOLE You were just standing there looking at me. Then you pulled -- Suddenly the BOOM drops into frame again. INT. SET APT. DAY. B/W WOLF Boom's in. NICK Jesus Christ. BOOM Where? WOLF The whole left side of frame, Les. WANDA Alright, can we please get a motherfucking frame line please?! BOOM The frame keeps changing. WOLF That's the idea, Les. SOUND May I make a suggestion? Is it possible to maybe break the shot down? Maybe two shots instead? Might make it easier for Les. NICK No. SOUND Then I need ten minutes to switch to radio mikes. WANDA Your call, Nick. NICK There won't be any other sound problems? SOUND No more boom problems. NICK Switch to radios. WANDA That's a ten-minute break. Release the lock-up. Stand by. WOLF (to the AC) Get me a coffee. Half milk. INT. SET APT. DAY. B/W Nick looks for Nicole but sees only Cora standing by the couch. Les has both arms up the back of her dress, running the wire to her radio mike. She's wearing stockings rolled down to just above her knees. Nick turns and spots Nicole by herself in a dark corner of the set and walks over to her. INT. SET APT. A CORNER. DAY. B/W NICK I'm sorry about all this, Nicole. NICOLE It's not your fault, Nick. Is there a way to use some of the earlier takes? NICK Not unless I change the shot; do a cutaway of Cora or something and intercut the takes. I don't want to do that. It's a really nice shot and what you're doing is incredible. NICOLE Thanks, Nick. NICK The radio mikes are going to make everything easier. So, look. Take a moment. Let all this shit go. We don't roll till you're ready. NICOLE OK. Nick moves back to the set, leaving Nicole in the shadows. Camera stays on her as she begins emotionally preparing herself once again. SCRIPT (V.O.) How was she in that Richard Gere movie? CYBIL (V.O.) So-so. Camera slips halfway through an open bedroom door, holding Nicole on one side of the frame while revealing PAM the Script Supervisor and CYBIL sitting on the floor smoking. Though separated by the wall, Nicole hears everything the two women say. SCRIPT Her career really took off, didn't it? CYBIL I saw her in a Michael Bolton video. SCRIPT She is nice; but I could do a better job. Camera slips into a CU of Nicole. She closes her eyes as the two women continue talking about her. Screen goes BLACK. INT. SET APT. DAY. B/W A BLACK scrim, held by the Gaffer, passes in front of the camera, revealing the set with Nicole and Cora settling in for a take. WANDA Where's that flag going? GAFFER It's a scrim. WANDA Wolf! WOLF Two seconds, Wanda. WANDA No. No more tweaking. Picture's up. (into her walkie) Lock it up! Wolf quickly motions Gaffer to hand-hold the scrim in front of the 5K. WANDA And, roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take five. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: TAKE 5. COLOR Once again the scene begins. Nicole shows the first signs of losing her concentration. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory -- Suddenly there is a tremendous EXPLOSION sending bits of glass flying through the frame. Cora jumps, clutching her chest. CORA Oh, God! INT. SET APT. DAY. B/W CU the light the Gaffer had been holding the scrim before. It is smoking and shattered. NICK Jesus fucking Christ! WOLF (to the Gaffer) Kill it. Kill it. Pull the plug. Right there by your foot. WANDA That's a cut. Anybody hurt? Cora, are you alright? Cora nods wordlessly, gasping for breath. WANDA Props. Props! Let's get a broom up here right away. Clear the set! INT. APT. HALLWAY. DAY. B/W Nick, Cora, and Nicole stand in a corner of the landing. Nick is making obvious attempts to lighten the mood. NICK Well, let's see. What do you think is going to happen next, Cora? CORA I'm going to have a heart attack! NICK No, you're not. You're going in there in two minutes and we are really going to nail this scene. I know it. I have no doubt about it. Nicole... Nick turns to Nicole and stops in midsentence. He looks at her for a long moment. Nicole returns his gaze then suddenly looks away. WANDA (V.O.) Nick! Nick! NICK One second! Nick hesitates a moment then rushes back to the set. CORA I'll tell you this much right now; I am never, ever doing another fucking low-budget movie. INT. SET APT. DAY. B/W Nick joins Wanda and Wolf on the set couch and chair. NICK What's up? WANDA Wolf and I were talking... Ellen's losing it a little bit. You got three quarters of the scene really, really incredible in the first take. Do a quick cut-away and all you need is a pickup of the last part of the scene. NICK Wolf? WOLF You know how I feel; I love this shot. Hell, I designed it. NICK Then let's just stick with the game plan, OK? It's a simple shot. We're going to get it this time, I feel it. WANDA We're here for you, Nick. Whatever it takes. Nick moves off. Wanda stares at Wolf who studiously inspects his light meter. WANDA Thanks. INT. SET APT. DAY. B/W Camera is close on the black-and-white clapboard. Nicole's face can be partially seen behind it. WANDA And, roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, take six. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: TAKE 6. COLOR As the scene begins again, it is obvious that both actresses are completely distracted. Nick's face betrays a rapidly increasing anxiety. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA I... There is a long awkward pause as Cora realizes she can't remember her line. INT. SET APT. DAY. B/W NICK Cut. That's OK, Cora. What's the line? Just say it to me; no acting. CORA I... (pause) AC "Ellen, I have no memory of this line whatsoever." Amid general tittering from the crew, Wanda yells out. WANDA OK, could we get the line please?! Script! SCRIPT (Pam) "Ellen, I have no memory of this whatsoever." WANDA Thank you. And, roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, take seven. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: TAKE 7. COLOR The scene begins again. Nicole is lifeless; she's merely saying the lines. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway -- CORA I was worried about Danny! Nicole stops cold, completely thrown by Cora jumping her line. NICOLE I'm sorry, I'm lost... INT. SET APT. DAY. B/W NICK Cut. It's OK. No big deal. Nick's voice has the rigid tremble of someone barely able to keep from screaming. NICK Everyone relax. We're just going to run the lines. That's all. No acting. Just run the lines. Then we're going to shoot this fucking scene. INT. SET APT. THE COUCH. DAY. B/W Nicole gets up quietly and sits next to Cora on the couch, wordlessly taking her hand in hers. CORA (whispers) I'm so sorry. I'm fucking this up for you. NICOLE (whispers) Cora, don't even think that. You're doing great. I'm the one who's fucking it up. If I get through this I swear I'm never acting again. She means it. Cora glances up at her, seeing for the first time how pain and defeat have drawn the life from Nicole's face. On an impulse Cora reaches out and gently lifts a strand of Nicole's hair from her eyes. A sudden amazed alarm fills Nicole. The living room grows strangely quiet. NICK (faintly, from a distance) And, action on the run-through. CU Nicole. She looks quickly toward Nick in confusion. INT. HOSPITAL ROOM. DAY. COLOR DISSOLVE to a nurse moving quickly past the camera and out the open door of the hospital room. CU Nicole, seated on the edge of the hospital bed. Still confused, she looks down at the old woman lying in the bed. The woman's face is pale and drawn. As Nicole leans closer her mother reaches out and gently brushes a strand of hair away from her face. The gesture is one of love, acceptance, and farewell. It is identical to the one we have just seen Cora make to her. NICK (V.O.) And action on the run-through. INT. SET APT. DAY. B/W WS, the Living Room Set. Nick, Wanda, the rest of the crew standing quietly. Nicole glances over at Cora and instantly something unspoken and unexplained passes between them. The run-through begins. From the moment Nicole opens her mouth it is obvious there has been a remarkable change in her. Every word now has the stunning clarity of truth. Cora is completely engulfed in the moment. NICOLE Dad hit me first and knocked me down. It didn't hurt that much but I started crying anyway, hoping he would leave me alone. He went over and started hitting Danny. CORA Ellen, I have no memory of this whatsoever. NICOLE You were just standing there looking at me. As Nicole continues, one by one the crew turn and watch this exquisite moment happening before them. Nick's face is lit with rapture. NICK (whispering) Roll camera... roll camera. He glances over and to his horror sees that no one is behind the camera. He whispers frantically to the AC. NICK Where's Wolf? AC (whispers) In the bathroom... he doesn't feel good. NICK (whispers) Get him! Get him! Nick turns back to the scene, watching its beauty now in agony. NICOLE Then you pulled me up and said, "You're not hurt." Like I was disgusting for faking, for doing the only thing I could think of to keep him from hitting me again. CORA I was worried about Danny. NICOLE You do remember. CORA He was smaller than you. NICOLE You were so worried about Danny. What about me, Mom? Why weren't you worried about me? There is a heavy, stunned silence as the scene ends. Nicole and Cora are in each other's arms. Pam and Cybil share a piece of tissue. CUT TO: an extreme CU of Nick. NICK Where the fuck is Wolf?!!! INT. BATHROOM. DAY. B/W In the cramped confines of the dingy basement bathroom, Wolf pukes violently into the toilet. His face is pale and slick with perspiration. His eyes look upward toward the sound of Nick yelling. WOLF One second! Wolf tries to continue but another spasm of nausea wrenches him back toward the toilet bowl. INT. SET APT. THE COUCH. DAY. B/W The set is quiet, subdued. Nick sits on the couch with Nicole and Cora. Wolf sits groggily behind the camera wiping the sweat from his face. Wanda addresses the crew. WANDA OK, listen up. Nobody drinks the milk downstairs. OK? It appears to be bad. Nick speaks uneasily to Nicole and Cora. He is a wreck and his insistent smile of encouragement looks absolutely demented. NICK I've had to, well I've changed the shot; we're just a little pressed for time. It'll just be a CU of Ellen for the last part of the scene, starting with Cora's "I was worried about Danny." OK? I'll find a way to cut this into the fourth take. We almost had it. That was unbelievable, both of you. But let's not think about it. That moment is gone, and... we'll, we'll get another one. I have no doubt about it. OK? Here we go. Nick walks over and stands beside the camera. INT. SET APT. BY THE CAMERA. DAY. B/W WOLF I'm ready, Nick. Nick is so angry he can't even look at Wolf. NICK Call it, Wanda. WANDA And, roll sound. SOUND Speed! WANDA And, roll camera! AC Rolling! CLAPPER Scene six, Pickup, take one. (hits the sticks) NICK Action. INT. SET APT. THE SCENE: PICKUP 1. COLOR The scene begins at the pickup point. Miraculously, both Cora and Nicole are just as concentrated and engaged as they were in the run-through. CORA I was worried about Danny. NICOLE You do remember. CORA He was smaller than you. NICOLE You were so worried about Danny. What about me, Mom? Why weren't -- In the middle of this final, delicate moment an insistent electronic beeping is heard. INT. SET APT. DAY. B/W NICK CUT!!!! WANDA What the fuck is that?! Sound? SOUND (frantically checking his equipment) It's not me. BOOM It's the camera. WOLF The fuck it is. It's off; it's not even running. The beep continues, growing louder. WANDA (into her walkie) What's going on down there?! Do I have a lock-up?! Nothing? You don't hear a beeping sound? (to Nick) The street's quiet. NICK Then what the fuck is it!!? AC It's somebody's watch! Everybody holds their watches up to their ears. WOLF Not mine. WANDA Not mine. SOUND Not mine. BOOM Not mine. And so on, until all watches have been checked with negative results. The beeping continues, growing louder and louder. Suddenly Nick loses it. He starts running around the set, ripping things apart, knocking over tables, lamps, chairs. He shoves Cora off the couch and whips off the cushions, heaving them against the wall with a startling violence. NICK Where is it!! You motherfucker! You cock-sucking motherfucking bastard! Where the fuck are you!? Where!! Where!! Everyone watches Nick demolish the set in stunned, open- mouthed amazement. Nick turns to the crew in rage. NICK Can someone help me please?! Do I have to do everything myself here?! Nick loses it completely. NICK Hey, Cora. Why don't you go learn your lines! Hey Scriptgirl, are you finally going to pay attention here?! Hey, focus puller, you want to make a movie or get stoned?! Huh, I got some great fuckin' Thai Stick here! Hey Wolf, you pretentious, beret- wearing motherfucker! I saw your reel, man; it sucked! Who the hell would hire you anyway! Hey Wanda, next time can you wear a shirt that's a little more distracting to my actors! (to the Gaffer) Hey Bob! Hi Bob! Can you please make a little more noise on the dolly you creaky motherfucker! (to Cybil) What is your name!? What do you fucking do around here?! (to the Soundman) Hey Speedo, what's the matter? Can't even find a teeny fucking beep?! CU of Nicole. She turns away, unable to watch anymore. The beeping continues. NICK See what I have to put up with, Nicole!? Maybe next time you'll do some of that magic on camera!? But no, no -- wait till Wolf is puking his guts out, "Oh now I'll be good!!" WS, the entire room. Nick's last word echoes throughout the silent set. Suddenly he stops in the center of the demolished set and lets out a long, wrenching scream. INT. BEDROOM. NIGHT. COLOR QUICK CUT TO extreme CU Nick's face, just as his eyes open. The film is in COLOR now. The room is in heavy darkness except for the light on Nick's face. Nick reaches over and shuts off his clock radio. The digital dial shows 4:00 A.M. The beeping finally stops. Nick turns on a light and sits up in bed, drenched in sweat and still breathing heavily. NICK God... (this is not a sigh of relief) The camera DOLLIES swiftly back away from Nick. He stares at it in stunned amazement. Just then a DOOR closes right into the lens turning the frame into complete BLACKNESS. Out of the BLACKNESS a door opens away from the camera revealing WANDA looking into her closet (the camera is inside the closet). From this point on, the rest of the film is in COLOR except where specifically indicated to be Black and White. INT. WANDA'S APT. DAWN She is wearing only a bra, black stretch pants, and cowboy boots. She rummages quickly through some blouses, selects the same garish one she wore in Part One, then walks away revealing WOLF sitting on the edge of the rumpled bed. He is dressed exactly the same as when we last saw him, complete with beret. He struggles groggily into his socks and boots. The entire apartment is in disarray. A bedside clock reads 4:13 A.M. WOLF Well, when did he ask you? WANDA Yesterday, when I was helping him check into his hotel. WOLF What, the guy can't even check into a hotel by himself? WANDA Listen, Wolf, having Chad Palomino in this movie will benefit us all. If being there when he checks into his hotel makes him feel better, then I'm happy to do it. WOLF Well, how did it come up? WANDA He asked me if I liked jazz, I said yes, and he suggested we meet tonight at a jazz club. WOLF I like jazz. WANDA He did not invite you. (applies perfume) WOLF Why are you wearing perfume to work? WANDA Because I feel like it. WOLF You didn't wear it yesterday. WANDA Oh, stop it. You're acting like a child. Wanda playfully swipes at Wolf's face with a negligee she is returning to the closet. It misses him completely. WOLF My eye! WANDA Oh, God. Sweetheart, are you alright? WOLF Do I look alright?! WANDA Let me see. Christ, we're going to be late. Wanda sits and perfunctorily examines Wolf's eye. INT. CAR. DAWN The car is parked outside a rather seedy hotel. JEFF, the Intern and NICK, the Director, sit quietly in the motionless car. NICK Should we call up to the room again? JEFF He said he'd be right down. Nick lets out a huge yawn. JEFF Tired? NICK I'm exhausted. I dreamt I was on the set all night. I was just trying to do one shot and everything kept going wrong. JEFF That's an anxiety dream. Are you anxious about something? NICK I don't know. Sometimes I wonder what the hell I'm doing in this business. It's all just one compromise and disappointment after another. I don't know if I have the personality for it. JEFF Sounds kind of like an identity crisis. NICK Maybe you're right. Who am I? What am I really capable of? Maybe I should just get a job teaching at a women's college somewhere. JEFF How'd you get into cinematography? NICK I'm not a cinematographer. JEFF You're not? NICK No. I'm directing this movie. JEFF (pause) How'd you get into directing? INT. HOTEL ROOM. DAWN In the dim light of the hotel room, CHAD PALOMINO dresses quickly. He is young, handsome, with long blond hair. A WOMAN sits nude on the bed, her back to the camera. The faint sound of a shower comes from the adjacent bathroom. PALOMINO They're waiting downstairs. WOMAN Go ahead, I'll take a taxi. PALOMINO Oh, OK. Listen, I've got to tell you, I had a lot of fun last night, really, but for me, where I'm at right now in my life, a relationship is... WOMAN Chad; hold it. This was a one-time deal. You know it, I know it. There is no need for melodrama. PALOMINO I just thought you might... WOMAN Look, all I ask is that you don't mention this to anyone. PALOMINO Hey, that's not my style. WOMAN Good. PALOMINO So, I'll see you on the set. Palomino slips out the door. The woman falls back onto the bed, turning her face toward the camera. We see it is NICOLE. NICOLE God damn it. She lies for a moment, listening to the sound of the shower. The bedside clock reads 4:30 A.M. INT. CAR. DAWN The car pulls up outside a NYC apt building. Jeff, Nick, and Palomino sit inside. PALOMINO I got two films coming up right after yours, Nick. One I play a rapist that Michelle Pfeiffer falls in love with. The other I'm kind of a sexy serial killer who shacks up with Winona Ryder. NICK That's great, man. PALOMINO Yeah, but I'm not into that hostess twinkie shit, Nick. NICK Hostess twinkie? PALOMINO That Hollywood shit. It's all fluff, man. These are the kind of movies I want to do, right here. NICK I'm glad you feel that way, Chad. And I just want to tell you, I'm really happy we can work together. PALOMINO Hey, me too! You're a great director, man. Your films are wacked! And I'm gonna be watching you, buddy. Like a hawk. I want to learn from you, Nick. I'm gonna pick your brain. NICK Good. Then you can pick my nose. PALOMINO (big laugh) See what I mean? You're wacked. Hey, what are we sitting here for? NICK We're waiting for Nicole. PALOMINO Nicole? She's takin' a tax -- (he stops) NICK What? PALOMINO Probably taking a shower or something. Hey, how was her shower scene in that Richard Gere movie? NICK Good. JEFF Really great. The three men sit in silence. WS, showing the car parked outside Nicole's apt, the men inside waiting. INT. THE SET. MORNING A small, elegant bedroom set has been constructed in the middle of the huge empty space. One wall has a fake window. The GAFFER lies on the bed staring absently at the AC sitting motionless beside the camera a few feet away. Neither speaks for a long moment. GAFFER I think we got nudity today. AC (reads from his callsheet) It just says "Scene Six: Ellen and Damian kiss." GAFFER Could be a kiss with nudity. AC I like Ellen. She's my type. GAFFER Why is that? AC She's pretty. Smart. Kind of kooky. GAFFER Maybe I'll give her a part. That's right; I'm makin' my own movie pretty soon. AC Oh yeah? GAFFER Yup. Feature. I brought my script. The Gaffer tugs a thin, tattered SCRIPT, folded lengthwise, out of his back pocket. GAFFER Palomino's perfect for the lead. I'm going to give it to him right during lunch. Maybe right after. AC Alright. GAFFER Got to be aggressive. You want to shoot it? AC Sure. GAFFER You ever shot anything? AC No. GAFFER That's alright; got to start somewhere. Suddenly the Gaffer reaches out and warmly shakes the AC's hand. INT. MAKEUP CORNER. DAY Nicole sits before the makeup mirror. LORDE, the male Makeup artist picks up a tube of Preparation H and begins applying it under Nicole's eyes just as Nick walks up. NICK Jesus, what are you doing? LORDE Shrinking tissue. That's what this stuff is for. Let that sit for two minutes, pumpkin; I'll be right back. NICK How'd you get here? NICOLE Took a taxi. NICK Oh. We've been waiting in front of your apartment for half an hour. NICOLE God, I'm sorry, Nick. Something came up. I forgot to call. I'm sorry, I feel like such an asshole. NICK You're just saying that because you have Preparation H on your face. NICOLE I never should have gone out last night. I hate jazz. God, I look terrible. NICK No you don't. NICOLE Don't bullshit me, Nick. NICK I'm not. You really look beautiful. Something in Nick's voice makes Nicole glance up at him. He looks away quickly. The moment is awkward, as if they both realize he has inadvertently revealed something. Just then Palomino approaches. PALOMINO Hey! How'd you get here, Nicole? NICOLE I took a cab. PALOMINO Oh, cause we were wondering how you got here. Nick looks at both of them in a moment of silence. NICK Alright, good; everybody's here. We'll do a run-through as soon as you guys are ready. PALOMINO You got it, Chief. Lorde reenters as Nick leaves. Palomino sits in the chair beside Nicole and Lorde immediately begins his makeup. No one speaks. INT. THE SET. DAY The crew is assembled behind the camera. Wolf is now wearing a black eyepatch over one eye. Nick is on the set, talking with Nicole and Palomino. Palomino wears a tuxedo and Nicole is in an elaborate low-cut gown. WANDA Hold it down, hold it down, people. Actors working. PALOMINO Great shirt, Wanda. WANDA (big smile) Why, thank you, Chad. NICK OK, let's work out the rest of this blocking. Wolf -- (notices Wolf's eyepatch) What happened to your eye? WOLF A little accident. NICK You going to be alright? WOLF I think so. PALOMINO It looks good on you, man. NICK Nicole is standing here, Chad, you're there by the chair. Camera is close on Ellen: her first line. NICOLE I've always admired you from afar. PALOMINO Admired? That sounds rather professional. NICK Good! "Professional," that's the cue; Damian steps up to the bed. Camera pulls back. The scene continues. NICOLE Well, then: loved. How does that sound? PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO Why didn't you tell me? NICOLE We were working together. I didn't want anything to interfere. PALOMINO God. And all this time I thought... NICK Then the kiss. How's that feel? PALOMINO Great. NICK Nicole? NICOLE Good. NICK Wolf, any thoughts? WOLF Nope. PALOMINO I've got a thought. What about Damian having an eyepatch like Wolf's? NICK Let me think about that one, Chad. PALOMINO OK, you're the genius. Nick Reve, Living in Oblivion, Scene Six, Take One. Let's shoot it! NICK One second, Chad. You ready for one, Wolf? WOLF Hell, I been ready. PALOMINO Alright, Wolfman. NICK Good. Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take one! NICK And, action. INT. THE SET. TAKE ONE Instantly the film cuts from color to B/W. Chad and Nicole begin their Love Scene. NICOLE I've always admired you from afar. PALOMINO Admired? That sounds rather professional. The camera starts to dolly, however Chad does not move. He goes out of frame forcing Wolf to pan abruptly to Nicole. NICOLE Well, then: loved. How does that sound? PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO (finally moves to his mark) Why didn't you tell me? NICOLE We were working together. I didn't want anything to interfere. PALOMINO God. And all this time I thought... Palomino and Nicole embrace. Their kiss, like the entire scene, is flat, lifeless, and awful. INT. THE SET NICK Cut. Very good. WOLF Not for camera. Chad was completely out of frame. NICK Yeah, Chad; what happened, buddy? Forget your cue? PALOMINO Oh no, man. I held back. It really felt like something Damian would do; holding back to the last moment. NICK Oh, I see. How's that for you, Wolf? WOLF I don't care when he moves. Just give me a fucking cue. PALOMINO The Lone Wolf! NICK What line did he move on? SCRIPT "Why didn't you tell me?" NICK Alright, "me" is the new cue. Nicole, how does that feel to you? NICOLE Fine, if that's what Chad wants to do. PALOMINO "Me, me, me," that's the cue. Let's shoot; I'm stoked! NICK One second, Chad. Nick approaches the bed and speaks quietly to Chad and Nicole. NICK Chad, how would you describe this scene, in one word? PALOMINO Great. It's a great scene, man. NICK No, I mean it's a love scene. Right? PALOMINO Definitely. NICK These two people really love each other. And we want to see that, especially in the kiss. PALOMINO Hey, say no more, Chief. NICK Nicole? NICOLE I understand, Chief. NICK Good. Here we go. Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take two! NICK And, action. INT. THE SCENE. TAKE TWO. DAY NICOLE I've always admired you from afar. Palomino moves immediately to the bed, changing his blocking and causing the camera crew and Nicole considerable confusion. PALOMINO Admired? That sounds rather professional. NICOLE Well, then: loved. How does that sound? PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO Why didn't you tell me? NICOLE We were working together. I didn't want anything to interfere. PALOMINO God. And all this time I thought... The scene once again is awful. Nick gives their listless kiss a few moments then calls CUT. INT. THE SET. DAY NICK And, cut. Very good. Wolf? WOLF Chad missed his cue again; the whole dolly is unusable. NICK Yeah, Chad. What happened; I thought you were going to hold back till "me"? PALOMINO The more I thought about it the more it didn't seem right. And I'm thinking, watch me here, instead of coming around the bed, what if I just slip here like this and do the whole scene lying down? NICK I don't know, that seems a little... PALOMINO Hey, I'm just throwing out ideas here. Trying to get the juices flowing. NICK Nicole, how does that feel to you? NICOLE Well, I can turn to look at him. But won't you be shooting the back of my head? WOLF Plus Chad is completely out of the light down there. PALOMINO Hey, Wolf; I'm not worried about my face, man. It's about the acting; that's all I care about. WOLF It's your call, Nick. His acting or his face. NICK For some reason I was hoping we could get both. (laughs) I thought that's what we were trying to do here. WOLF I'll have to set another light. WANDA We're ahead of schedule, Nick. I think we can afford a few minutes to set a light for Mr. Palomino. NICK Good, let's do it. Ellen, Damian; let's talk for a second. As Nick, Nicole, and Palomino step off the set Wanda speaks to the crew in general. WANDA We'll pause to set this light and go again right away. How long, Wolf? Wolf doesn't answer, though he stands a mere foot away, watching the Gaffer set up a light. WANDA Wolf? Wolf walks away from Wanda without a word. The entire crew watches this. INT. A CORNER. DAY Nick, Palomino, and Nicole confer, all three smoking. NICK OK, let's make sure we know what's going on here. These two people have loved each other for years, each of them not knowing the other was in love with them. And tonight, in this little room it all comes out. It's like a dam bursting. Does that make sense? Nicole? NICOLE It makes perfect sense. I just haven't found it yet. I'll get it though. NICK What about you, Chad? PALOMINO I'm there, man. I got the dam going, the river, everything. You watch, that little change in the blocking is going to open the whole scene up for me. WANDA (V.O.) We're ready, Nick! NICK Good. Let's go. INT. THE SET. DAY WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take three! NICK And, action. INT. THE SCENE. TAKE THREE. DAY NICOLE I've always admired you from afar. Palomino saunters over and sprawls on the bed, forcing Nicole to turn her head completely away from the camera. PALOMINO Admired? That sounds rather professional. NICOLE Well, then: loved. How does that sound? PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO Why didn't you tell me? NICOLE We were working together -- I'm sorry, can we cut, Nick? INT. THE SET. DAY NICK Cut! WANDA That's a cut! PALOMINO Dammit! That was a good one! NICOLE I know, I'm sorry. But this feels really awkward; turning all the way around like this. NICK Yeah, I think the lying on the bed is not quite working, Chad. Let's try one with the original blocking. PALOMINO Which one was that? There's been so many damn changes. Could somebody help me out please? SCRIPT The cue for the original blocking is "professional." PALOMINO (intimate) Thank you. Thank you very much. NICK OK, right away. Call it, Wanda. NICOLE Nick? Could I just have a moment? Is that alright? NICK Of course, Nicole; are you kidding? Hold the roll, Wanda. WANDA Holding the roll! Nicole remains seated on the bed, lowering her head and closing her eyes as she attempts to generate some emotion for the scene. Everyone watches her in complete silence. INT. NEAR THE CAMERA. DAY Palomino tiptoes over to the camera where Wanda and the Scriptgirl are standing side by side. As he leans between them, checking his lines on the Scriptgirl's script, he inhales deeply then exhales with a barely audible sigh. PALOMINO (whispers) Someone over here smells very, very nice. Thinking he means her, Wanda's lips flutter in a brief, involuntary smile. Meanwhile, the Scriptgirl turns away, blushing furiously. INT. THE SET. DAY Palomino tiptoes again back to his spot. Nicole raises her head and nods once to Nick. She seems to have aroused some real emotion in herself. NICK (with quiet intensity) Call it, Wanda. WANDA And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take four! PALOMINO (suddenly) Nick, I just had a great idea! WANDA Hold the roll! NICK What is it, Chad? PALOMINO Just stop me if I'm out of line here, but she says "admired from afar," right? Doesn't it make sense to see Damian up close and her "afar?" You start on a Close-up of Damian, watch me here; as she declares her love, the camera moves with me into this primo two-shot that you and the Wolfmeister have set up here. NICK What do you think, Wolf? WOLF I don't like it. This is Ellen's scene. NICK I don't know; it sort of makes sense. PALOMINO Hey, you did it, man. It's all there in the writing. WOLF I'd have to relight. Nick pauses, thinking hard. WANDA We're still ahead of schedule, Nick; if that means anything to you. NICK Let's do it. WOLF (to the Gaffer) Get me a tweenie right here, with diffusion. WANDA OK, everyone stand by. We're pausing briefly to set one little light, then we're going again, right away. Stand-in please for Mr. Palomino. GAFFER I'll do it. WOLF Get the fucking light! INT. CRAFT SERVICE TABLE. DAY Several members of the crew loiter around the table. The Scriptgirl approaches carrying a donut in one hand and a cup of coffee in the other. Palomino notices her and moves quietly to her side. Without a word he picks up the milk and pours some in her coffee. Nicole stands nearby and watches the following exchange. SCRIPT Thanks. PALOMINO My pleasure. Sugar? SCRIPT Just a bit. Palomino puts sugar in her coffee with extreme care. PALOMINO You like jazz? SCRIPT Very much. PALOMINO Maybe we could go hear some tonight. Palomino smiles and moves away just as Wanda comes up for a coffee refill. WANDA It's going well I think. Don't you think? SCRIPT Very well. What time do you think we'll finish? WANDA Early I hope. I'm going to a jazz club tonight. SCRIPT Really? So am I. He's wonderful, isn't he? WANDA Chad? SCRIPT He's so natural, like... air. Nicole approaches. SCRIPT I wonder what his sign is. Do you know, Nicole? NICOLE I don't know his sign, but I think his moon is in Uranus. Wanda chokes hard on her coffee as Nicole walks off with a bitter smile. SCRIPT You don't have to be nasty. INT. THE SET. DAY Palomino saunters onto the set as Wolf and his crew finish relighting. PALOMINO Yo, Wolfman. Is this my new mark? WOLF Until you change it. Where's my fucking eyepatch?! Wolf walks off. The Gaffer slips the AC a shrewd wink then walks over and stands next to Palomino, giving him a big, friendly grin. GAFFER Hey, Chad. PALOMINO Hey, whatya say. GAFFER I'm Bob. I'm lighting this show. PALOMINO Chad Palomino; Actor. GAFFER (big smile) I know. PALOMINO (to the ac) Hey, what's your name? AC Maurice. PALOMINO Maurice! Hey, Maurice Chevalier! Any relation? Probably not. Hey, smoking crew guys, really. The Gaffer slips his own script out of his back pocket and begins leafing through it. GAFFER Hey thanks, Chad. Actually I wrote a script. PALOMINO Oh, yeah? Palomino takes the Gaffer's script and holds it up to his eyes, shading them from a light he's looking at across the room. He points to the light. PALOMINO Hey, Bill. See that light over there? GAFFER Uh, yeah. PALOMINO Lower it about three feet. Palomino hands the Gaffer back his script and walks off. The Gaffer and AC stand in silence for a long awkward moment. INT. BATHROOM. DAY Nick intently scrutinizes himself in the mirror. Leaning closer he makes a careful adjustment to the way his hair falls over his ear, then steps back to examine himself. NICK Would you care to have a drink tonight? Hey, Nicole, what do you say you and I have a drink tonight? Suddenly the door opens behind him and Nicole walks in. NICOLE Oh, Nick! I'm sorry! NICK That's OK, no problem. I'm just slapping a little water on my face. The two stand in embarrassed silence for a moment. Nick looks like he's gathering the nerve to ask her out. NICK So, it's going pretty good, huh? NICOLE Is it? Something feels off. NICK Yeah, you seem a little tense. NICOLE Do I? NICK But don't worry about it. Just take your attention off yourself and put it on Chad. Work off him a little more. NICOLE OK, I'll try that. NICK And listen, I know he's no Olivier. But he's got something, don't you think? Kind of a natural presence. NICOLE Oh yes, he's very natural. Nick hesitates, again gathering his nerves to pop the question. NICK So Nicole... anything else I can help you with? NICOLE Actually there is. Could you maybe ask him to brush his teeth? NICK Oh, sure. INT. THE SET. DAY Wanda crosses the set and assumes her position beside the camera. Wolf sits behind it, barely a foot away. WOLF My eye is killing me. WANDA Put your eyepatch on. WOLF I lost it. WANDA Is that little light set yet? WOLF That little light was set ten minutes ago. WANDA (into her walkie) Get me the A Team in here right away. Nick, Nicole, and Mr. Palomino. (to Wolf) Why didn't you tell me? WOLF Hey, you're not worried about the time, I'm not worried about the time. WANDA Oh, I am very worried about the time! WOLF I know you are. WANDA What is that supposed to mean? WOLF What do you think it means?! WANDA I don't know what it means! WOLF Oh yes you do, you know exactly what it means. WANDA I have no idea what you're talking about! Why are you -- WOLF You don't understand me, Wanda! You have no idea -- WANDA I don't understand you?!! All I do is take care of you!!! Nick suddenly runs up just as Wolf and Wanda are on the verge of blows. NICK Hey, hey, hey! What the hell's going on here?! Jesus, Wanda. This is a very intimate scene and a lot of tension on the set doesn't help. OK? Now, Wolf, let's just go through the first part of the move. Damian, on your new mark. Good. Close-up, Damian; Ellen in the background. Nick suddenly sees Palomino is wearing a black eyepatch. NICK Chad, what are you doing? WOLF Hey, that's my fucking eyepatch. PALOMINO Wolf, could I borrow it? Cause I'm telling you, Nick; it really feels right. I feel like this guy now, man. NICK I don't know, Chad. I don't think it works. PALOMINO You're wrong, man. I'm going to fight you on this one. WOLF Hey, it's my fucking eyepatch and I don't want anyone wearing it. It's insanitary. Palomino removes the eyepatch and tosses it back to Wolf. PALOMINO Fine. I'll get my own. Nick, send someone out for an eyepatch. I'll fucking pay for it myself. Nick pulls Palomino aside and whispers to him confidentially. NICK Listen, Chad. I didn't want to say this in front of Wolf but it makes you look a little... gay. PALOMINO Really? NICK Yeah, a little bit. PALOMINO Jesus. Palomino sneaks a glance back at Wolf then whispers to Nick. PALOMINO You're right. Thanks, buddy. Good call. WANDA Are you ready, Nick? NICK One second. You need a rehearsal, Wolf? WOLF Let's just fucking shoot it!! PALOMINO El Lobo! Palomino winks at Nick and walks back to his new mark, making a barely audible howling sound behind his hand. NICK Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take four! NICK And, action. INT. THE SCENE. TAKE FOUR The scene begins again. Palomino milks his Close-up for all it's worth. NICOLE I've always admired you from afar. PALOMINO Admired? That sounds rather professional. NICOLE Well, then: loved. How does that sound? Right on his cue, Palomino walks to the bed. As the camera moves into the 2-shot he begins stroking Nicole's hair with extreme care and concentration. PALOMINO It sounds like the champagne talking. NICOLE I've loved you from the moment we met. PALOMINO Why didn't you tell me? NICOLE We were working together. I didn't want anything to interfere -- God! Under the onslaught of escalating hair-stroking, Nicole suddenly jerks her head away hard. Palomino jumps up and begins pacing at the rear of the set. INT. THE SET. DAY NICK Cut! WANDA That's a cut. Hold the work, going again, right away. NICOLE I'm sorry, Nick. I don't know why I did that. I'm sorry. Palomino suddenly stops pacing and addresses Nick with a curtness that is a little startling. PALOMINO Nick, could I talk to you a second? Palomino disappears behind the set, a jerk of his head indicating his wish for Nick to follow him. WANDA A momentary delay. Everyone stand by. We're going again, right away. SOUND Excuse me, Ellen? You were a tad low on that take. NICOLE Oh, OK. I'll bring it up. Actually could I listen to the take before? The Sound man gives Nicole his headphones and rewinds the tape recorder for her. The first several lines of the last take are heard through the headphones. INT. OFF THE SET. DAY Nick follows Palomino behind the set, stopping just beside the fake set window. Palomino whirls on Nick and whispers fiercely. PALOMINO I'm out of here, man! NICK What's the matter?! PALOMINO I like you, but I made a big mistake taking this part. Have someone call me a cab. NICK Wait a second, Chad. Just talk to me. What's going on!? PALOMINO I can't act with this woman. I know she's a friend of yours but I got to tell you: she cannot act worth a shit! I'm giving her everything! The whole thing I just did with the hair; did you see that? I came up with that on my own because I thought it would help her. But no, she's giving me nothing! I'm out of here. INT. THE SET. DAY Nicole listens to the last line of the previous take. PALOMINO God, and all this time I thought... (the muted rustle of the kiss) The Sound man stops the recorder at the end of the take, sets the machine in standby mode, and picks up his crossword puzzle. Nicole is just about to take off the headphones when she realizes she can hear Nick and Palomino talking quite clearly. Glancing up, she sees the Boom man has left his boom leaning against the wall, the mike pointing out the open set window. PALOMINO (V.O.) Why did you cast her? She sucked in that Richard Gere movie! NICK (V.O.) You're right. She is not the best actress in the world. I see that now but you've got to help me, Chad. I'm asking you to please help me here. We've got to get through this somehow. The camera begins a slow DOLLY in to Nicole's astonished face. This will be intercut with a similar DOLLY in to the microphone leaning against the wall, ending in an ECU of the mike. INT. OFF THE SET. DAY Camera is close on Nick and Palomino. PALOMINO I'll tell you what this is about, man. You know why she took a cab this morning? NICK Something came up. PALOMINO No. She was in my hotel room and she didn't want you to know it. OK? I'm sorry it had to come out like this but I told her this morning "thanks a lot, it was a lot of fun last night but let's get something straight -- it was just a one-time deal," and she didn't want to hear that. She wanted more, you see what I'm saying? It's rejection. INT. THE SET. DAY The camera reveals Nicole now seated in her spot on the bed. She rises as Nick and Palomino reappear and approach her from behind the set. NICK Nicole, listen... NICOLE Nick, it's my fault the scene isn't working. I apologize. Chad, I apologize to you too. I'm completely unfocused here and I think you're absolutely right; what we need to do is loosen the scene up somehow. Nick and Palomino stare at Nicole for a moment. NICK What would you like to do? NICOLE I was wondering if we could try improvising the scene. More along the lines of what Chad has been doing. Maybe that would help me find something. Nick's smile of gratitude to Nicole looks almost drug-induced. NICK That's a fantastic idea. What do you think, Chad? PALOMINO Hey, that's the only way I can work. Let's take it apart, let's cut loose. NICK Good! And we'll shoot it! Hell, why not?! PALOMINO Roll that motherfucking camera, Wolfie! WOLF Kiss my ass! Although Wolf says this quite loud, Palomino doesn't hear him because he suddenly yells: PALOMINO Yeah! Let's go! NICK Alright, now we're making a fucking movie! Call it, Wanda! WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take five! NICK And, action. INT. THE SCENE. TAKE FIVE. THE IMPROV Nicole stays seated, though Palomino moves around making a great show of loosening up. NICOLE I've always admired you from afar. PALOMINO Have you? That's, wow; that's incredible. But that sounds kind of professional doesn't it? Admired? NICOLE You're right. How does despised sound? PALOMINO Great! (laughs) What's it mean? NICOLE (laughs) It's sort of like I think you're a piece of shit. Palomino is somewhat startled by this. He looks to Nick in confusion. Nick silently encourages him to keep going. PALOMINO (another laugh) That sounds like the champagne talking. NICOLE It's not. I really do think you are a piece of shit. PALOMINO No, you don't. You love me. NICOLE The fuck I do. I can't stand looking at you! PALOMINO Then I guess I have nothing else to say. NICOLE No, I think you have a lot more to say, Damian. PALOMINO Well, I am surprised you feel this way, Ellen. I always thought you admired -- NICOLE That's not what I meant. You should tell everyone what you just told Nick behind the set. PALOMINO Hey, this isn't part of the scene. NICOLE Say it anyway: The reason this scene isn't working is because you and I slept together last night. Did everyone hear that?! I fucked Chad last night! Nick and the rest of the crew stand in stunned amazement. PALOMINO See, Nick! I told you this was about rejection! NICOLE You fucking scumbag! You think I give a rat's ass about you?! I was there to get laid and even that was a joke! PALOMINO You know, you are really starting to piss me off! NICOLE Oh, does that mean you're not going to come wiggle on the bed anymore, or stroke my hair real soft and concerned, or kiss me like a soap opera acting piece of shit! Palomino snaps, and lunges for Nicole. She leaps to the other side of the bed. NICOLE Come on! I'll kick your ass! Come on! Nick steps between Nicole and Palomino. NICK OK, guys, I think we can stop there. PALOMINO You bet your ass we can stop! Wanda, call me a cab! NICK Hold on, Chad. Let's just try to calm down. PALOMINO Fuck you. I'm out of here, man. This movie is bullshit. NICK Now wait a second, Chad. There's no reason for hostility. PALOMINO Shut up, you fucking loser. The only reason I took this part was because someone said you knew Quentin Tarantino! You're nowhere, man. NICK Hey, you want to go? Go! I'm sick of your shit, you hostess twinkie motherfucker! PALOMINO What'd you call me? NICK You heard me. PALOMINO Say it again. NICK You hostess twinkie motherfucker! Palomino suddenly punches Nick in the stomach, leaving him bent over and gasping for breath. Nicole instantly leaps on Palomino's back and begins pounding her fist on the top of his head. Palomino spins wildly trying to dislodge her as Wanda rushes forward. WANDA Alright, everyone just stop. Stop! Stop this right now! As she tries to separate Nicole and Palomino, Palomino shoves her hard, knocking her down. Instantly Wolf leaps off the camera and runs up to Palomino. WOLF Alright, you've asked for it, Chad! Palomino suddenly punches Wolf in the teeth, dropping him like a stone. WANDA (shrieks) Wolf! Suddenly Nick staggers to his feet and rushes at Palomino. His momentum knocks all three backwards onto the bed, Palomino's head cracking Nicole in the teeth. NICOLE Oh, God! Nicole rolls free as Nick and Palomino wrestle on the bed. Nick gets Palomino in a vicious headlock and starts pounding his head against the mattress. NICK You want to pick my brain?! This is the way I direct hostess twinkie scumbags like you! As Nick continues to pound Palomino's head the Gaffer notices Palomino's eyes are starting to bug out from the pressure of Nick's forearm around his neck. He and the Boom man rush forward and finally manage to pry Palomino free. NICK Get him out of here! Someone take him back to his hotel! As the Gaffer and Boom man drag off the almost unconscious Palomino, the Scriptgirl takes one faltering step after him. SCRIPT (sniffling) Chad... Suddenly, everything becomes quiet except for Nick's labored breathing and the Scriptgirl's sniffles. Nick leans over and touches Nicole's shoulder. NICK Are you alright? NICOLE Don't touch me. EXT. DAY. THE STREET OUTSIDE THE SET The Gaffer and AC help the still-groggy Palomino into the back of the production van. JEFF, the driver, watches them in sleepy curiosity. With Palomino safely propped in a seat, the AC goes back to the set. The Gaffer waits a moment then slips his script out of his back pocket and slaps it into Palomino's motionless hand. GAFFER It's called "Tsunami." A Japanese tidal wave hits New York. You've an ex-Navy S.E.A L. frogman, working undercover. You save the city. You'd be perfect for the lead. That's my number; call me, or I'll call you. Either way it's been great working with you, man. As Palomino stares at him blankly, the Gaffer slams the door. The car pulls out. INT. THE SET. DAY Nick and Nicole are sitting up on the bed, alone on the now empty set. NICK Nicole, I'm sorry. I didn't mean it. You were great in that Richard Gere movie. NICOLE Shut up. You're no different than he is. You lie, you're deceitful... NICK I'm not lying. Christ, I tell everyone how great you are. I've got nothing but respect and admiration for you. NICOLE Oh God, now you're doing your own fucking script. NICK Well, why do you think I wrote it?! NICOLE I have no idea! NICK It's about you. It's about how I feel about you. NICOLE Christ, did you get a bump on your head, Nicky. 'Cause you're talking like an idiot. NICK Nicole. I've loved you since the day we met. Nicole sits for a long moment in stunned silence. NICOLE Why didn't you tell me? NICK I didn't want anything to get in the way of us working together. NICOLE God, and all this time I thought... Nick and Nicole move into a shy, trembling, heartfelt kiss. INT. HOTEL ROOM. DAWN Nicole snaps awake with a jolt. She glances quickly at the clock which reads 4:35. The sound of the shower still running in the bathroom. NICOLE Oh, God. Nicole leaps out of bed and races into the bathroom. As the camera follows her, she closes the bathroom door, right against the lens, turning the image to total BLACKNESS. The frame is BLACK. The recognizable clatter and clunk of the FILM CREW is heard. Wanda's voice is prominent. WANDA Don't go out that door! Suddenly a DOOR opens away from camera and the AC stops, a foot away from the lens. Behind him, Wanda and the rest of the crew can be seen through the door, preparing for filming. We see now the door and the plywood walls around it are FAKE. INT. THE SET. DAY AC Why not? WANDA It's part of the set, goddamnit. Now go around. AC Next time. This is an emergency. The AC rushes past and a moment later the camera DOLLIES slowly through the fake door toward Wanda pacing near the set camera. WANDA (into her walkie) Has Ellen showed up yet? WALKIE ssss... kkkkkrrk. WANDA Get her into wardrobe right away. WALKIE ssskk... ssssrrrk? WANDA No! Scene six; Scene five has been postponed. I'm not going to say it again; Mr. Palomino is not working today. Now where is that smoke machine! INT. SET BUILDING, HALLWAY. DAY The AC bursts through a door at the end of the hallway and walks quickly toward the camera. Without knocking he pushes open the bathroom door and suddenly stops short. AC Oh. Sorry. Standing on his tiptoes at the sink, straining to turn off the running faucet is, TITO a DWARF. He is dressed in a sky blue tuxedo with tails. A top hat and white gloves rest on the closed toilet seat. Tito appears extremely annoyed. TITO What do you want?! AC I need to use the bathroom. Kind of an emergency. TITO Well, fucking knock!! Tito grabs his hat and gloves and marches down the hall, the AC staring after him in astonishment. TITO (muttering) I swear to Christ, one of these days I'm going to punch somebody in the balls! INT. WARDROBE ROOM. DAY Camera is close on Nicole, her eyes clenched shut as a thin white veil is placed on her head. Camera pulls back to reveal SACHIKO, the Costume Designer putting the finishing touches to Nicole's costume, which appears to be an elaborate white wedding gown. Nick stands nearby, smoking. NICK Just as we pull up to your apartment Palomino suddenly says he feels so sick he can't work today. NICOLE God. Was it something he ate? SACHIKO Stand up, please. NICK I don't know. NICOLE Can he work tomorrow? SACHIKO Turn around, please. NICK Don't know that either. But I'm not worrying about it. I had this dream last night where I was on the set. You were in it, and another woman, someone older. Anyway, everything was going wrong. The harder I tried to hold things together the more they fell apart. And you know what that dream was telling me, Nicole? You just got to roll with it. And that's what I'm doing, I'm rolling with it. So, we'll just shoot the Dream Sequence today. Just then Tito walks in. NICK Hey, Tito. You look great, man. TITO I feel like shit. NICK No, you look good. Thanks for coming in on such short notice. This is Nicole; she's playing Ellen. NICOLE Hello. Toto, is it? TITO Tito. NICOLE Oh, I'm sorry. NICK Listen, if there's anything I can do to make you... if you need... uh, just let me know. TITO Put a stool in the bathroom. Tito walks out, followed immediately by Sachiko, leaving Nicole alone with Nick. NICK Did I just offend him? NICOLE What did you say? NICK "Short notice?" NICOLE Come on; that was nothing. I'm the one who called him "Toto." Jesus, I'm out of it. I dreamt I was on the set last night too. NICK Oh yeah? NICOLE Yeah. You were in the dream. NICK Was I freaking out? NICOLE Actually, you were. NICK That's great: I freak out in my dream; I freak out in your dream. No wonder I'm fucking exhausted. NICOLE Nick... NICK Yeah? Nicole stares at Nick for a long moment then smiles briefly and turns away. INT. A CORNER OF THE SET. DAY A dented, ancient smoke machine squats forlornly in the middle of the set. WOLF (with eyepatch), the GAFFER, AC, BOOM MAN, and the SOUND MAN stand around it, scrutinizing it intently. Wolf seems in an unusually good mood. WOLF Alright, guys; special effects today. Could be fun. Who knows how to work this baby? GAFFER It's the old T-160. I used it once in '85. AC Damn. '85. WOLF What's this? GAFFER That's where the gas goes. BOOM No, that's where the oil goes. GAFFER Is it? BOOM I think so. GAFFER You're right. It's coming back now. WOLF I'm going to let you handle this one, Bob. This is your baby. And Les, if he needs help you give him a hand. OK, guys? We're all working together today. Wolf walks off. The Gaffer kneels to inspect the smoke machine closer. GAFFER Yup, all coming back now. Like riding a bike. T-160, 1985. 1985, T-160. AC Way to go, Bob. INT. THE SET. NEAR THE CAMERA Wanda stands alone by the camera, looking around at the bustling crew like a battalion commander watching her troops in battle. Nick approaches her. NICK How are we doing, Wanda? WANDA Not good, Nick. Not bad, but not good. We need to finish this scene and do Scene thirty-one today. NICK Scene thirty-one?! I left my notes for Scene thirty-one at home! I didn't know we were -- WANDA Nick, Nick. I'll send someone to your apartment to pick them up. Now, relax. NICK Oh, OK. Send somebody to my apartment to pick them up; it's the red notebook, under the bed. WANDA It's taken care of, Nick. NICK Good. Great. Good. Nick walks off quickly, muttering to himself. A moment later Wolf strolls up to Wanda. WOLF We're all lit, the smoke machine is under control; we're ready to go. WANDA (hard) What about the dolly? WOLF Just need to see a run-through and we're all set. I'm going to make your job easy today, Wanda. Wandaful. (he slips his arm around her) Mmm, I'm glad you wore that perfume. And don't worry about Palomino; I'll take you to a jazz club tonight. WANDA Oh, I can't make it. I have to go see Chad; he's extremely ill. WOLF Oh, by the way my eye's much better. WANDA Listen, Wolf, this may not be the best time to say this but our relationship is going nowhere. WOLF What do you mean? WANDA Please, don't take it personally. Because I care for you, Wolf, I really do. But I've had this feeling for quite a while and I think it's time we ended it. OK? WOLF (pause) OK. WANDA I think it's better. WOLF So do I. WANDA Well, good. Still friends? WOLF Sure. WANDA Great, cause we still have to work together and there's no reason it has to be unpleasant. Give me a hug. Wanda and Wolf move into an extremely wooden embrace. WANDA You're a real special guy, Wolf. WOLF Thanks. Wanda slips Wolf a tender smile then walks away. WANDA (into her walkie) OK, let's get the A Team in please! Nick, Ellen, Mr. Tito! INT. THE SET. DAY Nick is working with the crew and the actors. The set consists of two flats (one with the fake door) joined to make a corner. The flats are painted fire-engine red. NICK OK, here's the shot. We start wide with Ellen standing absolutely still right in the middle of the frame. You got that, Wolf? WOLF Yeah. NICK (notices eyepatch) What happened to your eye? WOLF Nothing. It's a little sensitive today. NICK Can you see? WOLF (snaps) Of course I can see! For a moment Nick looks like he might snap back at Wolf but he draws a deep breath and continues. NICK OK, Ellen is standing there. The smoke is flowing in and: Ellen's line. NICOLE I am so hungry. NICK Good, Tito, that's your cue. The fake door opens and Tito enters wearing his top hat and carrying a golden apple in his gloved hands. NICK You walk around her once, hold the apple out, that's right; just beyond her reach. You're staring at her hard. Harder, good. Then stop right here. Can we get a mark, please? The AC moves up to Nick and places a piece of yellow tape on the floor. CU the yellow tape. NICK Then we dolly in to Tito's Close-up. Alright, Wolf? WANDA It should be hand-held. NICK No, I think it's better on the dolly. WOLF Whatever. NICOLE Nick, do I see him? NICK No, just the apple. And Tito, right after we dolly in give me a little laugh there. TITO A little laugh? NICK Big, little; anything you feel like doing. OK? Good. Let's shoot one. Call it, Wanda. WANDA OK, here we go. Camera back to One. Action on the smoke. The Gaffer turns on the smoke machine which emits a pathetic wisp of smoke that immediately dissipates. WANDA And roll sound. NICK Hold it, Wanda. Can we get a little more smoke? Is that possible? GAFFER Oh, sure. The Gaffer adjusts a knob and another thin puff of smoke wheezes out. NICK Good. Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take one! NICK And, action. INT. THE DREAM. TAKE ONE. DAY Nicole stands motionless in the middle of the empty set. Her white wedding gown stands out sharply against the deep red walls. A sad shred of smoke drifts by her head. NICOLE I am so hungry. Tito opens the door and walks in, staring hard at Nicole. His sky-blue tuxedo gleams in the rich light. He walks around her in a circle holding the golden apple just beyond her reach. He stops on his mark and the camera dollies into a CU of him. He doesn't laugh. Nick watches this for a moment in intense concentration. INT. THE SET. DAY NICK And... cut. WANDA That's a cut. Nick; comments? NICK Yeah, just a couple. I thought that was uh... good. Tito, that was very good, man, really. You didn't feel like laughing? TITO I laughed. NICK Oh, OK; I guess I missed it. You could make it bigger if you want. And Ellen, maybe just a little more tension when you see him. NICOLE I thought I didn't see him. NICK Right, maybe you see him a little bit. NICOLE Alright, I'm confused. Do I see him or not? NICK You see him. NICOLE OK, what is the tension? Who is Toto? TITO (hard) It's Tito. NICOLE (alarmed) What did I say? TITO Toto. NICOLE Oh, God. I'm sorry, Tito. I don't know why I'm doing that. I'm really sorry. NICK Ellen, come on now; concentrate. Remember; you're marrying Damian tomorrow. You're a little anxious. You have this dream. Let's call it an Anxiety Dream, and Tito represents the anxiety. CU Tito looking none too happy about this representation. NICK OK? It seems pretty simple. NICOLE Let's just try it. NICK Good. And Bob, let's really have some smoke on this one. GAFFER OK, more smoke. WOLF I still think it should be hand-held. NICK Yeah, well, I don't want it hand- held. I want it on the dolly. Where's my notebook, Wanda? WANDA On it's way, Nick. NICK Good. Call it, Wanda. WANDA Lock it up. Going for picture. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take two! NICK And, action. INT. THE DREAM. TAKE TWO Nicole stands motionless as a few more emaciated puffs of smoke hang in the air. NICOLE I am so hungry. Tito enters, walks around her holding the apple just beyond her reach then moves to his mark. The camera dollies into a CU. He does not laugh. INT. THE SET. DAY NICK Cut. WANDA That's a cut. Going again, Nick? NICK Yes. WANDA Going again, please stand by. NICK OK, Ellen, good. You're on to something there. NICOLE No, something's not right. It all feels fake to me. Nick's tone with Nicole suddenly takes on an almost imperceptible edge, tinged with annoyance. NICK Well, it's not fake; it's real. Just remember, you really want the apple. Tito, I still think we could see more of a laugh at the end. TITO What kind of laugh? NICK Just a laugh. TITO Show me. NICK Oh, OK. A laugh. I'm thinking maybe like this. Ha ha ha ha ha ha ha. Everyone watches Nick demonstrate the laugh. He seems unaware he resembles a drunken, slightly annoyed idiot. NICK Something like that. OK? And remember, Tito, this is a dream. Not everything has to make sense. A laugh right there heightens our sense of... of... TITO Anxiety. NICK Exactly. Wolf, how was that for you? WOLF I still think it should be hand-held. NICK (snaps) Well, God damn it! It's not going to be! It's on the dolly so just forget about it! There is a strained moment of silence on the set as everyone witnesses this rebuke. NICK And Bob, what the fuck is that smoke? Might as well get a couple hamsters in here blowing smoke rings for Christ's sake. GAFFER The septic valve wasn't open. I got it now. We're going to see some smoke now. NICK Alright, let's try another take. WANDA And, lock it up. WOLF Nick, could I talk to you for a minute? NICK What?! WOLF In private. NICK (sighs in exasperation) Alright. Nick follows Wolf off the set. WANDA Release the lock-up. Everyone stand by. GAFFER We'll see some smoke now. AC Way to go, Bob. INT. A CORNER. DAY As soon as Wolf and Nick reach the darkened corner, Wolf whirls to face Nick. WOLF I really don't like being spoken to like that, Nick! NICK Yeah, well I don't like your attitude! WOLF I don't have an attitude! NICK The hell you don't! Every time I ask you to do something all I get is No, No, No and I'm sick of it! I hired you to do a job; if you're not going to do it you better let me know right now! Wolf is about to yell back at Nick when suddenly he stops and lets out a deep, painful sigh. WOLF I'm sorry, Nick. I'm going through some heavy shit. NICK What do you mean? WOLF I can't really go into it. It's pretty heavy. NICK Personal? Wolf makes a slight motion with his head toward Wanda who is standing some distance away watching them. Seeing the two men looking at her Wanda shoots them a hard glare which prompts Wolf and Nick to turn away quickly. WOLF Personal, professional, emotional. It's doing a number on me. And now you're telling me you're going to fire me. NICK I didn't say that, Wolf. Come on, I'm not going to fire you. You're doing a great job here. WOLF Am I? NICK Yeah, I don't know what I'd do without you, man. You've got a great eye. I just hope it's not the one under that eyepatch. Nick lets out a tense, strained laugh but Wolf's only response is to stare back at him sadly. NICK Listen, Wolf. Let me tell you one thing I've learned; sometimes you just have to roll with things. You know? WOLF You're right. NICK Roll with it, man. You'll be OK. Wolf lets out another deep sigh. WOLF Thanks, bro. INT. A CORNER OF THE SET. DAY The Gaffer, Boom man, and AC kneel around the smoke machine. A can of gas and a quart of oil stand beside them. BOOM That's where the oil goes. GAFFER No, that's where the gas goes. BOOM I'm tellin' you, Bob. That's where the oil goes. SOUND Lester, don't you think Bob knows where the oil goes?! GAFFER I don't remember using oil in '85. AC Maybe both the oil and gas go in there? The Gaffer and Boom man turn and look at the AC for a long moment. BOOM I think he's right. GAFFER I think he is too. OK, three parts gas, one part oil. The Gaffer and Boom man pour liberal amounts of gas and oil into the T-160. INT. THE SET. DAY Nick rushes up to his position by the camera. NICK Is my notebook here yet, Wanda? WANDA Any minute, Nick. NICK Good. Call it, Wanda. WANDA Going for picture. Lock it up. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take three! NICK And, action. INT. THE DREAM. TAKE THREE Nicole stands motionless in her white wedding dress, looking genuinely alarmed, possibly because of the huge clouds of smoke now spewing out of the panting smoke machine. NICOLE I am so hungry. Tito enters, stares at her hard and walks around her in a circle holding the apple just beyond her reach. The smoke is so thick both of them are barely visible. Just as Tito gets to his mark the smoke machine backfires with a tremendous explosion and begins filling the room with dense, blinding smoke. INT. THE SET. DAY The smoke blanks out the entire frame. Frantic shouts are heard from unseen bodies. NICK Cut! Cut! Cut! WANDA Turn it off! Turn it off! GAFFER I can't find the switch! WOLF Pull the plug! Bob! Pull the plug! WANDA Open the door! Get some water! GAFFER I got it! I got it! The smoke machine emits a loud hiss and dies, filling the room with sudden silence. Slowly the smoke begins to clear as the crew moves around muttering and coughing. WANDA Clear the set! Ellen! Tito! Please step off the set! TITO (V.O.) I'm off the set! NICOLE (V.O.) So am I. WANDA Then who is that? Who is that? Please step off the set! A pair of fuzzy-slippered feet enter the smoky frame. The camera BOOMS up, passing over a woman's bare shins, a flowered, blue silk housecoat until finally coming to rest on the pleasantly smiling face of CORA. This is the same woman who played Ellen's Mother in Part One; she is dressed exactly the same as she was in their scene. The camera pulls back to reveal JEFF the Intern standing nervously beside her with a red notebook in his hands. CORA Hi, Nicky. Nick gapes in utter astonishment. NICK Mom! INT. THE SET PRODUCTION OFFICE. DAY Wanda speaks urgently into the phone while Nicole stands beside her. Jeff (still wearing his hat) waits at a distance clutching Nick's red notebook. WANDA Cora Reve, R-E-V-E. Blue housecoat, blue slippers. How do I know? Because she's sitting ten feet away from me. Well sweetheart, that's going to be a real fucking problem. Nicole turns away and walks past Jeff to the Craft Service table. JEFF She was waiting outside Nick's apartment when I went to pick up his notebook. She said she was looking for him so I figured I should just bring her up here. You look really pretty in that dress. Nicole nods politely then looks to the Makeup corner where Nick sits talking earnestly to his mother. INT. MAKEUP CORNER NICK How did you get here? CORA I took a bus in; went right to your apartment. NICK How did you get out of your room? CORA Oh, I just went right through the door. NICK It was unlocked!? CORA No, it was locked. I just went through it. It's something I've learned to do, Nicky. I can walk through just about anything; like air. NICK Mom, you've got to stop doing this. I'm serious. I'm a little upset with you. You could have gotten lost, or hurt. CORA I wanted to see you. I've missed you. NICK I know, Mom; I've missed you too. But it's not really a good time. Nicole approaches, holding up the hem of her wedding gown. There is a subtle tension smoldering between her and Nick. NICOLE They're sending a car. It should be here in a couple of hours. They didn't even know she was gone. NICK Jesus, I don't believe this. CORA I'm sorry, Nick. If I knew there was going to be a wedding I would have worn my fucking hat. INT. THE SET. DAY The camera holds on Tito pacing slowly, alone on the set. He is smoking fiercely, holding his top hat with one hand. Suddenly he begins laughing in a loud, stage bellow. INT. A CORNER OF THE SET. DAY Nick sets a chair for his mother and helps her sit down. Nicole joins Tito on the set and talks quietly to him. NICK There. How's that, Mom? Can you see? CORA Is the little fellow going to do gymnastics? Tito glances up at her quickly. NICK Shhhh! No. Now come on, Mom. You've got to be quiet. Absolutely quiet. OK? CORA (whispers) OK. INT. THE SET. NEAR THE CAMERA. DAY Wanda and Wolf stand beside each other in tense, awkward silence for a long moment. WANDA How are you doing? WOLF Good; real good. Wolf looks as if he's about to burst into tears as Nick walks up. NICK How's the smoke machine? WANDA It's dead, Nick. I've got calls out to every Effects house in the city but I just can't seem to locate -- NICK Forget it. We'll shoot without it. WANDA But Nick, it's a Dream Sequence. NICK That's the way it goes, Wanda. We're just going to have to roll with it. Nothing else we can do. We've got to roll with it, right, Wolf? Wolf meets Nick's eyes and gives an extremely melancholy nod. Nick turns to address Nicole and Tito and the edge immediately slips back into his voice. NICK OK, here we go. Ellen, you've got to keep reaching for that apple. I don't feel that you really want it. I mean, Christ, how many times do I have to tell you! Nicole glares at Nick for a moment then abruptly turns and walks off the set. Nick stares after her in confusion then quickly follows her. WANDA Everyone stand by. Nobody move. Going again, right away. EXT. STREET. NYC. DAY Nicole stands with her back to the camera as Nick strides up to her with impatience. NICK Alright, Nicole. What's the matter? NICOLE You tell me! You're the one with the bug up your ass! NICK Now wait just a second! NICOLE You've been picking on me all day! I can't do anything right! NICK I'm sorry if I was short with you, Nicole, but I think you can see I'm under a little pressure here. I'm shooting a Dream Sequence without a smoke machine, my mother's out there thinking she's at a circus wedding and you tell me the whole movie seems fake! NICOLE I never said that! NICK You did too. You said, "Everything feels fake." NICOLE I meant me! I feel fake! Everything I'm doing feels fake. I can't act. I should just do shower scenes in Richard Gere movies for the rest of my life! NICK Nicole, that's ridiculous. You're a fantastic actress. All you have to do is show me you want that apple more than anything else in the world; don't give up. Understand? You cannot give up. NICOLE OK. Suddenly Wanda yells out. WANDA Ready, Nick?! NICK Ready! INT. THE SET. DAY Nick rushes back onto the set. NICK OK, here we go. Everybody focus, concentrate. And Tito, we're still looking for that little laugh, pal. OK? Call it, Wanda! WANDA Picture's up. There will be no smoke in this scene. No smoke. No smoke in the Dream Sequence. And roll sound. SOUND Speed! WANDA Roll camera! AC Rolling! CLAPPER Scene six, take four! NICK And, action. INT. THE DREAM. TAKE FOUR. DAY Nicole stands motionless in her wedding gown. NICOLE I am so hungry. Tito walks in, stares at her hard, then walks around her once with the golden apple just beyond her outstretched hands. He stops and the camera dollies into his CLOSE-UP. Nick watches in hopeful expectation. He waits and waits but Tito does not laugh. Just then the door in the rear set wall opens and Cora steps in, looking oddly puzzled. CORA Oh, I thought this was the TV room. INT. THE SET. DAY NICK Cut! WANDA That's a cut. Going again, right away. INT. OFF THE SET. DAY Nick escorts his mother back to her chair. NICK Mom, listen to me. I don't want you to move from this chair. Do you understand? CORA Oh Jesus, you sound just like your father... NICK Mom, I'm serious. CORA OK, OK. I won't move. NICK Thank you. INT. THE SET. DAY Nick walks back on the set and addresses Nicole and Tito. NICK OK, good. Very good. (laughs) Tito, I think we're having a little communication problem here. All I want you to do is laugh. OK? TITO Why? NICK I told you why. TITO Tell me again. INT. OFF THE SET. DAY Wolf (still wearing his eyepatch) walks over and sits quietly in a chair beside Cora. He does not speak to her and gazes blankly out at Nick, Tito, and Nicole on the set some distance away. Cora however stares at the side of his head with such intensity Wolf can't help but turn to her. Cora still doesn't take her eyes off him and in fact stares even more intently into his eye. Wolf glances away for a moment then looks back. Cora continues to stare at him. Suddenly, his eye is full of tears. Cora watches in rapt silence. Wolf is crying openly now. Cora reveals no hint of emotion as she reaches out and gently lifts the eyepatch off of his eye. A tight smile of satisfaction creases her lips as a tiny pool of tears is released, streaming quickly down Wolf's cheek. No one sees this. INT. THE SET. DAY Nick paces tensely in front of Nicole and Tito. NICK Look, Tito. It's not that big a deal. It's a dream, alright. Strange things happen in a dream. All you have to do is laugh. Why is that such a problem? TITO Why does it have to be a dwarf? NICK What? TITO Why does my character have to be a dwarf? NICK He doesn't have to be a dwarf. TITO Then why is he?! Is that the only way you can make this a dream; put a dwarf in it? NICK No, Tito; that's not -- TITO Have you ever had a dream with a dwarf in it?! Do you know anyone who's had a dream with a dwarf in it? NO! I don't even have dreams with dwarves in them! The only place I've seen dwarves in dreams is in stupid movies like this! Make it weird; put a dwarf in it. Everyone will go "whoa whoa whoa, must be a dream, there's a fucking dwarf in it!" Well, I'm sick of it. You can take this Dream Sequence and shove it up your ass! Tito hurls his top hat and gloves to the floor and walks out. Everyone stares at Nick who is frozen in stunned silence. Finally Wanda approaches him hesitantly. WANDA Nick? (no response) I can get right on the phone. We'll try to get another... small person here as soon as possible. NICK No. He's absolutely right. Nick sighs heavily and sinks to sit on the dolly in silence. Wolf appears behind him, still wiping his eyes. WOLF You want to just shoot Ellen, Nick? She could be in the dream by herself. NICK No. We're not going to shoot anything. I'm sorry. Thanks for all your help, but it's over. I can't take it anymore. I tried to roll with it but it's time to face the music; I can't do this. I am not a director. The shoot is over. I give up. Nick's speech has the simple eloquence of truth; he is not bitter or self-pitying. He seems unaware of how disturbing this is to the crew. They all stand around him in shock, afraid to move or speak. Finally Wolf turns to the AC and puts his hand on his shoulder, like a father to his young son. WOLF Take the camera off the dolly. Start putting it away. Everyone watches the AC unfasten the camera in silence. Nicole stands alone on the set in her wedding dress, still holding the golden apple. Her face is frozen in dismay. Suddenly CORA comes through the set door and marches up to Nicole. CORA Give me that apple! At the sound of his mother's voice, Nick looks up. He sees her snatch the apple from Nicole's hand and march back out the door, closing it behind her. CORA (behind the door) I'm ready, Nick! INT. BY THE CAMERA. DAY Nick gets up slowly and whispers intensely to Wanda, Wolf, and the rest of the crew. NICK Roll camera. Roll sound. Let's go. Right away. Wolf grabs the camera and puts it on his shoulder (hand-held) as the rest of the crew moves quickly and silently into position. On a terse signal from Nick the camera starts rolling. INT. THE SET. THE DREAM. DAY Nicole takes the silent "action" cue from Nick. NICOLE I am so hungry. Right on cue Cora walks through the door, holding the golden apple out in front of her. She circles Nicole with determination, seemingly oblivious to Nick and the rest of the crew hovering behind Wolf as he begins following her with the hand-held camera. Wolf is now in his element; gliding like Nureyev with the camera. When he pans suddenly with Cora the whole crew ducks wildly and dives out of camera range. Cora finally stops circling Nicole and stops abruptly. Suddenly she raises the apple right out in front of Nicole. Wolf glides forward with the camera, framing an amazing CU of the apple with Nicole seen behind it. Nicole reaches out, grabs the apple and takes a huge, resounding bite out of it. CU Nick's face, eyes wide in anxious delight. Cora takes one step forward. CU her fuzzy slippers stopping right on the yellow tape mark. Cora waits momentarily until Wolf has reframed both her and Nicole, then lets out a huge laugh. INT. THE SET. DAY NICK And cut!! General mayhem erupts on the set. NICK Wolf, talk to me, man! Did you get it? WOLF Got it, Nick! Everything! NICK The Close-up? WOLF Perfect. See? That's what I meant about going hand-held! NICK You're a genius, man! What about the focus?! AC Nailed it. WOLF Fuckin' A! Wolf slaps the AC's palm, then the Gaffer's standing right beside him. He turns gleefully to the next person but seeing it is Wanda he rigidly turns away. WANDA Going again, Nick? NICK How was the sound? SOUND I could use another but definitely acceptable. Nick runs up to his mother and throws his arms around her. Nicole stands beside him. NICK Mom, you kook! That was incredible! Did you know we were filming? CORA (testily) Of course I knew you were filming. NICK You were great, you're a natural. And Nicole, that was beautiful. Don't you dare tell me that felt fake. Suddenly, on an impulse surprising both of them, Nick and Nicole embrace. Just then Wanda steps up. WANDA Going again, Nick? NICK Oh, hold on. Let me think a second. The set grows suddenly quiet as Nick begins pacing rapidly, muttering to himself. NICK Can I use it for the Dream Sequence, that's the question. Does it work for the Dream Sequence? Nick suddenly looks up and sees everybody staring at him; Nicole in her wedding gown, Wolf with his eyepatch, his mother still eating the apple, Wanda, the crew. NICK We're going with it, Wanda! WANDA Alright everyone, listen up. That is a wrap on Scene Six. The set erupts in applause. SOUND Hold it! Hold it! Hold it! WANDA What?! SOUND I need to record room tone. I'll need thirty seconds of silence. WANDA Oh, alright! Quiet. Quiet! Shut up!! Thirty seconds of room tone. The sooner you're quiet the sooner we're done. CORA (whispers to Nick) What's room tone? NICK It's for the sound, Mom. We just have to be quiet. At that moment a door opens at the rear of the set and a DOCTOR and NURSE enter. The Nurse carries an extra overcoat. Jeff, the Driver, turns and sternly whispers for them to be quiet. WANDA And roll sound. Nobody move. SOUND Speed. INT. THE SET. DAY The camera is wide, showing the entire set, actors, and crew. Everyone stands in perfect silence, as motionless as statues. As the silence continues the mood on the set gradually changes. One by one people drift into their own private worlds of reflection. MS the Sound man, alternately watching his recorder and his stopwatch. Behind him the Boom man holds the mike in position to record general ambiance while staring off into the distance. CU the tape recorder spinning in quiet precision. CU the stopwatch, its giant second hand showing five seconds have passed. MS Nick standing next to his mother who drapes one arm casually over Nick's shoulder. Nick glances up and sees Nicole beside him, absorbed in her own thoughts. Suddenly she looks up and her eyes meet Nick's. She slips him the barest hint of a smile. The camera DOLLIES slowly through the standing, silent group, passing over faces in different degrees of thought. CU the Sound man's stopwatch, the giant second hand showing ten seconds have passed. MS Nick. He is so immersed in thought he looks at no one. The camera slowly DOLLIES into a CU of him. INT. AN AWARDS CEREMONY CHAD PALOMINO stands at a gleaming podium, looking radiant in an immaculate tuxedo. He holds an envelope in his hands. CHAD We have a new category this year: Best Film Ever Made by a Human Being. And the winner is none other than my Best Bud, Nick Reve! Amid thunderous applause Nick bounds on the stage and accepts an Oscar from Chad. He stands grinning like an idiot as the applause continues. INT. THE SET. DAY MS Nick, still wrapped in thought, his lips starting to form the same idiotic smile. MS Nicole. The camera DOLLIES slowly into her face, now tinged with a slight uneasiness. INT. A CHEAP RESTAURANT Wide shot at the counter. Nicole stands facing a large bald man with his back to the camera. She is wearing a cheap pink waitress uniform and has her hair under a hairnet. MAN Had any experience? NICOLE I was an actress for a while. She pulls her headshot out of her shoulder bag and hands it to the man with a hopeful smile. He flips over the headshot and looks at her credits with confused annoyance. MAN Yeah, but can you cook a hamburger? NICOLE (doubtfully) Probably. INT. THE SET. DAY MS Nicole. She jerks her head slightly in response to this moment of thought. CU the stopwatch, showing fifteen seconds have passed. MS Wolf. The camera begins a slow DOLLY into his CU. INT. WANDA'S APT. DAY Wolf stands like Thor in the middle of the Red Set, his arms crossed over his chest, his jaw set in determination. Smoke billows around him. At his feet, dressed in Nicole's wedding gown, Wanda sobs hysterically. WANDA Wolf, I'm sorry! Please forgive me! I love you, Wolf! Please! Give me one more chance. Let me prove it! I love you! I love you, Wolf! Wolf remains unmoved for a long moment. Finally he reaches out with a forgiving smile and pats Wanda's head. INT. THE SET. DAY MS Wolf. He glances furtively at Wanda with a trace of hope still in his eyes. MS Wanda, looking off. The camera DOLLIES into her CU. INT. A CHEAP HOTEL ROOM This is the same hotel room from Part Two, in which we saw Nicole and Chad Palomino. At the moment Wanda and Chad lie panting in the sweat-soaked sheets. WANDA What I love about you, Chad, is you're not afraid of my power. CHAD Oh God, Wanda! I love your power. It's like an afferdesiac to me! INT. THE SET. DAY MS Wanda. She shifts slightly and glances quickly around her. Her smile is tinged with the hint of sexual pleasure. MS the Gaffer, frowning, absorbed in thought. The camera DOLLIES into a CU of him. INT. A CHEAP RESTAURANT. DAY Suddenly, a CU of an incredibly beautiful hamburger being placed in a toasted bun on a gleaming white oval plate. A hand places a garnish of parsley on it then carries the plate to the lunch counter. Camera PANS to reveal the GAFFER sitting on the stool. He picks up the hamburger and takes a huge bite out of it. This shot holds for quite some time as he continues to chew. INT. THE SET. DAY MS The Gaffer. A hopeful, delicious smile spreading over his face. CU the Sound man's stopwatch, the giant second hand showing twenty seconds have passed. MS Cora. She gazes serenely out before her. INT. NURSING HOME. DAY In the pale afternoon light, Cora stands in the middle of her drab, barren room. She appears to be staring at the door. Suddenly she begins striding toward it. Effortlessly, easily, she walks right through it. INT. AN AWARDS CEREMONY Nick still stands at the podium with his Oscar. NICK In closing I'd like to say to all the people who told me not to make this movie, who wouldn't meet with me or return a simple phone call. To my favorite professor at Film School whose parting advice to me was to take a job teaching at a women's college. To Delores DelSporto, the girl I loved in high school who left me for a Jr. Varsity football player: to all these people I'd like to say thank you but I can't because what I really feel like saying is go fu -- !! INT. THE SET. DAY MS Nick, his head and body jerking in a sudden spasm. He finishes the last word of his speech in a choked whisper and the Sound man frowns hard at him. CU the Sound man's stopwatch showing twenty-five seconds have passed. The camera stays on the watch until the final five seconds have elapsed. SOUND And, that's a cut on room tone. The room erupts with activity. Everyone moves and talks at once. Nick whispers something to Nicole then runs off. WANDA OK, strike the set. Props! Art Department! Redress for Scene thirty- one. Let's go! Right away people! Nick! Nick! Anyone seen Nick?! WS the set. Suddenly the fake door closes right into the lens, turning the frame completely BLACK. END CREDITS. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Lock, Stock and Two Smoking Barrels.txt b/unformated_scripts/Script_Lock, Stock and Two Smoking Barrels.txt new file mode 100644 index 0000000000000000000000000000000000000000..11b7974d3644e2652286768537887a71d7a0a5f0 --- /dev/null +++ b/unformated_scripts/Script_Lock, Stock and Two Smoking Barrels.txt @@ -0,0 +1 @@ +Lock, Stock & Two Smoking BarrelsBy Guy RitchieINT. INTERROGATION ROOM - PRESENTThis whole scene is shot using only extreme close-ups of eyes, cards, tapping fingers and mouths. We open on a bright pair of eyes. One is bruised and slightly swollen, but this does not detract from their clarity.EDDYThree card brag is a simple form of poker; you are dealt only three cards and these you can't change. If you don't look at your cards you're a `blind man' and you only put in half the stake. Three of any kind is the highest you can get: the odds are four hundred and twenty-five to one. Then it's a running flush - you know, all the same suit running in order; then a straight, then a flush, then a pair, and finally whatever the highest card you are holding. There are some tell-tale signs that are valuable; I am not going to tell you them because it took me long enough to learn them, but these can only help a player, not make one. So you want to play?DISSOLVE TO BLACK. THE FIRST OF THE CREDITS APPEAR ON THE SCREEN.FADE IN:What have you got?We cut to a beady pair of eyes and then to his cards as they are turned over: three hearts of no consecutive numbers are exposed. That's a good hand. A flush beats my pair. What about you?* Cut from completed film.Another pair of excited eyes widen to the question. We see more cards: a run is revealed.And here's me trying to explain the game to you. Hustlers, you're all hustlers!We cut to a shot of a small amount of money being scooped up. OK! You got some real money?DISSOLVE TO BLACK: MORE CREDITS APPEAR ON THE SCREEN.FADE IN:Ed scoops up a large pile of money.Odds chaps, you gotta remember the odds.There ? a loud slam of a door. We cut to a wide shot of a policeman who has just entered. It is then revealed that two of the three players are also policemen. They stand to attention, red faced with embarrassment.SERGI hope I am not interrupting. Comfortable, Edward?EDDYI haven't slept for forty-eight hours, got a dozen broken ribs, can feel a case of the flu coming on and . . .SERG(interrupts)All right, all right, don't think I wouldn't like to get rid of you; but before I do, I need to know what's going on, son.EDDYIf you think you're in the dark, I am in a black hole, blindfolded.DISSOLVE TO BLACK. THE MUSIC STARTS.We pull back out of the black to reveal that we have been sitting in the inside of a shotgun. The barrels recede further, then `boom.' LOCK STOCK are shot out of the top of the screen in peppered letters. We wait for a while, as the barrels reappear through. the smoke. We then see one smoking barrel; 'boom!' the other is let off: AND TWO SMOKING BARRELS joins the sentence.]EXT. STREET (FLASHBACK] - DAYWe open on a smart, casually dressed man selling perfume and jewellery on a street corner. A crowd has gathered, attracted by the alarming volume at which he is advertising his wares.BACONSee these goods, they never seen daylight, moonlight, Israelite, Fanny-by-the-gas-light. If you can't see value here today you're not up here shopping, you're up here shoplifting. Take a bag, take a bag. I took a bag, I took a bag home last night and she cost a lot more than ten pounds I can tell ya. Tell me if I am going too cheap. Not ninety, not eighty, not forty, half that and half that again, that's right, ten pounds. Don't think 'cos it's sealed up it's an empty box. The only man who sells empty boxes is the undertaker, and by the look of some of you here today I would make more money with me measuring tape.A well-dressed, zealous character (Eddy) appears from behind the crowd waving money. It seems he can't wait to get rid of it.EDDYBargain, that's a bloody bargain if I ever heard one. Ten pounds you say? I'll have five.Certainly sir. I'll just wrap.Changing his attention.BACONExcuse me misses, sorry sir, ladies first and all that.A tourist spectator, rather than a buyer, has been. put on the spot. She fumbles through her bag hastily all too aware of the attention of the crowd, of which she is now the focus. She passes her money like it's contaminated. Others follow suit.Buy 'em, you better buy 'em; they're not stolen, they just never been paid for.This really stokes the fire. The money can't come fast enough. Just as business reaches its peak there is a call of alarm from the first enthusiastic punter, who seems to be rather more familiar than he first pretended.EDDYBacon!Bacon's expression changes dramatically. A series of crash zooms between Ed's, Bacon's and a third party's eyes (the police) reveal there is a problem. They're off: EDDY and BACON run like they have done this before. They go down an ally; Ed jumps some stairs, we freeze.BACON(voice-over)Ed can run fast, talk fast, eat fast, and play cards fast, but he's fucking slow when it comes to spotting the roz.EDDY(voice-over)The reason he is called BACON is he spent so much of his youth in the police station that people thought he was one of them. But he is a big boy now and it is time to move on.We cut to a shot of Ed as he lands. He has made good distance.INT. GROCER'S SHOP - MORNINGEDDY arrives at a grocer's shop. We meet Tom. Tom is talking to Nick the Greek.TOMWhat are you talking about? I am bloody skinny, pal.NICKOf course you are. All right, Ed.EDDYNick the Greek, always a pleasure. All right Tom, what you been eating?Tom examines his midriff and adopts a confused expression.TOMPlease, both join me in my orifice.INT. GROCER'S SHOP STORE ROOM - DAYThey work their way past a maze of boxes.NICK(fingering and admiring one of the boxes)How much did you say it was, Tom?TOMYou know how much it is, Nick.NICKAnd that does include the amp?TOMYou know it doesn't include the amp.INT. RESTAURANT KITCHEN -AFTERNOONTom and Ed make their way through a busy, well-equipped kitchen. This is obviously a smart and serious establishment. They stop in front of the man whose uniform is covered in blood; he appears to be the head chef. Meet Soap.TOMWhat have you come as?SOAPCupid stupid! That's the last time I am getting any more fruit off you Tom. Call that fresh? There was more small hairy armoured things in your fruit than there was fruit. You should open a butcher's, not a grocer's.TOMIf you will order stuff that comes from Kat-Man-Fucking-Du don't be surprised if your fruit picks up a few tourists en route. ~ Never mind that, what about the money?SOAPGet your fingers out of my soup!SLOW MOTIONSoap pulls out a bag from under where he is sitting.TOM(voice-over)Soap is called Soap because he likes to keep his hands clean of any unlawful behaviour. He is proud of his job, and even more proud that it's legal.BACON(voice-over) He's a stroppy sod but he's got more balls than a golfer, only he doesn't know it. ' * Cut from completed film.16RELEASE SLOW MOTION]Ed looks in bag.EDDYAre you sure you can afford twenty-five?SOAPWell that depends on how you look at it. I can afford it as long as I see it again, if that's what you mean. You got the rest from the fat man and Bacon?Tom looks on with suspicion.TOMWho's this fat man, then?EDDYBacon, the fat man and myself, and it's time to make a call to Harry.INT. HATCHET HARRY'S OFFICE - DAYA hard-looking man of about fifty is sat behind a large antique desk. On this desk is a hatchet resting in a block of wood, poised like a judge's hammer. Harry is obviously in the sex game. Cluttered up in a hazardous way are a selection of dildos, spanking paddles, etc. A cabinet of fine-looking shotguns is placed behind. We have a split screen involving EDDY and his friends (listening in) and Hatchet with one hand on the phone and the other on a shotgun.HATCHETYou got it all?INT. KITCHEN - DAY.EDDYA hundred grand.FREEZE SHOT OF HATCHETTOM(voice-over)You see it's not easy to take a seat at this table; the money involved has to be a hundred grand upwards and there is no shortage of punters.EDDY(voice-over)The man who decides if you can play is this man Harry, or Hatchet Harry as some including himself like to call him.RELEASE FREEZE SHOT OF HATCHETHATCHETWell if you got it, you got it. Now, if you don't mind . . .The phone is slammed down.SHOT OF HATCHETSOAP(voice-over)When the old bastard is not playing cards he's chasing a thousand debts that ill-fated individuals owe for an array of reasons.BACON(voice-over)Sex and sleaze and antique shotguns are all deep and dear in Harry's stone cold heart.Cut from completed film.RELEASE FREEZE SHOT OF HATCHETHATCHETWhat's this EDDY like, then?The camera spins round to reveal a massive monster of a man sitting opposite Hatchet. Meet Barry the Baptist.FREEZE SHOT OF BARRYEDDY(voice-over)Hatchet has a colleague, a monster of a man: Barry the Baptist.BACON(voice-over)The Baptist got his name from drowning people for Hatchet.TOM(voice-over)But he needs him, because he is good at making sure debts get settled and jobs get done.RELEASE FREEZE SHOT OF BARRYBARRYEDDY been shaking the knees of a lot of good players. The boy has a rare ability, he seems to make cards transparent, got bluffing dow . . .HATCHET(interrupts)All right, all right, so we can say he is good.BARRYBetter than good, he is a fucking liability.HATCHETWhere did he get a hundred grand?20BARRYHe has got some adhesive mates, they have tossed up between them.HATCHETAnd JD is his dad, and owns the whole property?BARRYNo mortgage, no debts; lock, stock, the sodding lot . . . don't worry, I got it under control.HATCHETGood, you can get this under control now.A glossy Christie's brochure displaying a pair of impressive antique hammer-lock shotguns is shoved in Barry's face.It seems Lord Appleton Smythe has run out of money, and these little beauties are up for auction, but I am not paying quarter of a million quid for 'em, if you know what I mean Barry. One of my associates has given me an address and the location of these lovelies. Make sure we get everything from inside the gun cabinet. I don't want to know who you use, as long as they are not complete muppets; and don't tell them what they're worth.Changing the subject.'Ere! Hold on, what do you think of these? We are selling hundreds.Holds up one of the spanking paddles.BARRYEr, very nice Harry. What's it for?HATCHETDon't play innocent with me Bazza; spanking!The paddle is brought down hard on the desk: slap.INT. TORTURE ROOM - DAYMeet the Dog. Dog is horrible. He is large and intimidating. Administering pain is Dog's forte. He is also the Guy we cut from the last scene `slap' to the teeing of a golf ball. Wallop. Dog pulls a sadistic and alarmingly pleasurable face.DOGIt's a dog eat dog world, lads, and I got bigger teeth than you.We see an individual hanging upside down tied up with gaffer tape but otherwise naked. An orange is stuck in the man's mouth. Dog is standing on another man's chest who has a tee stuck between his teeth from where Dog fires golf balls at the other unfortunate figure. The tied-up man is Gordon. The other is Slick. Gordon nods his head erratically implying that he has reached a decision.(to Plank)I think your man is trying to say something.Pause.Perhaps not; maybe I should have another swing just to make sure.Agonised muffled screaming from Gordon. Slick (who has a tee in his mouth) shuts his eyes in horror as the golf ball thumps into Gordon.Yes, Gordon, is there something you would like to tell us?The orange is removed from Gordon's mouth.GORDON(rushing to get the words out)In the kitchen, under the floor . . .SLICK(interrupts)Shut it, you idiot . . .Dog swings the golf club round Slick's jaw, knocking him unconscious.DOGYou were saying?GORDONIt's in the karzi, pull the fishing wire under the seat. Jesus, for god's sake let me down.PLANKOh, Dog! . . . I think you want to have a look at this!Plank returns holding an assortment of drugs and cash. Gordon starts to scream. Dog picks up a steel for sharpening knives and throws it across the room. Thunk. Silence follows. Plank grimaces.Oh, Dog!EXT. ED AND BACON'S HOUSE - EVENINGEd, Bacon, Soap and Tom park outside their house. As they get out they pass Plank and John who have also just parked. They ignore each other, and go to their separate doors.INT. ED AND BACON'S HOUSE - NIGHTBACON places a pile of money on a table. The rest are eating, Tom keeps looking at his plate distastefully.BACONTwenty-five from me, Tom, Soap and yourself; a hundred grand to the pound. You don't need to count it.EDDYI still will, if you don't mind.TOM(eating)So, a reasonable return should be in the region of one hundred and twenty, for twenty-five grand invested. That's going on previous experiences.SOAPThat's going on optimism.TOMWhatever it's going on, it's still enough to send you on a cooking course.SOAPYou're not funny Tom; you're fat and look as though you should be funny, but you're not.Tom is definitely not overweight, quite the opposite in fact. He examines himself to see if something has developed.TOMFat? Who are you calling fat? What are all these fat jokes about?The light switch above Tom's head lets out a few sparks causing him to cower in a sharp defensive action.Jesus! It's good in here, ain't it! Trains overhead, walls exploding . . . Why the hell did you move in?EDDYBecause it's cheap like a budgie.BACONAnd nobody wants to live next door to the people that we live next to; a bit anti-social, you know.BACON beckons Tom to a cupboard built into the wall.TOMWhat do you mean?EDDYHe means they're thieving dogs.BACONI mean when they are not picking peanuts out of poop, they're ripping off unfortunate souls of their hard-earned drugs.BACON opens the cupboard doors and puts his finger to his lips. The noise from next door immediately gets louder.Not exactly thick, these walls.DOG(off)No you prat, that's for me.INT. DOG'S HOUSE - NIGHTDog has a small pile of money and pills that he is distributing to his lads.DOGHow many times do I have to explain this to you, Plank? You find a job worth doing and you will find your share improving . . . Now do you have a problem with that?He obviously doesn't.INT. ED AIVD BACON'S HOUSE - NIGHTTom raises his eyebrows and frowns to Bacon.EXT. BIG BOY'S GYM/SOLARiUM - NIGHTMeet Big Chris and Little Chris (twelve years old).BIG CHRISHow long has he been in there, son?LITTLE CHRISAbout twenty minutes.BIG CHRISIs he on his own?LITTLE CHRISJust carrying a bag.BIG CHRISLet's have a look, shall we?INT. GYM/SOLARIUM - NIGHTBIG CHRISSon, have a look under that one.Little Chris looks under one of the sunbeds.LITTLE CHRISIt's not him, Dad.BIG CHRISTry that one.Little Chris returns from a peek and nods in confirmation.LITTLE CHRISSleeping like a baby.Big Chris then approaches and raises the sunbed.BIG CHRISThis is one of those high-powered numbers, isn't it?John O'Driscoll's eyes widen; Chris slams down the sunbed on top of him as hard as he can.Got some bad news for you, John.JOHN O'DRISCOLLWhat the fu-!Big Chris slams down the sunbed on top of John.BIG CHRISMind your language in front of my boy.JOHN O'DRISCOLLJesus Christ!Big Chris repeats the earlier treatment twice more.BIG CHRISThat includes blasphemy as well. Now tell me, John . . .JOHN'O'DRISCOLLTell you what, Chris?A man opens the sunbed mom door.SUNBED MANI say, hold on.LITTLE CHRISI say shut it!SUNBED MANYou what?BIG CHRISHe said shut it!Chris pulls a mean face; the door is closed.]Tell me John, how you can concentrate on improving a lovely tan, and it is a lovely tan by the way, when you have more pressing priorities at hand?JOHN O'DRISCOLLTell Harry . . .Bang as sunbed comes down again.BIG CHRISDid I say speak? And it's Mr Harry to you . . . Now don't disappoint me and chose your words carefully. You may speak.JOHN O'DRISCOLLI'll have it for Mr Harry in a few days. I have been busy, and I am nearly there.BIG CHRISSon, have a look in his locker.JOHN O'DRISCOLLNo chance of you lifting this sunbed up is there?* Cut from completed film.30BIG CHRISYeah, all right.Big Chris lifts it, then smashes it down again. Now, you want me to lift it up again?Little Chris pipes up. Obviously familiar with counting money he has flown through it.LITTLE CHRISHe's not poor. Five hundred and sixty pounds and that's just in his wallet . . . Fuckin' 'ell John, you always walk around with that in your pocket?The expression on Big Chris's face changes.BIG CHRISOi! Next time you use language like that, boy, you'll wish you hadn't!LITTLE CHRTSSorry, Dad.BIG CHRISRight, well, put the rest of the stuff in that, son. You can go home in a plastic bag tonight, John. You owe what you owe arid before this tan has faded, you want to have paid.Chris punches John unconscious and turns the time dial up.INT. JD'S BAR - NIGHTJD's bar is an impressive sort of uptown-downtown establishment with pretty girls serving a laddish clientele. The boys are propped up at the bar, looking straight ahead in silence. They look nervous. The silence is broken by Ed.32EDDYI am going to the john.He walks off.TOMWhat you telling us for? The only thing I care about is whether you get your rest in.SOAPTom, you're all heart.TOMListen cooky, you want to make sure that man rests before he plays; it's in all our interests.JD(the bar owner and Ed's father)All right lads? How's things? How's it going, Soap? Cooking all right? Where's that son of mine?Each time a question is asked the lads try to answer but are just left with their mouths open, which remain open as a gorgeous girl walks through the bar (Daisy).INT. SLOANES' HOUSE LABORATORY - NIGHTWe cut to a small, humid, artificially lit, illegal forest being cultivated for profit. Someone is smoking a joint and raising his eyebrows at his friend. These two characters are J and Charles; they have got hair down to their shoulders, small try-hard goatees and science-lab coats, with nothing much underneath.J(coughing)This gear is getting heavier you know, Charles. I got a suspicion we should have been rocket scientists, or Noble Peace Prize winners or something.A horn blows (the door bell).CHARLESWho the hell is that?INT. SLOANES' HOUSE - NIGHTThe door opens to reveal Willy. Under each arm is a large bag of fertilizer.WILLYGive me a hand Charlie, I could break sweat at any second.A voice comes from behind them. At the top of the stairs stands Winston. He slowly starts to walk down.WINSTONCharles, why have we got this cage?Pause. Charlie shrugs.CHARLIEEr, for security.WINSTONThat's right, for security. So tell me, Charles, what's the point in having it if we don't fucking use it?CHARLIEWell, because it's Willy and Willy lives here.WINSTONYes Charlie, but you didn't know it was Willy, did you?WILLYChill, Winston, it's me and Charlie can see it's me, so what's the problem?WINSTONThe problem is, Willy, that Charlie and yourself are not the quickest of cats in the alley at the best of times, so just do as I say and keep the fucking cage locked.Pause as the two in the door look slightly pissed off at being shouted at. Winston sighs and looks at what Willy is carrying.WINSTONWhat are you carrying, Willy?WILLYEr, fertilizer.WINSTONYou went out six hours ago to buy a money counter and you come back carrying two bags of fertilizer. Alarm bells are ringing, Willy.WILLYWe need fertilizer, Winston.WINSTONWe also need a fucking money counter, William! We have to get the money out by Thursday and I'll be buggered if I am counting it . . . and if you have to get your sodding fertilizer, couldn't you be a little more subtle?WILLYWhat do you mean?WINSTONI mean we grow copious amounts of ganja, and you don't look like your average hort-er-fucking-culturalist, that's what I mean, Willy.Winston turns on his heels and walks off. 35INT. JD'S BAR - NIGHTEd returns to the bar to find Tom, Soap and BACONlooking in disbelief.TOM(pointing to watch)What the hell are you doing here?EDDYWhy, what's up?TOMEr, let me guess, my foot in your arse? A game of cards and Hatchet Harry. You're supposed to be getting some rest, boy!Ed grimaces as his father approaches. He has overheard this last statement.JD You playing cards tonight with Harry?EDDY(pauses)Don't be silly Dad, I wouldn't have anything to do with that.INT. ED AND BACON'S HOUSE - NIGHTWe calm down for a while. A cool track is playing. Ed is now smartly dressed, sitting in an armchair. We have a close-up of his face. He is motionless, eyes closed; he looks asleep. The camera slowly tracks down his body We reach a single hand; he is cutting the pack skilfully and faultlessly; he is very much awake. There is a knock on his door. His eyes open.INT. SEEDY BAR - NIGHTNear-naked girls are gyrating against blue poles, which keep distracting these men's attention. Meet the two Scousers - Gary and Dean. The Scousers are in their late twenties, one big, one small. Gary (the smaller) sports a large demi-perm. They bear strong Liverpudlian accents. They are meeting Barry (Hatchet's man).GARYShotguns? What, like guns that fire shot?BARRYOh, you must be the brains then. That's right, guns that fire shot . . . Make sure you bring everything from inside the gun cabinet. There will be a load of guns, that's all I want. I'll pay you when you deliver. Everything outside the cabinet you can keep; it's yours.GARY(sarcastically)Oh, thanks very much. And there had better be something there for us.BARRYIt's a fucking stately home, of course there'll be something there.DEANLike what?BARRYLike antiques.DEANAntiques? What the fuck do we know about antiques? We rob post offices and steal cars, what the fuck do we know about antiques?BARRYIf it looks old, it's worth money, simple. So stop fucking moaning and rob the place.GARYSo who's the Guv? Who we doing this for?BARRYYou're doing it for me is all you need to know. You only know that because you need to know.GARYI see, one of those `on a need to know' basis things, like a James Bond film, is it?BARRYCareful, remember who's giving you this job.A bit of confused eye-rolling goes on. Barry eventually looks at his watch.I am off, it's all yours now. Call me when you're done.As he leaves, the two Scousers eye him distastefully.GARY(to Dean)I hate these Southern shites.BARRY(on his way out, whispering to himself)Fucking Northern monkeys.EXT. BOXING CLUB ENTRANCE - NIGHTEDDY and the lads have all made an obvious effort with their appearance. They are met by a doorman.DOORMANInvitations.EDDYInvitations?DOORMANYeah invitations, you know a pretty white piece of paper with your name on it.EDDYWell we have got about a hundred thousand pretty pieces of paper with the Queen on it. Will that do?DOORMANAll right, just you; the others can wait in Samoan Jo's next door.EDDYSamoan Jo's? Yon mean the pub? Hold on . . .DOORMANHold on bollocks, no one but card players in here tonight sonny, and I do mean no one.INT. BOXING GYM - NIGHTEDDY enters the boxing gym on his own, and raises his eyebrows at the thought of climbing into the ring. Everybody else is sitting down counting their money and converting it to chips. Ed takes the only empty chair and has a quick look around, particularly behind.EDDYEvening Frazer, Phil, Don. This is a bit dramatic, isn't it? Is it supposed to be symbolic?40PHIL/DONAll right Ed. Apparently it's for security.EDDYI would have brought my gloves if I had known.HATCHETYou must be Eddy. JD's son.EDDYYup, you must be Harry? Sorry, I didn't know your father.HATCHETNever mind son, you just might meet him if you carry on like that.There is an attractive blonde croupier shuffling the cards. EDDYEvening Tanya, it has been a while.EXT. SAMOAN JO'S - NIGHTAs the boys walk in to Samoan Jo's, a man comes tearing out of the door covered in flames followed by his friends trying to put the flames out. The lads look on in mild shock.TOMI heard this place was rough.EXT. STATELY HOME - NIGHTThe Scousers make their way to the front door and unravel their lock-picking kit. '42SAMOAN Jo's - NIGHTSOAPWhat sort of a pub is this then?SAMOAN JOA Samoan one. Anything else?BACON(receiving a monstrous, leafy cocktail)What's that?SAMOAN JOA cocktail, you asked for a cocktail.BACONNo, I asked you to give me a refreshing drink. I wasn't expecting a fucking rainforest; you could fall in love with an orang-utan in that.SAMOAN JOYou want a pint, go to the pub.BACONI thought this was a pub.SAMOAN JOIt's a Samoan pub.BACONWell whatever it is, could you get your man to turn the TV down?SAMOAN JOYou ask him if you like, but I would leave him to it if I was you.BACON looks at Rory Breaker, the man watching the TV.BACONExcuse me, could you turn the TV down?RORY BREAKERNo.He takes a swig of whatever he is drinking and frowns at Bacon. BACON frowns back, then Soap interrupts.SOAPThis is the English-Brazil game, isn't it?INT. BOXING GYM - NIGHTCROUPIERThis is three card brag, gentlemen. That means that three threes is the highest, then three aces and then running down accordingly; then it's a running flush, a run, a flush, then a pair: An open man can't see a blind man, and it will cost you twice the anti to see your opponent. Don't fuck around, fellas; you all know the rules and you know I won't stand for it.FRAZERWhat sort of shirt is that then, Ed? 'Three hundred open.EDDYThe type of shirt that has buttons on the front and collars at the top, Frazer. One hundred and fifty blind.DONThree hundred and fifty open.PHILFold.* Cut from completed film.HATCHETThree hundred and fifty open.FRAZERYou're the only fella in London who wears shirts like that. Three hundred and fifty open.EDDYNo Frazer, it's just I'm the only classy fella you have had the pleasure of seeing in London. One hundred and seventy-five blind.DONFour hundred open.HATCHETFour hundred open.FRAZEREight hundred. Like that, do ya, son?EDDYWhen my knees stop knocking I'll live with it. Four hundred blind.INT. BOXING GYM CHANGING ROOM - NIGHTBarry, who is sitting among sweaty towels, takes out a four-inch monitor and switches it on, and hey presto we can see the card table. The camera is placed behind Ed in one of the four posts. Barry zooms in, pauses on the back of Ed's head, gets his focus and jibs down to view his cards, pauses and re focuses, because Ed is playing blind. He hasn't raised them: there is nothing Barry can do. We cut to Barry's other hand. He is pressing a button on a remote control. We cut straight to Harry's leg which is receiving the pulse.46BOXING GYM - NIGHTHATCHETListen ladies, this is cards. Men play cards, you want to talk soft you should be at the fucking hairdressers, so shut up and play.(dramatic pause)I fold.FRAZERTwo thousand open.EDDYOne thousand blind.DONTwo thousand open.FRAZERDeep end, eh? Fold.EDDYTwo thousand blind.DONYou what?There is a pause as Don examines Ed's brow looking for a trace of nerves.Two grand? You're still blind. You have been eating too much English beef, mate; honkers, mad.HATCHETWell, you going to play?Cut from completed film.DONFucking right I am going to play. Three thousand, there.CROUPIERFour thousand to an open man, you know that.We can feel the confidence emanating from Eddy. Don continues to search Ed's forehead waiting for a break of nervous moisture, but it's as dry as a desert disco.EDDYDonald, do you know how to play this game? The reason I put in half the anti is because I don't know what I have got. Now play, or fold.Silence.EXT. STREET - NIGHT.Don is thrown out on to the street, screaming and cursing.EXT. STATELY HOME - NIGHTThe Scousers, having now entered, make their way through the large house.DEANOK Gary, we call each other Kenny, all right?GARYAll right, Kenny.Dean looks at Gary's disguise with some distaste. He has a stocking pulled over only half his face. A sexy thigh grip is replicating an artificial, frilly moustache, not giving the desired menacing look. A big bouffant head of hair is neatly being conntrolled up on top.DEANCan't you pull that stocking down further, Kenny?GARYIt just cost me fifty quid to have this done.(Lovingly rearranging his hair)If you think I am going to ruin it for a couple of old bastards you're mistaken, Kenny.INT. BOXING GYM - NIGHTMusic starts. We cut to a montage of Ed, Hatchet and Barry at work. Ed must be about 250,000 up but the game is getting out hand and pieces of paper are being signed; IOUs.INT. STATELY HOME BEDROOM - NIGHTDean returns down a corridor carrying an armful of rifles and enters a large bedroom. There are a couple of toffs (English aristocrats) tied up in bed. The old man has bits of tissue between is toes which Gary has seen fit to light, in order to extract information. Briefly meet Lord and Lady Appleton Smythe Winston and Daisy's parents).DEANWhat are you doing, Kenny?Gary is on the point of lighting another piece of tissue.GARYFinding out where he keeps the money.48 49DEANKenny, you twat, does it look like these people have got any money? They can't even afford new furniture. We've got the guns; now if you don't mind . . .At that moment they are interrupted by the sound of a shotgun cartridge. The ancient butler has made an unexpected entrance. He is holding an equally ancient pair of hammer-lock guns (the ones from the catalogue) which he has obviously got little control of. The recoil knocks the butler clear off his feet. The second shot hits the ceiling covering the old boy in plaster.We cut to a POV of the butler on his back. We see Dean looking down.You want to be more careful, old fella. You very nearly took my man's head clean off with that. You all right, Kenny?We cut to a shaking shell-shocked Gary, mouth agape. The gun shot has torn through the centre of Gary's bouffant hairdo leaving him with a pair of smoking Mickey Mouse ears. Shock prevents him from answering.Kenny?INT. BOXING GYM - NIGHTEDDYTen grand blind.We see Hatchet feeling his leg; he looks shiftyINT. BOXING GYM CHANGING ROOM - NIGHTBarry zooms in again; he can see nothing.HATCHETTwenty thousand open.EDDY looks at his cards: he has a running flush.EDDYTwenty thousand open.INT. BOXING GYM CHANGING ROOM - NIGHTBarrv sighs with relief and types in the relevant information.INT. BOXING GYM - NIGHTHaving received this information Hatchet pauses, then . . .HATCHETI'll fold.We hear lots of oohs and aahs. EDDY frowns slightly This is odd play. Rather than looking happy he has a discrete glance over his shoulder; satisfied that nothing can be amiss, he collects his money.Don't go spending, that all at once, boy.INT. BOXING GYM CHANGING ROOM - NIGHTBarry's phone rings. He jumps in shock and fishes around to find it.BARRYWhat?50 ~ 51INT. RED PHONE BOX - NIGHTThe Scousers reply; Gary is still unable to speak due to his shotgun experience.DEANI thought you said no staff, Bazza!BARRYYou get the guns?DEANYou should see what they did to poor Gary.Gary wanders past the phone box in a gormless state. He obviously doesn't know what day of the week it is.DEANGary, get back into the van!Barry frowns down the telephone. Yeah, yeah, we got 'em.BARRYGood. I'll speak to you later.Barry clicks the phone off. Dean looks at Gary and raises his voice as if speaking to a deaf person.DEANGary, Gary, if you can hear me, I think we better get you back in the van now, OK?Dean takes his arm and guides him back into the van.BOXING GYM - NIGHTStakes have increased dramatically. There is a pause as Frazer looks at his cards.EDDYTwenty thousand open.PHILOK. My Doctor would beat me to a heart attack if he knew what was going on here. I fold.HATCHETGot some cards there, boy? Thirty thousand. Back to you already Eddy?Hatchet looks impatiently at the door.EDDYFifty grand.Hatchet scours Ed's forehead. It is still dry.HATCHETEighty grand.BOXING GYM CHANGING ROOM - NIGHTBarry, who is trying as hard as he can to see Ed's cards, frustratedly zooms in and out; eventually Ed raises them justenough; Barry jibs, hey bingo he sees Ed's cards!Ed's got nothing but a pair of sixes. Barry excitedly starts tapping away.53INT. BOXING GYM - MGHTEDDYOne hundred grand.FRAZERHold on fellas, I know . . .HATCHER (interrupts jI know you're not in, which means nobody cares what you know. Two hundred and fifty.Hatchet and EDDY minutely study each other's hairlines, waiting for a nervous droplet to appear. Sweat breaks; a drop on Ed's forehead, fills frame. Slowly we follow a droplet's journey coursing down Eddy's brow Eventually this is met by a large unblinking eye, at this point the pause is broken.EDDYThat is quite a raise, one hundred and fifty on my hundred.HATCHETYes . . . and is there something else you want to say? EDDYAs you know, this puts us in an awkward position. I don't have enough to continue.Pause.CROUPIERWe will have to see both your cards if no one loans EDDY the money to continue. It's a loan or we see both your cards.Silence follows. A lot of nose scratching and examining of imaginary dirty ftngernails spreads contagiously throughout the remaining company.It doesn't look . . .HATCHET(interrupts)I will.EDDYYou will what?HATCHETI will loan you the money.Silence. The sweat bead reaches the bottom of Ed's chin, trembles for a second, then unattaches itself. Very slowly it falls. We follow its long silent journey. Eventually it is greeted by the back of Ed's cards. It explodes dramatically in sound and vision, symbolizing this worrying news.EDDYI think I would rather just turn them over.HATCHETI am not interested in what you would rather; I want to keep going. I am also offering you the money, so we don't have to turn them over because you can borrow.EDDYI need two hundred and fifty grand.HATCHETNo, you need five hundred grand to see me.Ed's face is now awash, busily blistering with sweat.EDDYThat's if I want to see you.HATCHETWell, you're going to have a problem carrying on, aintcha.The pause is painful.55CRUOPIERYou can still fold.EDDY doesn't like the sound of this. There is sympathy in her voice. Harry looks sharply through narrowed eyes at the croupier; the croupier pleads with Eddy.EDDYI'll see ya.HATCHETFor half a million?EDDYUnless you are going to accept twenty quid.HATCHETAnd still got a sense of humour. That's not monkey nuts son; you can still fold.(Pause)OK, before I loan you this, I expect, if you lose of course, my money back within a week, Crystal? That's Sunday, OK?These last few words echo in the distance of Ed's mind (and ours). He is committed, but has now left the world of the conscious. Hatchet turns over the first card; it's a seven. EDDYushers him on; another seven, it looks as though he will have three; then the third: it's a four. There is an anti-climatic silence. After a loud pause . . .CROUPIERIs that it?* Cut from completed film.56FRAZERHe was bluffing!Hatchet looks content and rather nonchalant.HATCHETLet's see your fucking cards.Nobody is impressed by Hatchet's cards; all eyes fall on EDDY expectantly We crash in to Ed's pupils with a loud swoosh. They contract to the size of pinheads. His world has changed for ever.FREEZE SHOT OF EDDYEDDY(voice-over)I knew he was bluffing, but somehow the worst card player round the table had fucked me like a frozen virgin with a pair of sevens. A series of blows to my head with a baseball bat would have been greeted with a grin compared to this. Ten minutes earlier, I was two hundred thousand pounds richer; now I owed half a million.RELEASE FREEZE SHOT OF EDDYHarry approaches Ed and whispers in his ear.HATCHETI know your friends are responsible for most of that cash, so I'll give you all a week to find it. After that, I'll take a finger off each of you and your friend's hands for each day that passes without payment; and when you have all run out of digits, then who knows what?Ed gets up. We stumble with him in slow motion. He is hardly able to stand. He wobbles over to the door. Harry continues to talk over the top.Business is business, and I am good at making mine work. I like your dad's bar, JD's, so don't get clever or lethargic. If you can't pay in a week, a few fingers and a bar for starters.Ed stumbles out of the door, doubles up and vomits all over the f door.INT. SAMOAN JO'S - NIGHTEd has made his way into the bar. All his friends have fallen asleep. One of Bacon's eyes opens to see Ed cleaning himself up.BACONThis doesn't look good.The others wake on this statement. We cut between the lads and their frozen reaction.FREEZE SHOT OF LADS IN SHOCKEDDY(voice-over)I then explained the unfortunate position we were in. Harry was going to start sizing up all our fingers in a week, 'cause he knew there was no way I could raise that kind of money on my own. Harry saw it as their money on the table so it was also their debt off the table. I hate to admit it but I could have kissed the old bastard for that. If I said I wanted to settle this debt on my own it would have been a lie.RELEASE FREEZE SHOT OF LADSEDDYListen, I wish he would let me settle it on my own.Tom drops his drink and rushes Eddy.58TOMI'll kill him!BACON(intercepts Tom)Stop fucking around, Tom, and think. What are we going to do?SOAPWhat's all the fuss about Harry? Why don't we just boycott the payment?They all look at Soap like he is mad.INT. HATCHET HARRY'S' OFFICE - NIGHTBACON(voice-over)Let me tell you about Hatchet Harry. Once there was this geezer called Smithy Robinson who worked for Harry. It was rumoured that he was on the take. Harry invited Smithy round for an explanation. Smithy didn't do a very good job. Within a minute Harry lost his temper and reached for the nearest thing at hand, which happened to be a fifteen-inch black rubber cock. He then proceeded to batter poor Smithy to death with this; that was seen as a pleasant way to go . . . Hence, Hatchet Harry is a man you pay if you owe.EDDYI'll think of something, don't worry.EXT. STREET - DAYEd, who looks like he is close to suicide, has developed a two-day stubble and his eyes have disappeared into black sockets. He stumbles along the street with a bottle of scotch poking out of a pocket. He stops outside JD's, looks at the entrance and decides not to go in.60INT. SLOANES' SITTING ROOM - DAY The ridiculous door-bell horn blows.JWho the hell's that. It's only twelve.WINSTONUse that cage, that's what it's there for.WILLIAM(off)Who is it?PLANK(off)Plank, open up.This is done without the use of the steel-caged security door.This weed is getting quite a reputation, you know, fellas. Gloria remains motionless in her chair. Plank waves his hand about in a sort of `how you doing' way to everyone and goes to take a seat. At the last minute, poised like he is sitting on a potty he realizes he is about to sit on this girl.Jesus! Never saw you there. Hello, love. Enjoying yourself?Gloria doesn't respond. Plank waves his hand over her face. Still no response. Plank looks around for some acknowledgement.Is she, er, compus?WINSTON(doesn't look up)What do you think?Plank takes a close look at the girl.61GIRLBOO!Plank jumps back, completely taken by surprise, knocking over a pedestal of shoe boxes stacked up against a wall, full of fifty-pound notes.PLANKFuck me!Charles, pissed off, looks at William like it's his fault.CHARLESFod God's sake.WILLIAMClean that up, Charles.CHARLESSod you, you clean it up.PLANKSorry fellas, but that stupid cow!WILLIAMNever mind, could you please just sit down and stay out of the way.WINSTONAnyway, how much do you want?PLANK(trying to look like the money hasn't had an impact on him)I am after a half weight.WINSTONThat's one and a half thousand. Pass those scales, Willie, and sort out the gear, Charlie. Any chance of seeing your money?INT. JD' S BAR - DAYCut to Bacon, Soap and Tom sitting and talking in the back of JD's bar. They don't look a lot better than Ed.BACONThe odds are one hundred to one so all we need is five grand.SOAPI would rather put my money on a three-legged rocking horse. The odds are a hundred to one for a good reason, BACON. . . it won't win. So where is Ed with all the bright ideas?BACONAt the bottom of a bottle and has been for two days; it's hit him hard.SOAPIt's hit us all hard!BACONYeah, but he has got to tell his Dad he is about to lose his bar.Tom, who has not really been listening, suddenly interrupts.TOMListen to this one then; you open a company called the Arse Tickler's Faggot Fan Club. You take an advert in the back page of some gay mag, advertising the latest in arse-intruding dildos, sell it a bit with, er . . . I dunno, `does what no other dildo can do until now', latest and greatest in sexual technology. Guaranteed results or money back, all that bollocks. These dills cost twenty-five each; a snip for all the pleasure they are going to give the recipients. They send a cheque to the company name, nothing offensive, er, Bobbie's Bits or something, for twenty-five. You put these in the bank for two weeks and let them clear. Now this is the clever bit. Then you send back the cheques for twenty-five pounds from the real company name, Arse Tickler's Faggot Fan Club, saying sorry, we couldn't get the supply from America, they have sold out. Now you see how many of the people cash those cheques; not a single soul, because who wants his bank manager to know he tickles arses when he is not paying in cheques!There is a long pause while BACON considers this.BACONSo how long do you have to wait 'till you see a return?TOMProbably no longer than four weeks.BACONA month? So, my friend, what fucking good is that, if we need it in six . . . no, five days?TOMWell, it's still a good idea.SOAPListen to this one . . .INT. DOG'S HOUSE - DAYWe see the back of a head.DOGSo do you know these geezers well?PLANKWell enough. I have been buying gear off one of them for a couple of years.DOGWhat they like then?PLANKPoofs. Nothing heavy, four public school guys. Soft as shite.INT. JD'S BAR - DAYSoap is finishing off his suggestion for raising money.SOAPAnd you keep all the money'Pause. BACON and Tom frown at Soap.TOMI have heard some fucking stupid ideas in my time but yours makes Bacon's sound inspired.INT. ED AND BACON'S HOUSE - DAYEd fumbles with his keys at his front door. He enters his house in a sort of zombie state, takes off his jacket and opens the cupboard doors. He hangs his coat up (it promptly falls off" the hanger) and he collapses in a pile on the floor. The cupboard doors now being open, he can clearly hear next door's discussion. We track in very slowly on Ed.PLANKThey ponce around in funny hippie clothes all day, talking bollocks. They're just good at growing weed, that's all, and business has got bigger than what they can keep up with.INT. JD'S BAR - DAYSOAPIf you're so fucking clever why don't you come up with a suggestion?BACONI am thinking, I am thinking.INT. ED AND BACON'S HOUSE - DAYDOG(off)Listen, they can't be all stupid if they got a container load of cash sitting in shoe boxes, a skip-load of Class A gear and you don't think there is anybody sensible involved.We reach the end of our track. Ed's head is on a pitiful angle in full close-up. It straightens and his dark eyes widen immediately on this news.INT. DOG'S HOUSE - DAYDOGWhat about security?PLANKThere's one steel gate as you go in but they never lock it.DOGWhat do you mean, never? Well what have they got it for, then?PLANKI must have been there fifty times, it's never been locked; they're not suspicious. Everybody who goes there are toffs. They're all into that karma crap: `If I don't harm nobody, nobody harms me' stuff.DOGIs there no way they can get back to you?PLANKEven if they could they'd be too shit scared. They have got no muscle; they're gutless faggots.66 ~ 67IN'T. HATCHET HARRY'S OFFICE - DAYBarry and Harry are talking. Harry is polishing a shotgun. It is very different in appearance to the hammer-locks.HATCHETIs Big Chris on his way?BARRYShould be here any minute. I think you're making a mistake, Harry. That's a lot of money for Chris to be running after. I wouldn't trust him to bring it back here.Hatchet's speech is laced with cut-aways of Big Chris in action, and on the ascent (with Little Chris) of Hatchet's stairs.INT. HATCHET HARRY'S STAIRCASE - DAYHATCHET(voice-over) What do you know about Chris, eh? You put Big Chris on a job and he will make sure it gets done, no matter what's in his way. His dad used to collect debts and his dad before that, and that monster of a boy will after he has gone. It seems that the Almighty himself requested them to collect debts for eternity and not to fear knocking on old Nick's door himself, if he was behind on his payment. But he has never nicked a picker in his life. Straight as an arrow and as strong as the bow that fired it. If you dropped your tenner he would search till he found ya . . . the only problem is he isn't stable, has a temper like a runaway train, and he hits twice as hard. Heaven protect anyone who touches that boy, not that the boy needs protecting.We see Big Chris walking up the stairs. He reaches the top and knocks on the door.INT. HATCHET HARRY'S OFFICE - DAYBig Chris is sitting in front of Hatchet, Barry behind Chris.HATCHETWant a drink?BARRYHello son, would you like a lolly?LITTLE CHRISPiss off you nonce!BIG CHRISOi, watch it! No thanks Harry, we are both all right. Nice shooter.HATCHETLike it? One of a pair, Holland and Holland. Here, you want to hold it?BIG CHRISNah, not my thing, thank you, Harry. Business good? I imagine that's what I am here for.Harry leans the gun against the side of the desk and takes a seat, does a breast-stroke movement to clear his desk of all the sexual debris, takes a big breath of air and begins.HATCHETI want you to forget about any other debts at the moment; there are fresher fish to fry!BIG CHRISGo on.HATCHETIt's a bit of a priority. Four young fellas who got in deeper than they could handle; they owe me half a million pounds.68 ~ 69LITTLE CHRISHow much?INT. ED AND BACON'S HOUSE - NIGHTTom, BACONand Soap are sitting in front of Ed who looks as though he is about to launch in to a speech.TOMWhat's the flapping about? You told the old man yet? EDDYI hope I won't need to. I got a plan. So listen carefully.INT. SLOANES' SITTING ROOM - NIGHT WINSTONLook, he set us up. That means he put money into us, which means he expects money out of us. You don't need to be an economist to work that out.JHe might think we smoke a lot and burn a bit of profit, but he can't have any idea about the hard currency we've accumulated. We can just slice it off the top.WINSTONYou guys, you've got to realise who this chap is. He's a fucking lunatic. If he gets the slightest inkling that we are not throwing straight dice, you - and fuck it, me - are going to know what the sharp side of a kebab knife feels like.*CHARLES Come on, we are in this for the cash however it comes.The phone rings. Winston picks it up.* Cut from completed film.70WINSTONHello.DAISY (she is upset) Winston?WINSTONYeah.DAISY It's Daisy.WINSTONI know who it is. What's the problem?INT. ED AND BACON'S HOUSE - NIGHTThe situation has been explained. There are thoughtful frowns on all foreheads. There is a pause.SOAPWell, what do you want us to do about it?EDDYHit the fuckers.Pause while this is digested.I know it sounds a bit heavy, but it's not like you are doing anything illegal.BACONI don't know how you've reached that conclusion.EDDYThey can't report they have had all their drugs and money nicked, can they?71TOMHow heavy are the fellas anyway?EDDYThey don't look all that.SOAPHitler didn't look all that.EDDYAll right, but for Christ's sake we're in the soup and this is the silver spoon. If you can think of another way to get out, let me know. It's not like we've got all the time in the world either . . . Dig?Silence falls over them.]BACONI am game.TOMMe too.S0APOh, god!EDDYWell, we hit them as soon as they come back. We'll be waiting and prepared for them.Pause as Ed's voice drops a little. And they are armed.SOAPWhat was that, armed? What do you mean, armed? Armed with what?EDDYEr, bad breath, colourful language and a feather duster! . . . What do you think they will be armed with? Guns, you tit!SOAPGuns! You never said anything about guns. A minute ago this was the safest job in the world, now it's turning in to a bad day in Bosnia . . .EDDYJesus, Soap, stop being such a mincer. I thought about that and...SOAPAnd what exactly?EDDYAnd we will just have to find out who's going to be carrying them.SOAPCarrying them. They could all be carrying them for what we know.EDDYNo, just one of them is in charge of them going to the job. So I assume he will stillbe carrying when he comes back from the job.SOAPOh, you assume, do ya? What do they say about assumption being the brother of all fuck-ups?TOMIt's the mother of fuck-ups, stupid!SOAPWell, excuse me, brother, mother or any other sucker, doesn't make any difference, they are still fucking guns, and they still fire fucking bullets!72 ~ 73EDDYSoap, if you got a better idea to get five hundred grand in the next few days you let us know . . . In the meantime, Tom, speak to Nick the Bubble about moving the weed.INT. JD'S BAR - NIGHTTom and Nick are stuck away in a corner playing on a fruit machine.NICKWeed?TOMNot normal weed. This is some fucked-up skunk class A. I can't think let alone move shit.NICKDoesn't sound very good to me.TOMNeither me, but it depends on what flicks your switch, and the light's on and burning bright for the masses.NICKYou'll need samples, Tom.TOMNo can do.NICKWhere's that? A place near Katmandu? Meet me half way, mate.TOMListen, it's all completely chicken soup.NICKIt's what?.TOMKosher as ChristmasNICK(rolls his eyes)Jews don't celebrate Christmas, Tom.TOMNever mind that now. I also need some artillery, you know, a couple of sawn-off shotguns.NICKBloody hell, Tom! This is a bit heavy. This is London, not the Lebanon' Who do you think I am?TOMI think you're Nick the Greek.INT. RORY BREAKER'S OFFICE - DAYThere's a cacophony of seventies funk and football filling the room. We meet Rory Breaker. Rory is a very well-dressed cool-looking black dude. He is in his own way sophisticated, considering what he does for a living. His help, however, are less well-informed. Rory has Nick the Greek in front of him.RORYNick, I don't have anything to do with weed, normally, but if it is what he says it is, I'll give him three and a half thousand a key, that's if it is what he says it is. I don't want to see it after a sample, I don't want to touch it after a sample. I'll leave you in the capable hands of Nathan here. He will work out the details, but let me get this straight. If the milk turns out to be sour, I ain't the kind of pussy who will drink it. Know what I mean?74 ~ 75INT. GARAGE UNDER THE ARCHES - DAYThe Scousers are handing over all the shotguns from their previous job to Barry and assistant. Dean has got a complicated hair arrangement to disguise his accident with the butler. Barry raises his eyebrows at this new look.BARRYIs your hair supposed to look like that, then?Gary ignores this question.DEANNext time we do a job like this we gonna want more money, or we are going back to post offices and cars.BARRYWhere're the others?Barry is looking with same concern for the hammer-lock Purdeys.DEANThere are no others.BARRYNow, stop fucking around. The others, the old ones?DEANI don't know what you mean.BARRY(dead serious)There were two old guns there; where are they?DEANNot in the cabinet there wasn't. There was a couple of old hammer-lock muskets the butler was carrying; they were ours, and we sold 'em!77BARRYWell you just better un-sell 'em, sharpish.DEANThey were . . .BARRY(interrupts)I am not fucking interested.Shouting. If you don't want to end up counting the fingers that you haven't got, or sharing a bed with the anti-Christ, I suggest you get those guns, quick.INT. BACK OF VAN - DAYWe are facing Nick's large behind, builder's cleavage poking out of the top of his trousers. Nick is unwrapping two long implements from a sheet: the hammer-lock Purdeys.TOMJesus, if I pick them up, will they stay in one piece? Where did you get them from?NICKI got contacts. Listen Tom, if you pointed them at me I'd shit myself or do whatever you said to do. Either way you still get the desired effect.TOMThey look nice, I agree . . . but lacking in criminal credibility, aren't they? I might get laughed at. How much do you want for these muskets?NICKSeven hundred each.78TOMWhat's that, a pound for every year they have been around? I know they're antiques, but I ain't paying antique prices. Pause.And they're a bit long, aren't they?NICKSawn-offs are out, Tom; people like to have a bit mare range nowadays.TOMRange? I don't want to blow the arse out of this country, granted, but I don't want anybody blowing a raspberry at me either. I want to look fucking mean.NICKOf course you will look mean, Tom, you will look really scary.TOMAll right, let's forget about them for the time being. What about your weed man?NICKRory Breaker is standing by. You stand to make a lot of money, Tommy boy.INT. JD'S BAR - NIGHTWe are looking directly at JD's shell-shocked face. He gently lays down an empty glass on the bar.HATCHETI understand if this has come as a bit of a shock, but I'll tell you how this can be resolved by the good father.* Big Chris in completed film.Pause. The camera spins round to reveal Hatchet and Barry the Baptist.JDGo on.HATCHETI like your bar.JDYes?HATCHETI want your bar.JDAnd?HATCHETDo you want me to draw a picture?JDHarry, that boy doesn't know his arsehole from his ear-hole, or you from a hoodwink. This bar is mine, and he has nothing to do with it.HATCHETWhat, and I care? Remember, you do have the luxurious advantage of being able to sustain your son's life.JDAnd you do have a reputation, so I'll choose my words carefully. But not to put too fine a point on it, fuck yourself, Harry!Barry pulls a kind of mock-scared face and clutches his heart.80HATCHETOh, careful JD, you'll give Barry a heart-attack.We crash-zoom again into Harry's eyes to see the pupils contract. It's time to look mean.I'll put that down to shock, but only once, only once can or will I let you get away with that. Your son's still got three days to find half a million, but make up your mind which one you prefer: your son, or your bar.We have a slow-motion close-up of the drink being slammed down, proving a point.INT. ED AND BACON'S HOUSE - DAYBACON has rigged up an amplifier to the hole in the cupboard along with a ridiculous amount of recording equipment. The house lights still flicker on and off. We start the first part of the conversation looking at Bacon, who has his headphones on. We cut to Dog halfway through the second sentence.INT. DOG'S HDUSE - DAYPLANKThere's nothing to worry about, it's going to be easy.DOGThere is no such thing as easy in my experience and, if you think this is going to be easy, you're a dick. It may be easier than most but it's not going to be easy.INT. ED AND BACON'S HOUSE - DAYBACON has a kettle next to where he is sitting. It steams away quite happily but a worrying noise starts to come from the plug socket. BACON prepares himself.- BOOM! He disappears into black.INT. DOG'S HOUSE - DAYThey react to the BOOM! Dog looks at the wall with suspicion, misses a beat, then continues.DOGWhat's that idiot doing next door?(Points at Paul)We use your van. It's up some stairs this place, so we'll stick out like balls on a bulldog. Plank is going up first. There is a cage but it is never locked, is it Plank?PLANKNo.DOGAnd it better bloody not be. Once he is firmly in place, he gets the rest of us in. We'll get nasty with a couple of them, shit 'em up, scare and gag 'em. I can't see these wankers giving us a problem, but they might have a couple of tools hanging around like any cowboy. When the job is done we'll come straight back here. It's dark by then, unload and Robert's your father's brother. Everybody savvy?ALL TOGETHERYup.DOGRight, tomorrow, eight o'clock we'll do it. Apparently these stags don't get out of bed till midday, lowest ebb and all that, and that's how I like it.INT. ED AND BACON'S HOUSE - DAYBACON is now lit by candle.BACONJesus.DOG(off)So no messing around tonight. We leave eight a.m., OK?EDDYYes?BACONIt's happening tomorrow morning. Get back here now.INT. ED AND BACON'S HOUSE - NIGHTSOAP(staggering)Where did you get those from, a museum?TOMNick the Greek.BACONHow much did you part with?TOMSeven hundred for the pair.SOAPDrachmas, I hope. I would feel safer with a chicken drumstick. They could do more harm than good.BACONJesus, Tom, do they work?TOMI dunno, but they look nice. I rather like ' em.EDDYTop of the list of priorities, how nice they look.SOAPLadies, if you don't mind, back to a more important issue. We've only got two real guns . . . apparently that's what they are. We find a good place to hide next door. When it sounds like the right time, we jack in the box, look nasty and stuff, cocoon them in gaffer tape, then we nick their van and swap the gear into a new van and then bring it back here. As long as we are all out of our hiding places quickly, it's the last thing they'll expect. If Tom and anyone else feels like kicking them around a bit I am sure it won't do any harm. A bit of pain never hurt any one (thinking about it) if you know what I mean . . . Also, I think knives are a good idea, you know, big fuck-off shiny knives, the ones that look like they could skin a crocodile. Knives are good because they don't make any noise, and the less noise the more we're likely to use them. That'll shit 'em up and make us look like pros.There is a pause as they look at Soap with suspicion.TOMIs there something we should know about you, Soap?BACONI am not sure what's more worrying, the job or your past.INT. ED AND BACON'S HOUSE - MORNINGEd and Bacon, etc, are all mounted up on top of one another looking out a crack in the curtain. They are observing Dog's party en route to work. They are dressed as kebab shop assistants.SOAPWhere the fuck are they going? To butcher a sheep? I thought this was a robbery.EDDYWhere did they get those outfits from? Haven't we got some like that, Tom?TOMWell, not exactly like that.INT. DOG'S HOUSE (VAN) - MORNINGDog and troop load up.INT. SLDANES' SITTING ROOM - MORNINGCut to Sloanes. They are up and unusually awake. Today is the day to move the money so they are comparatively alert. There is lots of activity.WINSTONYou fucking jelly-heads, move it. You have been up for two hours, you should have got somewhere by now. The gear and the money has got to be out of here before twelve.The horn blasts.Who's that? J, don't you dare open the door until you use that cage. I am serious, and find out who it is first.86INT. SLOANES' FRONT DOOR - DAYJ(raising his voice for the door)Hello, can I help you?PLANKAll right, it's Plank. Is Willie there?JNo, I'm afraid he's not. He's out at the moment.PLANKWell, perhaps you can help?JWell, perhaps I can't, Plank, if you know what I mean.PLANKLook, could you just open the door so I could talk without shouting?JI can't help you, Plank.PLANKI think you'll find it is in your interest.INT SLOANES' SITTING ROOM - DAYJHold on. OK.(Whispering inside.)Look Willie, it's Plank outside asking for you, he says it's in our interest.87WINSTONI don't care if it's King fucking Kong, he is not coming in here, not today.WILLIAMHold on: we are in business and correct me if I am wrong, but that is business?JCorrected; that's a walking accident that we can do without.WILLIAM Jesus, he's OK; he knows only to buy weights now, so we are looking at least a couple of thou; just one last time.JWhat do you think, Winston?Pause.WINSTONWilly, this is the last time, and don't let him know that you're here, otherwise he will be here all day, and get rid of him quick. We have work to do.EXT. SLOANES' STAIRS - DAYDOG(frustrated)What the fuck is going on?MICKDo you want me to have a look, Dog?DOGNo, you silly fucker, stay still.(Whispering)What's going on?PLANKCome on, I can't wait out here all day.Starting to get anxious that the whole deal could be off Plank looks down the stairs and waves at Dog as some kind of reassurance.J(off)All right, just coming.J unlocks the door after getting the cage ready. There's an external door, and then a small corridor before the cage. J is inside the cage. Two, or at a push, three people could fit in this space before they would be poking out on the outside world.INT. SLOANES' CAGE - DAYPLANKI thought you were going to leave me out there all day.JI didn't know you were a kebab man, Plank.PLANK(taking the piss)Lives and learns doesn't one.Then devastation slaps him hard.Keep the gates locked now, do you?JSorry, got to do business like this now; can't be too careful these days.PLANKI know.(Suddenly turning very nasty whispering.)Now shut it. You say a fucking word the right knee goes, another word then your left.J(confused and believing it's a joke, until he sees the gun.)What are you doing, Plank?PLANKWhat do you think I am doing? Hold on. What are you doing? Unlock that gate. Oi! I said unlock that fucking gate.J has found it all too much and has passed out with fear, collapsing on the floor in an awkward contorted position. Plank is desperately trying to find the right key. Things are not going as well as planned. Dog, in the meantime, has decided it's time to start the showEXT. SLOANES' STAIRS - DAYDOG Go! Go! Go! Fucking run, you two.They all go charging into the open door only to slam straight into Plank. The keys go flying out of Plank's hands and through the cage. Plank cries with frustration, reaching out with his hand to retrieve them. Dog, finding the gate locked, is none too happy They are also still exposed to the eyes of the world due to the lack of space between the outside door and the inside cage.90 ~ 91INT. SLOANES' CAGE - DAYDOG(mesmerized}The fucking gate's shut, you prick.PLANKJust hold on, I got the keys.Having clawed them back with the end of his shotgun.DOG(seeing an unconscious man at his feet)What the fuck did you do to Fauntleroy?PLANK(fumbling and panicking)I didn't touch him, he just passed out.INT. SLOANES' SITTING ROOM - DAYWINSTONJ, what's going on out there?(Realising)Get the rifle out, Charles. We're being fucked.INT. SLOANES' FRONT DOOR - DAYDOGGet the sodding gate open now, Plank.Plank is busy fumbling about, not really getting anywhere because of the pressure being applied.PLANK(trying to convince himself, as much as Dog)It must be this one.DOGJust give me the keys.The gun with which Plank has been entrusted is pointing straight at Dog's groin.Point your gun in there, dick, not at me.Mick has unwrapped his gun from his case. Dog turns and looks amazed at the size of the weapon.What the fuck is that?MICKIt's a bren gun.DOGYou could have brought something a bit more fucking practical, couldn't ya?Pop! We hear the sound of an air gun pellet hitting the bars.PLANK(trying to salvage some credibility)Don't you stags move or I'll kill the lot of ya.DOG(amazed by this stupidity)Who are you going to kill Plank? There's no one there.We hear another pop and Plank gets shot in the neck. This understarulably sends him into a real panic, thinking this is curtains.PLANK(gurgle)They shot me!Panic unashamedly exposing itself. Trickles of blood start flowing from in-between Plank's fingers.DOG(unimpressed)Well shoot them.Plank shoots at everything and nothing. Smoke fills the corridor, leaving them in a cloud. A bit of coughing goes on, then silence.JOHNJesus Plank, you could have got smokeless cartridges, I can't see a bloody thing.Pop! Another pellet is fired hitting John in the chest.Ah, Jesus, shit, I've been shot!DOGI don't fucking believe this. Could everybody stop getting shot. Sit down John, you cock, patch yourself up; it's only a fucking air rifle.Dog is interrupted by an enormously loud blast of machine-gun fire. Dog and the boys panic, cover their ears and hit the floor. After this outburst Dog looks up at Mick and sees he is the culprit. Mick looks down at Dog expecting a congratulatory nod from Dog; he doesn't get it.What the fuck was that?MICKThat was the bren gun!94 . ~ 95DOGIf you use that again, you're a dead man, do you understand?He speaks softly but he is quite shaken. He then raises his voice; he has had enough of all this mincing.Right fellas!He shouts to the Sloanes while dragging the semi-conscious body of J up to use as a shield.Before I go any further I am going to shoot your mate's toes off!No sooner said than done; his toes go. The smoke problem repeats itself and J faints again, but an unfazed Dog continues.Now if you want us to be gone in two minutes, open the fucking gate, now!INT. SLOANES' SITTING ROOM - DAYCHARLESHe'll probably kill us if we do.WINSTONWell, J will certainly get it if we don't; he's serious. Look what he did to his toes.DOG(off)Right, his leg's going now.WINSTONAll right, all fucking right, I am coming.(Turning and whispering)Willie, he doesn't know you are here, just sort something out, OK.Willie slinks off with a `like what?' look on his face.INT. SLOANES' CAGE - DAYDOGAnd all your friends, there's a good lad.WINSTONThere is only three of us here.DOGDo you want me to take his leg off? Where's the fourth?WINSTONI mean it, there is only three of us here.DOGPlank?PLANK(gurgle, gurgle)Yeah, one of them's out.DOGOK, open the gate.No sooner said than done. Dog hits one straight on Winston's forehead with the butt of his gun and drags him to the stairs. 97INT. SLOANES' SITTING ROOM - DAY DOGUp boy, up, up.They reach the top of the stairs.Tie 'em up John and, Plank, you come with me. Where's the money?PLANKThere, in those shoe boxes.Dog opens them. There is nothing in them. If looks could kill Plank would be pushing up daisies.DOG(gun to the head of Winston)Where?WINSTONOut the back.DOGAnd the weed?WINSTONOut the back.MICKPoint.WINSTONWith what?MICKYour hands, now!WINSTONI can't, I am tied up.98MICKWell, well, shake your head or something.DOGAll right Plank, get Paul out of the van.This is done on a walky talky.INT. SLOANES' BACK ROOM - DAYThe door opens. Willie is waiting behind it armed with a machete. He turns to his opponent and, eyes shut for Dutch courage, hacks straight into Mick's arm. Mick's machine gun goes off and William loses a finger as he tries to push the barrel to the side. He starts screaming uncontrollablyDOG(to Plank)Give us your knife.Dog is going to put an end to this screaming and is making his way to its source. William is silenced through fear of the approaching Dog and slumps on the floor in a silenced wreck, holding a bleeding hand.(the point of the blade resting on William's throat)Enough! Mick, how you doing?MICKHow do you think I am doing? He has fucking nearly chopped my arm off.Dog's attention is diverted as he sees a table full of cash, neatly packed and stacked.PAUL (in doorway visibly shockedGordon Bennett! What's been going on in here?DOGShut up, you idiot. You got the bags? Can you get it in?PAULThere's a lot here, all right. I don't think we will be able to get this all in the van.DOGBollocks, you'll get it in even if you have to do two trips.EXT. SLOANES' HOUSE - DAYA traffic warden appears as Paul goes outside to load up.TRAFFIC WARDENYou got a ticket already and, if you don't move it now, sir, we will move it for you.PAULI'll only be a minute.TRAFFIC WARDENYou've already been fifteen.Paul, realising that persuasion is futile, decides other means are necessary to despatch this nuisance. He looks down both sides of the street: the coast is clear.PAULLook. Go on, look.TRAFFIC WARDENAt what, exactly?PAULMy van is half full.TRAFFIC WARDENSo?PAULSo I've just got to put you in, and I am off.Having made their way to the rear of the van, Paul opens the back doors. Paul smacks the traffic warden on the side of the head. The momentum carries the warden into the van, unconscious. Paul has another quick look round and Lifts the warden's legs up and pushes him deeper into the vehicle.INT. SLOANES' SITTING ROOM - DAYPLANKMy neck, Dog.(Dog shows no sign of pity)That's the last bag?DOG(Turning to Mick.)How about you? All right?MICKI'll be fine when; have dealt with this little shit. Mick grabs the machete that was used to disable him and puts down the machine gun.DOGDo it quietly.Gloria, who has been forgotten by the Sloanes and unnoticed by Dog and troop, has sat through the whole episode without apparently realising the gravity of the situation. She is kick-started into action by the sure demise of Willie. The machine gun has been placed not too far away from her. She picks it up, and fires it into the already wounded body of Mick, who is almost instantaneously transformed into dog meat. Gloria, who has found a gear that nobody probably not even herself, knew existed, destroys everything she points at. Bodies jump for cover and Winston and the rest close their eyes and hope for the best. Eventually the gun, which seems to have a limitless supply of lead, goes quiet. We cut to close-ups of everybody opening their eyes cautiously. Looks of relief come from everyone, not least the Sloanes. Dog, who is closest, stands, walks straight up to her and punches her on the jaw Gloria is knocked out.What was that? Where did she come from? That's fucking it. Tie her up. We are getting out of here.EXT. DOG'S HOUSE - DAYBACONEh, bunk us up over the wall.BACON forces one of the windows open. He looks pleased and beckons the others over. They keep in contact with Soap by cellular phones.INT. DOG'S HOUSE - DAYEDDYEverything all right out there, Tom?TOM(on phone)Right as rain.EDDYWhere the hell are we supposed to hide?Ed looks into an almost empty room in which they are to find cover. He shrugs, and goes to sort himself out a cup of tea.SOAPWhat are you doing, Ed?EDDYDo you want one?SOAPNo I fucking don't! You can't make a cup of tea, Edward.EDDYWhy not? The whole of the British Empire was built on cups of tea.SOAPAnd look what happened to that.EDDYIf you think I am going to war without one, you're mistaken, mate.INT. DOG'S VAN - DAYDog turns to admire a full van.TRAFFIC WARDENYou won't get away with it.Dog turns around and sees the tragic warden.DOGPaul, what's that?PAULThat's a traffic warden.DOG(looking straight at Paul)What's he doing in the van?Dog and the others look at the tragic warden mercilesslyPAULHe was about to call the cozzers.Paul hits him again, sending him back into unconsciousness.DOGWe will deal with him later.EXT. DOG'S HOUSE - DAY Tom is on the mobile phone.TOMThey're here.INT. DOG'S HOUSE - DAYDog opens his door, enters the front room, dumps his two bags down and is met by a bleeding Plank (who is grunted at) and John, who is rubbing his chest. Dog sighs and turns to get more bags. The action starts. It's hard to tell who is who because of the balaclavas. The lads jump out of their positions.BACONDown, down, get fucking down now'This is like d??vu. There is no response as the three of them seem not to believe what's going on. BACON hits Dog with the butt of his gun, establishing who's boss. Dog does down with a thud. Plank hits the floor immediately.EXT. DOG'S HOUSE - DAYPaul enters, sees trouble, drops his bags and prepares to run. He is met by Tom who greets him with a smash round the kneecaps with a lead pipe. This has more than the desired effect and Paul has to be dragged in screaming by Tom. It all went rather smoothlyEDDYTie 'em up, tape 'em up, face and mouth. Keys, I want the keys.DOGI'll find you.BACONOf course you will, sweetheart. This one, search this one. Ed finds the keys without any trouble.EDDYI'll meet you in the van when you have finished with handsome there.INT. DOG'S VAN - DAYThere is silence. For a few seconds all we can hear is the noise of their breathing.107TOMWell Jesus, that wasn't so bad, was it?SOAPWhen the bottle in my arse has contracted I'll let you know.EDDYBacon, see what we got.BACONLet's have a butcher's. Jesus, there's lots of everything. We've got god knows how much of this stinking weed; we've got a shit load of cash; and we've got a . . . traffic warden.TOMA what?BACONA traffic warden. Look, what's this?He holds up the hat.TOMShit Ed, we've got a traffic warden.Pause.BACONI think he's still alive. He's got claret coming out of him somewhere. What did they want with a traffic warden?EDDYI dunno, but I don't think we need him. Dump him at the lights.INT. HATCHET HARRY'S OFFICE - DAYHATCHETIt's about time you give my young friends a visit, Chris. Tomorrow is the day and mum seems to be the word, and I can't have that now, can I, Chris?BIG CHRISNo Harry, you can't.INT. DOG'S HOUSE - DAYDog struggles free and unravels the tape from his head and gets the other three out.DOGDead. Dead. I don't know who they think they could be, for me not to find 'em. Of course I'll find 'em. I don't give a flying fucking fish who they think they are. I'll kill - fur and feathers, burning wheel South African style, kebab 'em, peel 'em, slice 'em and dice ' em, hang draw and fucking quarter ' em.INT. OTHER VAN - NIGHTTwo vans are parked back to back. We see Ed and the boys putting one last trunk into the back of the new van.EDDYThat's it all done, we are off.SOAPYou think it's a good idea taking it back to yours?EDDYThere is nowhere else to keep it, and it's the last place they are going to look. Anyway the battle's over and the war is won.Ed passes a handful of grass to Tom.Tom, take this to Nick, and let's get rid of it, quick.INT. RORY BREAKER'S OFFICE - NIGHTNick has given the weed to Rory for inspection. Lenny has stepped in.LENNYIt is skunk . . . and it's as good as it gets.RORYOK, I'll take it off you; half price.NICKI don't think he'll like that. You said three-five a key, that's what he wants and you know that's a good price.RORY BREAKERIt was yesterday I said three and a half grand and today is today, if I am not mistaken.Turns back to the TV.I'll take it tomorrow for half price. If he wants to move it quick he'll take it. Now, I've got another game coming up in a minute so if you would be kind enough.Pointing at the door. Nick exits.Lenny, take this to Snow White and the three little chemists; they should have a gander at this. I want a proper opinion. 110EXT. SLOANES' HOUSE - NIGHTLenny and Nathan, Rory's minders, pull up outside the Sloanes' house to have the weed analysed. For the first time it is revealed that Rory Breaker owns the Sloanes.LENNYHold on!NATHANWhat?LENNYsomething's not quite right here. Go in slowly, Nathan.NATHANFuck you funny man, you go first.INT. SLOANES' SITTING ROOM - NIGHTNATHANShit!Winston is tied up and squirming.WINSTONFor Christ's sake, get us out.INT. ED AND BACON'S HOUSE - NIGHTEDDYWell, not a bad day's work. That takes care of Harry.Pushing a massive pile of notes to one side.SOAPWhat's left over?'TOMHold on, give us half a chance to count it.SOAPWhat about all the gear?BACON'Ere, have a pull of this.Passes Ed the joint.EDDYI don't want that horrible shit. Give it to Soap. Can we just lock up and get drunk now, please?INT. RORY BREAKER'S OFFICE - NIGHTWe see Winston, Nathan and the torso of Lenny, standing in front of Rory Like naughty schoolchildren.WINSTONWe had the gates up but they stuck a shotgun through. Poor bloody J got shot; it was a right mess.The gravity and reality dawns on Rory.RORYIt will cost you more than your life's worth if you jest with me.LENNYSome girl took one of 'em out, but he's a bit of a mess.WINSTON(proudly jWe shot one of them in the throat.112RORYWhat do you want, a fucking medal? I'll shoot you in the fucking throat if I don't get the gear back.He pauses, rubs his forehead and continues, slightly calmer. You shot the one that's in there now?WINSTONNo, another one.RORYThis is more like it. So where's he?WINSTONThey took him with them; he was still alive.RORYWell, what did you shoot him with, an air gun?There is an embarrassed pause and a look of `how did you know?' Rory doesn't need an answer and slaps his forehead.WINSTONWe grow weed, we're not mercenaries.RORYYou don't say.There is a pause while Rory searches for the right words. The silence is deafening.LENNY(stupidly)Who could it be? Where do we start, Rory?Rory looks up amazed.RORYMr Breaker! Today my name is Mr Breaker. You think_this is a coincidence? Not many, Benny! This white shite steals my goods and then thinks it is a good idea to sell it back to me. They got less brains than you, Lenny . . . Get Nick cum-bubble round here now if he is stupid enough to still be on this planet.INT. DOG'S HOUSE - NIGHTDog has all his boys round.DOGI want you to search the house for bugs. I mean I want you to strip it.JOHNWhat is the point in that? Even if it was a bug they would have taken it with 'em.DOGIt is too late for you to start thinking John. It is a possibility and that is good enough for me. And after you strip the house, I want you to get every thieving slag this side of Ceylon and torture them, badly. I want to know who is responsible, otherwise I will hold you responsible.INT. JD'S BAR - NIGHTAll kinds of characters have made an appearance. A game of cards is in motion, the forfeit now being alcohol. Barfly Jack the barman is sitting at the table. They are already on the road to being comfortably comatose.TOMRory Breaker?114BARFLY JACKYeah, I know Rory.This next section is subtitled. This is to keep everyone, even those familiar with cockney rhyming slang up to speed with the narration, of which even Tom is unsure. As with the police scene earlier this is a voice-over and we cut to the relevant scenes.BARFLYJACK(voice-over)Rory's got few interests in life; darky music, football, bees and honey and kicking the shit out of anyone that interferes with that shortlist. A few nights ago Rory's Roger iron rusted, so he has gone to the battle-cruiser to watch the end of a football game. Nobody is watching the custard so he has turned the channel over. A fat man's north opens and he wanders up and turns the Liza over. `Now fuck off and watch it somewhere else.' Rory knows claret is imminent, but he doesn't want to miss the end of the game; so, calm as a coma, he stands and picks up a fire extinguisher and he walks straight past the jam rolls who are ready for action, then he plonks it outside the entrance. He then orders an Aristotle of the most ping pong oddly in the nuclear sub and switches back to his footer. `That's fucking it,' says the man. Rory gobs out a mouthful of booze covering fatty; he flicks a flaming match into his bird's nest and the man lit up like a leaking gas pipe. Rory, unfazed, turned back to watch his game. The flaming man and his chinos ran outside to extinguish the flames, and Rory cheered on. His team won too, four-nil.EXT.JD'S BAR - NIGHTAfter a while Ed sees Daisy making a sneaky sharp exit and tries to pursue her, running out on to the street. Daisy is nowhere to be seen.115INT. RORY BREAKER'S OFFICE - DAYNick is blissfully ignorant of the situation. He is sitting in front of Rory.RORYYour one saving grace might be your stupidity.NICK(looking quite petrified)Er.RORYDon't fucking er me, Greek boy! How is it that your so-fucking-stupid, soon-to-be-dead friends thought they might be able to steal my gear? And then sell it back to me? Is this a declaration of war? Is this some sort of white cunts' joke that black cunts don't get? 'Cos I am not fucking laughing, Nik-ol-as.NICKEr.RORYThere are four interests I have, Nick. Football, music, money, and the annihilation of anybody who interferes with that shortlist . . . I know you couldn't have known my position because you're not so fucking stupid that if you did know, you would turn up here scratching your arse, with that `what's going on here' look slapped on your Chevy Chase. But what you do know is where these people live.We look at the white faced Nick. He doesn't open his mouth. The penny has dropped.If you hold anything back, I'll kill you. If you bend the truth, or if I think you're bending the truth, I'll kill you. If you forget anything, I'll kill you. In fact, you're going to have to work very hard to stay alive, Nick. I hope you understand everythingI have said. Because if you don't, I'll kill you. Now, Mr Bubble and Squeak. You may now enlighten me.INT. DOG'S HOUSE - MORNINGPaul, John, and Plank are lined up like naughty schoolchildren in front of Dog, who is black-eyed and pissed off:DOGSo we have a bit of a problem, don't we?JOHNEr well, yes we do.DOGIn fact it is a little more than a bit of a problem, isn't it? You could say that in the scale of these things this is the Mount fucking Everest of problems, couldn't you? . . . And the reason it is such a mon fucking-strosity of a problem is because you don't have the first fucking idea who did this to us, do you?PLANKDog, we have been up all night. It's no one round here! We have had them all against the wall.JOHNIf it was a toe rag from the area we would know.Dog starts slapping his troops round their heads.DOGYou wouldn't know if it was the next-door fucking neighbours, you prick! You find 'em, you hear? And find 'em quick! Now get out and start looking! Out! Out!Dog Loses his temper and throws Plank across the room. Plank's head breaks effortlessIy through the wall.INT. ED AND BACON'S CUPBOARD - MORNINGA dust-covered Plank blinks in confusion as he looks on to a heap of recording equipment.INT. JD'S BAR - DAYRecovering from the night before.BACONScarface, I have watched Scarface. You want to know how to do a drug deal, you watch Scarface!EDDYThat inspires confidence, that does.TOMThis guy Rory Breaker can afford to do the deal at the price we are selling. It's not worth him giving us trouble; he knows we would be a pain in the arse, and who wants a pain in the arse?SOAPI would take a pain in the arse for half a million.TOMYou would take a pain ? the arse full stop.SOAPTom, the fatter you get, the sadder you get.EDDYJesus, would you two stop flirting for one minute . . . After we pay Hatchet, this deal puts us up near enough two hundred grand each. Not bad for a day's work, I think you will agree.118INT. SPLTT SCREEN. NICK'S HOUSE - DAYA seventies-style split screen. A very shaky Nick answers his cartoon telephone.NICKYeah?INT. DEAN'S HOUSE - DAYDEANThat's no way to answer the phone.NICKIs that you, Dean?DEANSure is.NICKWhat can I do for you?DEANYou know those shotguns I sold ya, well I need 'em back.NICKNot likely I am afraid; I don't think I'll be seeing them again.DEANI got the money to pay for 'em.NICKI am sure you do, but I don't think you understand; I am not going to see them or the guns again.Gary looks at Dean.119DEANIf we can't get 'em, we can't get 'em.INT. SPLIT SCREEN. HATCHET HARRY'S OFFICE - DAY. Barry is on his mobile, moments later.BARRYYou fucking well have to get 'em!INT. DEAN'S - DAYDEANWe made a deal for everything inside the cabinet.BARRYInside, out-fuckin'-side. I don't give a shit, you get those guns because if you don't . . .DEANYeah, Bazza, what?BARRYYou heard of Harry Lonsdale? Otherwise known as Back-you-up with-a-Hatchet Harry, infamous for his removal of digits?Dean pauses for a while, a look of concern coming over his face.Well this is `James Bond need to know' time. They're his! When you dance with the devil you wait for the song to stop, know what I mean?Hatchet has had enough. He grabs the phone from Barry's hand, waving the infamous fifteen-inch big black cock in the other hand. Hatchet goes on to put the shits up the Scousers.HATCHETDo you know who I am? I am split in two; there is me, and there is my patience, and patience has gone to the hospital; you are not far behind, know what I mean? I mean, find ' em, torture 'em, kill 'em, and bring back what belongs to me, because if you don't . . . you are . . . bang . . . in trouble.Hatchet slams the phone down. Dean looks at Gary in horror.GARYWho was that?DEANThat was Hatchet Horrible Harry.GARYJesus, I have heard about him.DEANWe're in the spite. They were his fucking guns that we sold; we gotta find 'em.Dean dials Nick immediately.No fucking about, Nick; where can I find those guns?INT. ED AND BACON'S HOUSE - DAYDog and boys have made a Large hole in the connecting cupboard wall which they have crawled through. Dog is holding a large bag which he has found.JOHNDog, I have found the cash!DOGThe stupid bastards! Count it!JOHNShit, Dog, there's a lot. Don't you want to do this next door?DOGWe're not going next door until we've flayed these dead men walking. Count it out the back. I don't want them seeing you fingering that money as soon as they walk in.JOHNBut...(interrupts)Give it us here, you dozy sod. You hide and get the guns ready. Wait until they are well in, then give it to 'em.INT RORY BREAKER'S OFFICE - DAYRory Breaker is amassing his troops and preparing to go round to Ed's.RORY BREAKERWe are going to do a proper decoration job. I want the grey skies of London illuminated; I want that house painted red. Winston here is coming along, see if he can recognize any of 'em, then we bring what's mine back here. Watch out for these fellas; they've got a bit of arsenal and they don't mind using it. Now you know what you're doing, yes?EXT. ED AND BACON'S HOUSE - DAYBig Chris and Little Chris are waiting outside. Dog's gang are waiting for Ed's gang inside. Rory's gang are going to Ed's.122INT. RORY BREAKER'S VAN - DAYSix heavy-looking black guys are loading their weapons.INT. ED AND BACON'S HOUSE - DAYDog's gang are also loading their weapons and concealing themselves among the furniture. Dog is counting out the money in the side room and has the two antique hammer-lock shotguns resting on the table in front of him, which were found with the rest of the bounty.EXT. ED AND BACON'S HOUSE - DAYRory's boys stop the van outside Ed's and back up to Ed's front door. The rear van door is opened when it is completely flush and Lenny (with gun) prepares to do his worst.INT. ED AND BACON'S HOUSE - DAYThere is a loud bang and the front door disappears. In its place is a large black man pointing an even larger machine gun. Nobody seems to be at home; it appears to be quite an anti-climax. A long pause follows as both gangs don't quite know what to do. Rory's guys jump over the machine gun to explore further.PLANK(under his breath)What the fuck is going on here?Dog's lot are confused as to why these guys appear to have broken into their own home, carrying weapons of mass-destruction and looking to use them. We cut to a close-up of Plank's pov under the sofa. He can see numerous pairs of boots and they are multiplying. At last Plank can't take any more; his finger's shaking too much on the trigger. BANG.'EXT. ED AND BACON'S HOUSE - DAYWe see the windows shattering from the outside as bullets hail through.INT. ED AND BACON'S BACK ROOM - DAYDog, who was counting the spoils in the adjoining room, is more than aware of the seriousness of the situation. He quickly closes his suitcase of money and grabs the two old guns, opens the adjoining door, gets splattered in blood and smoke and quickly closes it. He then checks his escape route out of the front window and exits. Dog looks quite pleased with himself as he still has the money and his life, and is holding the infamous guns in each hand like a Mexican bandit.EXT. ED AND BACON'S HOUSE - DAYBig Chris, watching the house, intrigued and interested by all the activity, has made his way closer, and low and behold: looks what walks straight into him.BIG CHRISGot something here for me, have ya?(Dog is stunned by this)Come on, chop chop.Before Dog has a chance to use the shotguns Chris grabs one in each hand and knocks Dog down with a swift headbutt. Dog moans, not knowing what day of the week it is. Chris opens the case, sees it's full of money, takes the two shotguns, then leaves. Thank you very much.On reaching the car he gives the case to his son, putting the guns on the back seat.Count that son, and put your seatbelt on.INT. SCOUSERS' CAR - DAYDEANFollow that car, Gary; he's got the fucking guns.INT. ED AND BACON'S HOUSE - DAYEd's place has been shot to pieces. Only Rory and Winston (in shock) seem to be left. Rory is throwing the bags of weed into the back of his van, then he kicks over one of the bodies. It's a blood-covered Plank.RORY BREAKERThis is one of them.Winston nods in confirmation.Lucky, that.Bang' Bang! Plank (to Rory's surprise) still had a loaded gun. Rory and Plank despatch each other simultaneously.INT. ED'S CAR (MOVING) - DAYTom, Bacon, Ed and Soap look hung-over Ed is driving. 126TOMThere's six black cocks sitting on the side of the road. How many beaks have they got between them?SOAPSix.TOMHow many wings have they got between them?SOAPTwelve.TOMHow many feet?SOAPEr, well, twelve.TOMThat's right. So how many whiskers has the little white kitten got?SOAPHow the fuck should I know?TOMHow come you know so much about black cocks and so little about white pussy?]The end of this joke is interrupted by a van swerving past them, dangerously close. The lads lodge a complaint and then they stop outside Ed and Bacon's so that they can pick up the money.* Cut from completed film.127EXT. ED AND BACON'S HOUSE - DAYBACONWhat has been going on here?They look into a smoking, blood-covered house.SOAPThe money, the gear!TOMThat's fucked it. What do we do now? No money, no weed; it's all been swapped for a pile of corpses.SOAPOK, don't panic; let's think about this.EDDYBollocks! You can think about it for as long as you like. I am panicking and I am off mate.INT. HATCHET HARRY'S OFFICE CORRIDOR - DAYBig Chris is about to walk in to Hatchet's office. The door opens and out walks John O'Driscoll with a serious sunburn.BIG CHRISHello, John. Nice holiday?JOHN O'DRISCOLLI won't be seeing you again Chris; I have paid him every last penny.BIG CHRISI am sure you have, no one was accusing you of being dishonest, John.128HATCHET(off)That you, Chris?INT. HATCHET HARRY'S OFFICE - DAYHATCHETHow did you get your hands on these?He drops a vagina-shaped penis massager, realising that these are the guns he has been after. He then tries desperately to conceal his excitement.BIG CHRISThe boys had 'em. I know you like these things; wondered if you wanted them?HATCHETEr, yeah, sure, I'll have 'em.BARRYWas it any trouble getting the money?BIG CHRISWell, not especially, but they seem to of upset a few characters.HATCHETHave you counted the money?BIG CHRISYeah, it's all there, to the pound.HATCHETThey were going to pay, then?BIG CHRISIt looks like ?, but who knows? The opportunity was there. In my experience it is best to take the opportunity if it is there.HATCHETGood job, Chris.Chris exits, pushing his wages into his inside packet. Harry is ecstatic about the guns and starts chuckling to himself.EXT. HATCHET HARRY'S OFFICE - DAYThe Scousers watch Big Chris walk out of Hatchet's empty-handedDEANWe gotta get those guns.GARYThis is dangerous shit, Dean; we don't even know who lives in there.DEANListen, I don't care who lives in there; all as I know it's got to be preferable to death by Hatchet.GARYFurry muff, let's go.EXT. ED'S CAR (STATIC) - DAYSOAPI hope this is the right move.EDDYIt's either that, my old boy's place, and we lose a digit daily. I am going to call him.BACONAs if he'll care.130EDDYHe'll care all right. That was going to be his money. Whether he cares about us is different. Pass your phone.BACONThink about what you're going to say, Ed; we are on thin ice.INT. HATCHET HARRY'S STAIRCASE - DAYThe two Scousers with guns in hand creep their way up the stairs. There's only one door in front of them. Dean gets ready to kick it open. Gary leans against the wall and delivers a Professionals-style kick.INT. HATCHET HARRY'S OFFICE - DAYHarry is in his offtce playing with his guns. The phone rings.HATCHETThat you, boy?EDDY(on phone)It's Ed, if that's what you mean.HATCHETIt's pay day, ain't it?EDDY(on phone)I wanted to talk to you about that.HATCHETI bet you did. I have got half a million nicker sitting in front of me, which means that some poor sod doesn't. You must have upset a few people, boy . . . but that isn't really my concern, is it? But what does concern me is the guns you had. I want to talk to you about that. Get your arse over here now, and I do mean now!INT. ED'S CAR - DAYEd puts the phone down after a pause. His state of shock is obvious to the rest of the lads.BACONWell?EDDYWell what?TOM(impatiently)Well, what did he say?EDDYHe said he thinks we have paid him, and he wants to talk about those guns . . . now.SOAPYou what? What are you on about?EDDYListen, if he has the guns he might have the money . . . I think we should go and see him.BACONI think you're a sandwich short of a picnic, mate; you want to start making sense.133INT. HATCHET HARRY'S OFFICE - DAYWe cut to a time Lapse. Hatchet puts down the phone while resting his bum on the front of his desk. He is ecstatic with the guns. He loads and plays with them, aiming at imaginary moving birds.The door is suddenly kicked wide open and, lo and behold, there is a Scouser standing in the door. Dean has a thousand ugly thoughts flying through his troubled mind, most of which are based an regretting the decision to kick this door in: `shit, what the hell is that, and why is he holding a shotgun'. Hatchet realizes that the man standing in the doorway (who is posed like De Niro in the poster of Taxi Driver, holding a gun in each hand) has nor come to deliver the mail. The pair are blissfully unaware that employee has met employer. Hatchet Harry has effectively contracted his own demise. The pause is eventually shattered by reality There is a rush to pull their individual triggers. There is a race between the two bullets to reach their prospective targets. Both barrels are emptied into Dean's chest. The Scourer is airborne by the sheer power of the cartridges. One of Dean's bullets,finds its way into Harry's shoulder. Gary can do nothing to stop this atrocity. He watches helplessly as his pal flies clean past him.Overtaken by emotion or fear, Gary charges in, gun blazing, and proceeds to perforate Hatchet who is now unarmed. Hatchet flies over his desk. Gary comes into the room to finish the job and fires one last bullet into Hatchet, who is lying on the chair side of his desk. It is then revealed that Barry is sitting in his chair behind the door. The Scourer can't see Barry and Barry can't see Gary's face. Barry throws the hatchet that is sitting next to him in a butcher's block. It hits Gary in the back. Gary spins round firing wildly and lodges a bullet in Barry's stomach. It is then clear to them both that this has all been a terrible mistake.BARRY/GARYWhat are you doing here?Then both collapse into dead lumps on the floor.EXT. HATCHET HARRY'S OFFICE ED'S CAR - DAYEDDYYou and me, Tom.TOMWhat do you mean, me?They stand outside Hatchet's door and are just about to ring it when Tom notices it's open.INT. HATCHET HARRY'S OFFICE - DAY EDDYOh Jesus, not again.The two pause while they build their confidence. They enter Hatchet Harry's room. It's still smoky. There on the table is the money.TOMThat's it, I am off.Ed tiptoes over to the bag containing the money.EDDYTom, this is our case.TOM. . . What?EDDYThis is our money, Tom! . . . Now I think we should go.Tom sees his guns. His eyes widen in surprise.TOMI'll meet you in the car. I am taking these guns.136EDDYTom, don't mess around, let's go.TOMI'11 meet you in the car.EDDYTom?TOMI'll only be a minute.EXT. HATCHET HARRY'S OFFICE/CHRIS'S CAR - DAYBIG CHRISA job well done son; we made a few quid out of that one.As he puts the key in the ignition, there is no reply from his little boyBIG CHRISSon?DOGMade a few quid, did ya? Now where is it?We can't see Dog but we can see the sharp side of a knife resting along the front of Little Chris's throat. The Dog is Lying down in the back. Big Chris assesses the situation.BIG CHRISYou all right back there, mate?DOGVery fucking funny. Where's what I want?BIG CHRISIt's in an office; I have just left it in the office. 137DOGWell, you had better go and get it from the office. That's if you want to see your son reach his next birthday. Now chop-fuckin'-chop.BIG CHRISAll right, furry muff.Big Chris doesn't seem too bothered by this problem. He shrugs and starts the car.DOGWhat are you doing?BIG CHRISWell, it's a five minute walk or a thirty second drive.DOGYou had better be careful.Big Chris starts his car up, looks across to make sure that Little Chris has got his seatbelt on and pulls out on to the road. He gets faster and faster until Dog pokes him in the shoulder with his knife. Chris pulls hard to the left and rams into the nearest parked vehicle. BANG' Dog goes flying forward, hitting the windscreen.INT. ED'S CAR (STATIC) OUTSIDE HATCHET HARRY'S OFFICE - DAYAnother time lapse.SOAPWell, what's going on?EDDYI don't know, but what I do know is that there's no more Harry, which means there's no more debt, and if there's no more debt there's no more problem, and there's no more problem with our neighbours because they are all dead. I think, if I get this right, we haven't done anything wrong anyway, which means we are in the clear.Bang! Big Chris's car hits them straight in the rear. The bag of cash goes flying through the car, landing on the dash. The lads are knocked unconscious.INT. CHRIS'S CAR (NOW STATIC) - DAYBig Chris, having removed the knife from a stunned Dog, proceeds to smash his head against the dash and has the most amount of fun in doing so.BIG CHRISNever, never, not as long as I can remember has anybody been as rude to me as you have.Dog is being thrown around like a rag doll.INT. SIDE ROOM TO INTERROGATION ROOM - PRESENT, OPENING SCENEWe are looking through a two-way mirror.SERGDon't think I wouldn't like to get rid of you; but before I do, I need to know what's going on, Edward.EDDYIf you think you're in the dark, I am in a black hole, blindfolded.The camera spins round to see the traffic warden standing with a policeman. There is a long pause far consideration. Eventually he shakes his head.TRAFFIC WARDENNo, that's not one of them.The policeman then knocks on the door.INT. INTERROGATION ROOM - DAYThe SERG looks round to see the policeman. They exit and Ed is left on his own. After a short pause the door bursts open.SERGAll right son, you're outta here! And you want to stay outta here.FADE IN TO BLACK.FADE IN.INT. JD'S BAR - NIGHTAll the lads are sitting in the bar. Ed is talking to Tom who is interested in whatever he has to say.EDDYThe traffic warden went to the morgue and recognized Dog and his lot so that put us sort of in the clear. They got no case against us because there is no evidence against us.BACONApart from those shotguns.EDDYAnd Tom took care of them.Pause while Tom looks embarrassed about something.SOAPYou did take care of the guns, didn't you, Tom?Ed looks at Tom, who looks even more embarrassed.TOMI wanted to talk to you about that.BACONWell, talk.TOMWell not exactly, no; I got 'em sitting in the car, actually; I thought we might sell them back to the Greek, but I am having a bit of a problem getting hold of him.BACONYou dippy bastard.EDDYThe only item that connects us with the crime is sitting in your car which is sitting outside?TOMWe paid seven hundred quid for those guns. They could hardly trace them to you, could they?SOAPI don't think we will take the risk for seven hundred quid.EDDYTom, go and throw those guns off a bridge.BACONAnd, throw yourself off while you're at it. SOAPNow, Tom! There is a pause.ALTOGETHERNow, Tom!Tom leaves, looking a little sulky.EDDYThe silly sod.Big Chris walks in. He approaches the bar.BIG CHRISJD.JDChris.(Pause)You come to collect something, Chris? Should I have something for you?BIG CHRISNope.JDCan I help?BIG CHRISI think I can help you, as it happens.JDYes?BIG CHRISI have got something for ya. Well, for your boy, actually.JDWell, I suggest you speak to him, then.They all look rather shocked. He is carrying their bag and he places it on the table, which increases the shock factor.BIG CHRISIt seems that Hatchet under-estimated your lot and that seems to have cost him . . . I am not going to make the same mistake, am I? I have decided to bring your bag back.Pause. The words you are looking for start with thank you.EDDYThank you.BIG CHRISNow you have presented me with a problem. I don't have an employer any more. So I have taken care of myself and my son, and if you think that is unfair you just come and pay me a little visit; but you better be waving the white flag high and clear, otherwise it will be the last little visit you lot ever make . . . That's all I had to say. It's been emotional.Big Chris turns to walk out. The lads stare at the bag and then at each other.EXT. JD'S BAR - NIGHTBig Chris walks out into the street. We see a shiny new sports car. Little Chris is sitting in the passenger seat.BIG CHRISThat should take care of that lot. We are now officially in the money-loaning business, all right, son?LITTLE CHRISAll right, Dad.BIG CHRISWell, put your seatbelt on then.INT. JD'S BAR - NIGHTEd goes forward to open the case. The rest are still in shock. Ed opens the bag.EDDYThere's nothing in it!SOAPWhat do you mean?EDDYI mean it's fucking empty.BACON lunges forward and stares in. He sticks his hand in and extracts an A4 envelope. They look puzzled. Ed feels the package and starts to tear the top off. As this is done it creates a split screen.On the other side of the picture, Tom is on a London bridge with the car boot open. He looks at the guns with regret and give them one last polish. Then he folds the guns up and places them on top of a handrail. Simultaneously Ed extracts a Sotherby's brochure on shotguns. They still look confused. They turn the brochure upside down and recognize the shotguns. Slowly they start to turn the pages.Torn pushes the shotguns over the top rail: they fall. He starts walking but stops for some reason. He retreads his steps and peers over; the guns had just fallen on to a shelf.Ed sees the price of the guns: a series of alarming zooms cut between eyes and prices. They panic and reach for their mobile phones.Tom is climbing over the bridge now and has to hold on to the rail with one arm.Ed starts screaming at the other two that the number is engaged and asks them to put their phones down.Tom now had one hand on the guns and one on the rail. His mobile phone starts to ring in his top pocket; he has either to drop the guns or let go of the rail to answer the phone.The shot freezes. \ No newline at end of file diff --git a/unformated_scripts/Script_Logan's Run.txt b/unformated_scripts/Script_Logan's Run.txt new file mode 100644 index 0000000000000000000000000000000000000000..87ee1db4d1d8fc8d5ff9687365fca46e1a9b74ab --- /dev/null +++ b/unformated_scripts/Script_Logan's Run.txt @@ -0,0 +1 @@ +LOGANS RUN Screenplay By David Zelag Goodman Producer: Saul David Director: Michael Anderson Production Design: Dale Hennesy Revised :April 30, 1975PLEASE NOTE THE CRYSTAL WILL BE USED IN THE LEFT HAND OF ALL CHARACTERS.FADE IN:BEFORE AND DURING TITLES1 EXT. - SKY NIGHT The moon and stars are visible, but as CAMERA looks down, the SCREENfills with dark, billowing clouds. CAMERA moves into the clouds andjust as they blank out the SCREEN, a distant shimmer of lightbecomes visible. Moving toward it, the shimmer becomes2 EXT. - DOME OF GLASS - NIGHTA glowing but not transparent structure stretching off into theclouds that press it. CAMERA continues to move in until thedetailed structural webbing of the dome fills the SCREEN and thenCAMERA MOVES THROUGH IT and we see3 EXT. - THE CITY - DAY Shining below the dome (which we now see as a series of dome-likestructures standing off without end) -a marvelous crystalline cityof great openness, building clusters, green plazas, fountains...multi-leveled but human scale, crisscrossed by the flickering cleartubes of the MAZE- CARS.4 CLOSER ANGLE - ROOFTOPSAs a MAZE-CAR slides softly to a stop.5 ROOFTOP - THE RUNNER The hatch opens and a MAN in a hurry leaves the maze-car and runsswiftly along the rooftop and disappears into an open elevatorwhich instantly starts to descend. 6 INT - RESIDENCE PLAZA - THE ELEVATOR From a busy courtyard below we watch the elevator slide down from agreat height. As it reaches the courtyard the RUNNER darts out,pushes into the crowd.7 OUT8 WITH THE RUNNERAs he reappears around a corner, skirts a brimming pool and makesfor a kind of broad corridor which seems to lead out of thecourtyard. He is moving even faster now, glancing back as if hefears pursuit.9 ANOTHER ANGLE - CORRIDOR Above, at the railing of an oval light well, dressed in black andsilver, a figure holding an odd looking weapon lazily in one hand-- and watching. It is FRANCIS.10 WITH THE RUNNER Moving rapidly down the corridor, he suddenly stops as if feelingthe presence above. He looks up, sees the SANDMAN and his facebreaks in terror. He wheels, frantic, screaming, runs back into thehall.11 THE SANDMAN (FRANCIS) Vaulting the rail, dropping lightly to ground level, weapon poised.12 P.O.V. The crowd melting, parting to reveal the Runner backed against thepool. People are YELLING, shaking their fists, terribly excited andfearful.13 THE SANDMAN Emotionless. Aims. Fires.14 THE RUNNER - CLOSE Seeming to burst aflame in the LENS, then slipping BELOW FRAME toreveal Francis sauntering forward, holstering his weapon. The crowdclosing in behind him, applauding, congratulating him.15 THE SANDMAN Arriving at the pool where the body lies, half immersed. He leansover, lifts the right hand from the water, revealing a palm with ablack flowercrystal shape in it. He lets the hand fall back now asthe crowd CHEERS and APPLAUDS him.16 EXTREME CLOSE UP - HAND - IN THE WATER - (INSERT) Closing in until the crystal fills the SCREEN.MATCH DISSOLVE TO:(TITLES END)17 CLOSE UP - CRYSTAL - (INSERT) Clear, sparkling, flower-like. CAMERA PULLS BACK to reveal18 INT. - NURSERY CORRIDOR The crystal is in the hand of a sleeping INFANT who is behind glassin one of many cubicles. Standing outside, looking in, LOGAN, dimlylit in the soft glow of the cubicle where the sleeping infantlies, swaddled and coccooned in the rosy auto-tender which catersto the baby's every need. Faint MUSIC bubbles like distantlaughter.19 OUT19X1 LOGAN Logan is twenty-five, strong, virile (yet sensitive) with a kind ofaustere grace.He is somewhat manic...proud...as he peers through the nurserywindow into a kind of foam cocoon which cradles THREE SLEEPINGINFANTS. Logan is KNOCKING on the soundless glass. LOGAN Wake up...come on, Logan-6.19X2 FRANCISentering . FRANCIS (shaking his head in mild, mocking disbelief) You are here. I couldn't believe it when they told me. What are you doing? LOGAN (still knocking on the soundless glass) Turn this way. (as one of the infants stirs, smiles, bubbles) No, no...not you...YOU! Francis tries to pull Logan away from the window, but Logan isintent on waking one of the infants. FRANCIS You should've seen me take my last Runner...perfect. (Logan continues to pound the soundless glass) I backed him up against a residence pool and when he terminated...his hand... (breaks off as Logan is paying no attention) So now you've seen him...what's the difference awake or asleep? LOGAN (to infant) Open your eyes once, idiot. (to Francis) It's not every day that a Sandman son is born. I'm telling you, Francis - that's him! FRANCIS Maybe, maybe not. What's the difference? Come on, Logan, let's get out of here before everybody finds out.But Logan isn't moving. Francis gets an idea. FRANCIS Okay...you really want to wake him up?Francis starts to pry at the Panel...knowing it will sound anALARM. LOGAN Hey, cut that out !Too late: There is a SOUND OF ALARM CHIMES. The area in which theystand is bathed in a violet glow. Logan grabs Francis firmly andstops him from prying at the panel: LOGAN Now you've done it...The CHIMES STOP...but the glow continues, a metallic VOICE is heard: VOICE Break-in scanners report intrusion, identify. LOGAN Logan-5...Francis-7, authorized duty quadrant. Intrusion accidental. VOICE Clear Logan-5 and Francis-7.The violet light goes off. FRANCIS (with affection: to Logan) Had enough? LOGAN (looking at the infant) Even the alarm didn't wake him.As Francis starts out: LOGAN (one last look; joining Francis) All right, Francis...I'm with you.They move off down the corridor...the lights behind them DIMMING asthey pass cubicles suffused with soft pink light, CHILDRENautomatically tended.CHIMES...soft. A lullaby and a soothing impersonal VOICE. VOICE Sleep time...go to sleep. Sleeping time, little ones.As they exit Nursery...Logan stops and takes one final lookbackward. FRANCIS You need a lift. Let's go to Arcade and celebrate... (teasing tone) your alert successor...Logan-6. LOGAN Has anyone ever broken in to where the babies are? FRANCIS (putting a card key into a door which opens soundlessly) Not in my time...They move through the door which closes.20 EXT. - MAZE STATION - NIGHTThey are now on a kind of enclosed platform with widely spaceddoorways, each glowing faintly. They pause, waiting. FRANCIS (peering at Logan curiously) Why? LOGAN just wondered...what happens? FRANCIS (shrugs) Dunno...flameout maybe. Whatever happens, you can bet it's final. But who would want to find out?One of the doorways brightens and the word ARCADE _ appears on it.The two men move to the spot as a maze-car stops. They enter itthrough the doorway which dims behind them as the maze-car WHOOSHESsoftly off into a kind of twilight.21 INT. - MAZE-CAR - LOGAN AND FRANCISThe door slides shut. They sink into seat forms which yield to them.They move off. 22 EXT. - MAZE- CARMoving through the city at terrific speed. Giving us glimpses of thecity as it goes. slowing finally as we see:23 THE CITY - FEATURING ARCADEBrightly lit, garish. We get only a glimpse as the maze-cardisappears into a tunnel.24 MAZE-CAR STATION - ARCADEAs the maze-car stops, opens and Logan and Francis exit into agathering CROWD.25 FULL SHOT - ARCADEGlittering, crowded. Throngs of people moving on many levels, somewalking, some on moving platforms. It's The Great White Way, LunaPark -- you name it. Gaudy booths and entrances, featuring everydelight -- too much to take in at a glance.26 WITH LOGAN AND FRANCISAs they thread their way through a crowd which admires them when itnotices them, across halls and up moving platforms, the good-naturedargument continuing... LOGAN but you don't know, you Just say what everyone says. One for one. One for one." FRANCIS Well, why no!? That's exactly how everything works. How else could the city stay in balance -You have a better idea? LOGAN (laughs) No, but at least I wonder sometimes -- instead of doing that "one for one" song of yours. You sound like a sleepteacher With a stuck tape. FRANCIS Well the minute you get a better idea you can stop wondering. (beat) You know, Logan -- you wonder a lot. Too much for a SandmanThey are passing the facade of a Relive Shop The signs urging peopleto: RELIVE YOUR MOST PRECIOUS MEMORIES. DO IT AGAIN AND AGAIN!REFRESH AND RENEW ANYTIME!! As they cross the entrance, two men come out, grinning broadly,falling into step just ahead of Logan and Francis. Then one of themen stops abruptly, almost colliding with them. He mumbles anapology and starts back to RELIVE.As he disappears into the RELIVE SHOP, his friend shrugs cheerfullyto Logan and Francis and moves on.27 ARCADE - ANOTHER ANGLE - NEW YOUThey are moving past a shop called NEW YOU #483 when a man comescannonading out, thrilled and excited. He rushes over to a prettyyoung woman who has been eying Logan and Francis, plants himself infront of her with his hands framing his face. MAN Well? How do you like it? WOMAN (critically) I don't know. The cheeks maybe... look a little - MAN Cheeks? Cheeks? Right. Too much, you think? WOMAN Too little. MAN Too little? (gestures) Too little. Okay, wait for me.And he darts back into NEW YOU #483. The woman shrugs, glancesaround, smiles and goes off with a passer-by.28 ARCADE - ANOTHER ANGLE - LOVE SHOPSigns promising LOVE, FULFILLMENT, RARE DELIGHTS. People streamingin and out. A woman comes out looking glazed, breathing"yes...yes..." As she passes CAMERA Logan and Francis emerge fromthe crowd and CAMERA moves with them. LOGAN Did you ever see Francis-8? FRANCIS (shaking his head) I never even visited Nursery before tonight. (beat) When you wonder, it slows you up -- you know?They are now passing the facade of HALLUCIMILL where the signspromise: LIFT OFF, CRAZY LIFT, SUPER LIFT...here the people goingin are simply excited but the ones coming out are clearly stonedout of their minds... FRANCIS I don't know what makes you so curious. You have any idea who his seed-mother was? LOGAN (quickly) Of course not! I m curious, not sick. (laughs)The crowd is growing denser, funneling into a kind of passageway.Logan and Francis are swallowed up in the group.29 FULL SHOT - ARCADE GREAT HALLAn immense room into which the streams of people coming from theentertainment area are mingling. There is a general air ofanticipation stirring the crowd as CAMERA singles out Logan andFrancis entering, waving to friends. CAMERA closes in on them justas they reach a beautiful woman who is obviously pleased to seeFrancis. They embrace, and as they break: FRANCIS and that's my friend, Logan. (as she acknowledges the introduction) We're celebrating his next in line. Carousel - Arcade - who knows? Want to come along? WOMAN (smiles, shakes her head) Only if I make it to the top of Carousel. (she holds up her hand) Thirty -- and the big spin.In her palm the crystal blinks, red, black. Francis nods, gives hera half-squeeze. FRANCIS You're thirty -- already? I always thought I was older than you - (beat) Well, give it a good try. WOMAN (pleasantly) You know I always have.Another beautiful WOMAN joins them. 2ND WOMAN (to the first) Sorry I won't be at Carousel tonight. It¹s my Love-Shop turn. WOMAN That's all right. Happy turn. 2ND WOMAN You'll renew. I've got a feeling. WOMAN (smiles) So do I...but if I don't at least I'll have the ultimate thrill. I'd almost rather have that than renew. 2ND WOMAN I feel the same way. Sometimes I think I'm not even going to try and renew when my time comes. But -- that's three years away. So long.The 2nd Woman walks away. FRANCIS (after a beat; to first Woman) It's been nice. WOMAN Um-huh.They look briefly and then she turns away. Francis takes Logan's armand they move off. FRANCIS I guess you never had her?Logan shakes his head. FRANCIS You missed something special. LOGAN Well...you can't have them all. LOGAN AND FRANCIS (together, it's an old joke) But you can try.They laugh, but the laughter is broken as a trio of youngsters,moving with erratic speed of lightning, smashes between them,almost knocking Francis over. He reels, Logan catches him and theyrecover in time to see the trio rip wildly through the crowd,knocking people down, screaming with shrill joy as they disappear. FRANCIS The damned Yellows are getting out of hand. Those three ought to be in Cathedral. No business scrambling in Arcade... LOGAN (laughs cuffs Francis' arm) What an old, old man you're getting to be, Francis. Weren't you ever a Yellow? I bet you were even wilder than - (he breaks off as the lights in the Great Hall dim) -- come on, Sandman.The two of them start to move to the far end of the Great Hall. 30 FULL SHOT - GREAT HALLAs everyone begins to move to the far end, where great curtainshave parted to reveal31 ARCADE GREAT HALL - CAROUSEL ENTRANCEAC the far end of the hall, where the throng is a huge crystaldesign ornaments an entrance The crystal is red and pulsingrhythmically to the accompaniment of a deep and thrilling TONE. Aswe move toward it with Logan and Francis, the TONE deepens, thegreat pulse takes on a hypnotic quality...32 WITH LOGAN AND FRANCISIn the crowd they overtake a fellow Sandman, DANIEL, and fall instep with him. When they speak now, their voices are hushed. LOGAN You should have been with us in Nursery, Daniel. I'm positive I recognized him - FRANCIS (hustling Logan) Come on. I don't want to miss the filing-in. There'll be some I know tonight, I think... DANIEL (glances at his own red crystal, nods) Yes. Me, too. You know we're both on Monitor tonight. FRANCIS Damn! That's right. Just when I feel like an ALL OUT BLAST in Arcade . LOGAN Want me to take your shift? I'm feeling restless anyway Francis glances at him, exchanges a look with Daniel. They vanishinto the throng passing under the great crystal, turn the corner andwe see33 FULL SHOT - CAROUSELframed in a huge corridor we see a steep-sided arena dropping downto a shadowy center, which even now pulsates and flickers inchanging dimensions, but always maintaining the jewel- flowershape. There is one entrance into the center -- a kind of ramp frombelow the seats, leading directly into the mysterious bowl -- Just now the seat's are filling, and the sense of expectation buildsPeople sit and immediately crane their necks, waiting...34. ANOTHER ANGLEFeaturing Logan and Francis as they find places in the arena. Likethe others, they crane upward. As they do, Logan gestures at anumber of pretty girls who are just being seated. LOGAN Now there's a few who could have been his seed-mother. FRANCIS Only a few? You're just not trying.35-36 OUT37 PANNING THE CROWDAs the seats fill, the excitement builds. Suddenly the lights beginto dim and dim...SOUND: A kind of collective sigh, breathing in unison...38 OUT38X1 ANGLE THE TIER BELOW THE SEATSSuddenly visible, the LASTDAY GROUP. Their arms are upraised and ineach palm the crystal blinks red-black, red-black.39 THE CROWD Transfixed, gripped with a religious fervor.40 LASTDAY GROUP Hands still raised, filing slowly into the mysterious well ofCarousel.41 CROWDTense, beginning nervous APPLAUSE here and there.42 CAROUSELAs the last one enters, beginning to glow and, as it does, the bowlslowly puts out leaves like some great plant, enfolding and hidingthe people within a series of translucent petals. As the Last oneenfolds them the Light intensifies, the exterior surfaces seeming toshift as if a kind of motion was beginning inside it...43 CROWDVisible in the growing Light from Carousel -gripped with passion andexcitement, APPLAUDING, gesturing as they see44 CAROUSELMoving, bands of light seeming to spiral upward Like a containedaurora as the Carousel picks up speed.45 LOGANCaught up in it Like the rest.46 CAROUSELBeginning to blur with its own speed. Through the shifting,spiraling curtain of light we see bodies moving in a kind ofweightlessness, always struggling to move higher.Follow a shadowy form as it moves, twists through other writhingshadows -- upward, upward. Suddenly the form is spread-eagled, andin a moment it is sharply outlined against the swirling canopy andthen -- a searing flash. And it is gone. SOUND: Crowd in a frenzy -- SCREAMING.47 FULL ANGLE - THE BLEACHER CROWD - FAVORING LOGANStanding. SCREAMING their cheers as:48 FULL SHOT - UP AT CAROUSELHigh, reaching downward out of the shadows beneath the dome,fringing, intersecting rainbow bands appear, looping the swirlingupper Carousel like Saturn's rings. Now we see figures reachingoutward toward them...reaching and missing and falling -downwardagainst the curtain and the flash of extinction.49 MEDIUM ANGLE - A MAN At the highest level...straining for the rainbow...50 SWEEPING PAN SHOT - THE BLEACHER CROWD Hysterical...starting to chant... CROWD Renew!The man continues to strain: CROWD Renew!51 CLOSE ANGLE - THE MAN Almost a blur...but still straining: CROWD'S CHANT Renew!52 CLOSE ON - LOGAN AND FRANCIS LOGAN AND FRANCIS (chanting with the rest) Renew!53 CLOSE ANGLE - THE MAN The blur...but still there...straining with all his might for therainbow... CROWD'S CHANT Re...Suddenly, the man...topples into the whirling blacknessbelow...where he is instantly incinerated.54 WIDE ANGLE - THE CAROUSEL Whirling - whirling - the rainbows shining.55 WIDE ANGLE - THE BLEACHERS Orgiastic pleasure -- a Spanish crowd at a perfect killing --SCREAMING, fulfilled.56 OUT57 FULL ANGLE - THE CAROUSELOther figures move to the topmost level...straining for the rainbowbands.58 CLOSE ON - LOGAN AND FRANCIS As the SCREAMING goes on in the b.g. of the SHUT... we hear aBUZZING noise. Logan reaches into a pocket and takes out a small,dark plastic box.Logan looks at the box. On it we see: MAN: RELIVE STORE 14 LOGAN (to Francis) Looks like I'm working. Francis stands. LOGAN Who invited you? FRANCIS I'm in my party mood. Logan smiles . . . and the CAMERA PANS them rushing out of thebleachers.They make their way into the hall.Logan takes out the small plastic box. We can tell from his facethat he is disappointed...until a faint BEEPING SOUND emanates fromthe box.Francis watches as Logan wheels in one direction... the beepingstops. He turns in another direction... again, there is no beeping.As Logan turns in a third direction...the BEEPING commences.Logan and Francis move swiftly in that direction and the BEEPINGGROWS LOUDER...AND LOUDER...until Logan and Francis see:59-59X11 WIDE ANGLE - A MAN running.CHASE: INTER CUT between Logan and Francis following the running manin the great hall...empty. We can HEAR the CROWD SCREAMING inCarousel offstage.A. Logan and Francis separate...to encircle the running man.B. The running man turns a corner and for a moment Logan cannot seehim.C. As Logan turns the corner...Francis is on the other side andFIRES at the running man...JUST MISSING HIM.D.Francis winks at Logan as he pursues the running man up a rampand Logan gets it: A little cat and mouse is in order. (NOTE: THE CHASE WILL BE THE DIRECTOR'S OPTION.)E. Logan FIRES... just missing the man...Francis FIRES again. . .just missing, too.F. The man is in a panic as he continues up the ramp...to variouslevels and areas.G. Both barrels (of Logan and Francis' respective guns) glow againas they FIRE...with both just missing the running man once more.H. The man's face is crazed...and sweating...the mouse is goingberserk as he has been chased to a high level.I. He stands frozen, petrified, driven to the edge of a high balconyby the shots--teetering now. He is in full sight of Logan, Francisis across the hall.J. The Runner¹s face. He looks at death twenty feet away--Loganaims.K. Francis, watching, smiling at the perfect moment.L. Logan's face. A shadow of thought, a hesitation.M. The Runner lunges. Logan fires, misses.N. Francis fires a salvo, drives the Runner back to the rail wherehe teeters again, throws his hands in front of his face and plunges.The SCREAMING in Carousel reaches a peak.59X12-63X1 OUT63X2 WITH LOGAN As he arrives at the dead body of the Runner, bends over him, turnsthe man's left hand up. We see the flower crystal. Black.Logan takes out his transceiver.63X3 INSERT TRANSCEIVER A man's face visible. Logan checks it against the face of the deadman. They are not the same. 63X4 ANOTHER ANGLE As Francis comes up, waits. Logan moves the transceiver to the deadman's face, rests it on his forehead.63X5 INSERT TRANSCEIVER READOUT:The words appear: IDENT. AFFIRM....NEW YOU #483 ALTERATION63X6 LOGANScowls for a moment, then shrugs. He takes out a small flat pouchand methodically strips from the body its few personal things,stuffs them into the pouch. Then his eye is caught by the man'sright hand, clenched. Logan opens it. A metal ankh on a bit ofchain. It means nothing to Logan who stuffs it into the pouch andcloses it. Now again he fiddles with the transceiver, speaks into itsoftly. LOGAN Runner terminated 0:31 (a beat) Ready for cleanup.Done with his job, he rises to face Francis. LOGAN (smiling) That was a great shot you made. FRANCIS Yes. (beat) But you look a little rusty to me -- what were you doing, wondering?Logan shrugs. He's not sure himself. Together they walk off down thehall, passing CAMERA 63X7 ANOTHER ANGLEWe see in the distance, a pair of Stickmen descending into the hall,riding through the air on their odd vehicles, passing overhead thendescending. One hovers not far away as the other comes down, hangs afew feet over the body.63X8 1ST STICKMAN AND BODY The driver makes sure he's in position, then presses a button on oneof the arms of the vehicle. There is a broad spray of vapor from thebottom which covers the corpse. 63X9 CORPSE (INSERT)It turns to crystals which sag away from the human form, as a sandsculpture erodes when it's dry.63X10 1ST STICKMAN CLOSE ON HEAP OF CRYSTALSSatisfied, he revs his machine and it rises smoothly out of theSHOT. As it leaves, the second machine moves down and into itsplace. 63X11 2ND STICKMANGlances at the crystals, maneuvers into position, presses hisbuttons. 63X12 CLOSER ANGLE - THE CRYSTALS, STICKMANSucked up into the machine as it hovers. As the floor is once againbare, the 2nd Stickman revs slightly and his machine pulls up andaway. 63X13 ANOTHER ANGLE As the Stickmen move up and out, we see the exhilarated crowdbeginning to pour out of Carousel.63X14 LOGAN AND FRANCIS - ARCADEDescending from the top level -- not much of a crowd. Francis isgesturing toward the Hallucimill. FRANCIS ...Well I think you're getting stale. You need old Lucey--Go on. Gee the whole burn--try the new psycho-lift-they tell me it turns you inside out...He shoves Logan in that direction and continues on down. FRANCIS (calling after him) I'll look for you here when I'm off--And he is gone. 63X15 LOGANwaves, smiling, then turns to the Hallucimill.63X16 POV - HALLUCIMILL EXT.Crazy, man.63X17 BACK TO LOGAN Hesitates, as a COUPLE push past him gleefully on their way. Helooks and we see: 63X18 POV - ARCADE, UPPER LEVELS The people from Carousel starting to pour in, loud, happy, ready formore fun.63X19 LOGAN Not with it. He turns and starts making his way downwards towardsthe exit.63X20 LOGAN'S APARTMENT As he enters. Idle, restless. He crosses to a sideboard--makeshimself a drink, sips, doesn't like it. Gets rid of it, makesanother. He fiddles with things, a game--sits, gets up. Now he isbeginning to feel the drink. Takes another belt, smiles. Now he goesover to a tall wall recess flanked by a console with many dials.63X21 AT THE WALL RECESS As Logan dials, blurred and smoky images appear in the recess--aslow protoplasmic eddying in many colors. He tunes it in and thefigure of a smiling young man appears--bejeweled, lustrous, willing.63X22 LOGAN AT THE CONSOLE Bored as Mastroianni turns the dial again and the young mandissolves. He dials again and now a beautiful young woman takesshape. It is Jessica. 63X23 JESSICA AND LOGANStill in the recess, she makes no gesture of interest, no smile.Around her neck, from a collar, a dangling ankh. It catches Logan'seye. He smiles, clicks another dial and she becomes real. He reachesout a hand and leads her out into the room.64 LOGAN AND JESSICAAs Jessica turns to him, Logan moves in strongly and embraces her-but, to his surprise, she resists. Logan, still holding her loosely,is amused and surprised. LOGAN What's wrong, Available? JESSICA (breaking away gently) Please . . .No.She backs away, almost apologetically. Logan follows, smiling. LOGAN Please . . . no ? (noting that she looks trapped, he understands) You mean "not here"--that's it? You're a private Available but particular, (he is moving in on her as he speaks, she retreating, which amuses him) Don't worry. There's no one here but me. And you. JESSICA No. (that stops him) Just no. LOGAN You prefer women? JESSICA No. LOGAN Well then...? JESSICA Nothing. I felt sad, I put myself on the circuit. It was a mistake. LOGAN Sad? What made you sad? JESSICA A friend of mine went on Carousel tonight. Now he's gone. LOGAN (after a beat) Yes...probably he was renewed? JESSICA (flatly) He was killed LOGAN Killed? Why do you use that word? JESSICA Isn't it right? Isn't that what you do? Kill. LOGAN I never 'killed' anybody in my life. Sandmen terminate Runners (a beat) Who brought you? JESSICA Nobody. I felt sad. .. I put myself on the circuit. LOGAN You felt sad. What's your name? JESSICA Jessica. LOGAN (matter-of-fact) You're beautiful. Let's have sex. JESSICA No. LOGAN Later. JESSICA No. LOGAN But you put yourself on the circuit! JESSICA I thought I had to do something. LOGAN And? JESSICA I changed my mind LOGAN And now? JESSICA Curious. LOGAN About what? JESSICA How a Sandman lives.Logan smiles, takes off gunbelt, etc. LOGAN Let's have sex. (as Jessica shakes her head) I thought you were curious. JESSICA Not about that. LOGAN (after a beat) I'm listening. JESSICA I'm afraid to tell you. LOGAN (smiling) I'm not armed. (a beat) Well? JESSICA Why is it wrong to run? LOGAN You shouldn't even think such things... (smiles) And you picked a strange person to say them to - JESSICA I suppose. But what if you want to live? LOGAN So? Do what everyone does. Try like hell for renewal.Logan stretches out his right hand. We see a red flower crystalembedded and centered in his right palm. It is exactly the sameshape that we have seen in black in the palm of the dead runner. LOGAN When this turns black...that's it. (laughs) If for any reason you want to be 31... you have the same chance as everyone else...Carrousel.Logan takes his gun and points it at her. LOGAN (playfully) But if you're one of the misfits... that's where I come in. JESSICA (somewhat frightened) I didn't say that I would run... I Just... LOGAN (interrupting; turning over her palm) Are you a 5 or a 6? (we see a green crystal) JESSICA Six. I go red next year. LOGAN You're years away . . . I don't know why you're thinking of these things, much less talking about them. (offering Jessica the gun) Want to try?Jessica shakes her head. Logan looks at Jessica carefully...in anadmiring sexual way...from her toes to her head...briefly noticing(in the process) chat she is wearing an identical piece of jewelrythat he has taken off the dead runner...around her neck. LOGAN What Quad do you live in? JESSICA K. LOGAN (softly) You're sure you don't want to try?Jessica nods. LOGAN It's nice to know you can nod. Jessica smiles. LOGAN It's nice co know you can do that, too. Suddenly Francis and two dishevel led young WOMEN burst in and comelaughing toward Logan and Jessica Stoned, hilarious, they crowdaround Logan one of them embracing him. In the wild hilarity,Jessica slips away and Logan, seeing her go, makes a vain effortafter her. Francis notices, laughs. Amid the noise he shouts toLogan: FRANCIS These are for me -- you've got your own. (looking after Jessica) She must have been something--? At Logan's expression he roars with laughter Francis picks up anatomizer and hurls it at the ceiling where it shatters and a greatpink cloud settles over them all.64X1 EXT. - SAND MAN H.Q.A frowning structure of dark stone and mirrored copper, fronted bybroad steps. Logan and Francis are climbing the steps as a SANDMANis coming out... His uniform is in tatters. They greet one another...then: LOGAN What happened to you? SANDMAN (embarrassed) I lost a Runner in Cathedral. LOGAN How come? SANDMAN Ran into some Cubs I couldn't manage. (as they stare) One of them cut me bad... (extends his arm and moves a finger from his shoulder to his wrist) all the way down. FRANCIS (with anger) CUBS! SANDMAN (shrug) On my way to the New You for repairs. LOGAN Get yourself a new face while you're at it They know you now.They wave. Logan and Francis continue.64AX1-64BX1 OUT 64CX1 INT. - SANDMAN H.Q. LOBBY (VOICE OVER)As Logan and Francis cross, turn into a corridor. LOGAN I just might look in on New You 483 myself. FRANCIS You? Why? You're already beautiful. LOGAN No -- it's that last Runner -- someone in 483 was trying to help him.64X2 INT. - SANDMAN H.Q. - READY ROOMAs Logan and Francis cross the room, Logan nods to other Sandmen,who are monitoring areas of the Megalopolis on video consoles. Oneof these Sand-men speaks to Francis who hasn't greeted them SANDMAN (Monitor) What's with you, Francis? FRANCIS (touching his head; grimacing) Last night The other Sandmen, including Logan, smile as Logan and Franciscontinue to:65-68 OUT69 INT. - SANDMAN H.Q. - DEBRIEFING AREABlack door opens revealing Logan and Francis who now enter a mammothroom. As they walk. . . they pass FOUR GIANT LIFECLOCKS...WHITE,YELLOW GREEN AND RED. Each LIFECLOCK pulses out the moments of every person alive in thecity, governing everyone's crystal changes automatically shifting tothe next LIFECLOCK when the time comes.There are no humans.Francis walks over to a circular table at the end of the room....above which is a circular overhang. There is a groove...the shape ofa palm crystal on one part of the circular table.Francis takes out the plastic bag which contains the contents of thedead Runner's pockets and starts putting the contents on the table.(These contents are the ones from the Runner Francis has killed atthe beginning of the film.)The moment the first item touches the table...it activates a scanneron the overhang above. Francis stands alongside the table...his attitude is very matter-offact. He has been through this procedure many, many times.He touches his head...(the hangover)...and Logan smiles. Momentslater...the scanner stops...the word: | IDENTIFYappears on a SCREEN. Francis places his palm into the groove. . .and the words: CLEAR FRANCIS-7appear on the SCREEN. FRANCIS See you in the hydrotoner! Logan nods.Francis exits as Logan places the contents of a plastic bag with theitems he has taken off the Runner who jumped to his death. Amongthem is the odd-shaped piece of jewelry.Logan is standing nonchalantly...as the scanner moves over theitems...waiting to be quickly identified and cleared as Francis wasearlier.The scanner continues scanning.Logan starts becoming impatient...but the scanning goes on and onand on.Now...Logan is clearly puzzled...it has never...ever taken anythingremotely resembling this length of time.Suddenly, directly before him...on the SCREEN... the word: PROBABILITYblinks on and off...on and off...catching Logan's attention. AsLogan turns toward the SCREEN...the scanner stops moving. The wordPROBABILITY blinks off and is replaced by the word: APPROACHWe can tell from Logan's expression as he walks to the corner. . .that he has never seen this before. Logan sits in a chair in the area facing the SCREEN. There is astellar groove (that we have seen on the Table) the shape of a palmcrystal....glowing on an arm of the chair.The word on the SCREEN is now: IDENTIFYLogan places his right palm with the flower crystal into the groove.We hear a HUMMING NOISE....then: The piece of jade Jewelry appearson the SCREEN and below the piece of jewelry the following wordsappear on the SCREEN: OBJECT OCCURS IN NONRANDOM PATTERN AND FREQUENCY. LINKED WITH OBSOLETE WORD: SANCTUARY. PROBABLE EXISTENCE ESTABLISHED. QUESTION: IDENTIFY OBJECT? LOGAN Negative. Question: What is it? Words on SCREEN now read: PREMILLENNIAL SYMBOL. NAME: ANKH. QUESTION: IDENTIFY CONCEPT SANCTUARY? LOGAN Negative.Words on SCREEN now read: SANCTUARY: CODE WORD PREMILL- ENNIAL RELIGIONS DENOTING PLACE OF IMMUNITY. LOGAN I don't understand?Words on SCREEN now read: SANCTUARY NOW MATHEMATICALLY RELATED TO UNACCOUNTED CITIZENS NUMBERING 1056. LOGAN Question:Word on SCREEN now reads: HOLD It disappears and words on SCREEN now read: OBJECT ANKH ASSOCIATED WITH UNACCOUNTED CITIZENS 1056. CONCLUSION SANCTUARY EXISTENT.... RUNNER GOAL. LOGAN 1056 unaccounted for?!Word on SCREEN reads: CORRECT LOGAN Impossible! (Rising tone) Question: Maybe they weren't all Runners. Maybe most of them reached Life Renewal on Carousel.Words on SCREEN read: NEGATIVE...UNACCOUNTED CITIZENS 1056... LOGAN Question: None of them reached renewal?Word on SCREEN reads: ZERO LOGAN But everyone believes that some....Words on SCREEN read: ANSWER: ZERO UNACCOUNTED CITIZENS NUMBER 1056....LOGAN- 5 ASSIGNED TO LOCATE SANCTUARY AND REPORT.... LOGAN Question: You mean nobody's ever been renewed?Words on SCREEN read: - - QUESTION ANSWERED.... ZERO....ECOLOGICAL-NEGATIVE...As Logan reacts the new words which appear read: AUTHORIZATION TO PENETRATE CITY SEALS... LOGAN (startled) The Seal...... (Breaks off) Question: The Seals? Go outside?! But there's nothing outside!The words on the SCREEN read: SANCTUARY DESTRUCT... FIND DESTROY LOGAN I will. The words on the SCREEN read: ASSIGNMENT SECRET. LOGAN Question: (a beat) What if I need help from another Sandman?The words on the SCREEN read: NEGATIVE. REPEAT: ASSIGNMENT SECRET. LOGAN-5 TRANSFER TO RUNNER SEEKING SANCTUARY. Logan takes a breath. LOGAN Question: I am six Red...how can I pretend to be approaching Lastday?The words on the SCREEN read: LIFECLOCK--ALTER LOGAN My Lifeclock... (slightest beat) Question: My Life-- Before the startled Logan can finish...he feels a shock of pain andhis hand is immobile. Logan stares at the back of his hand as if itwasn't his. His forehead shines with sweat.Now the entire area, including the chair and the screen begins toglow bright red. The glowing becomes so bright that Logan is forcedto close his eyes.As the glow subsides...Logan looks at his right hand. The red flowercrystal in his palm is blinking. He stares at it, fascinated,fearful. LOGAN Question: (urgent tone) Am I still six Red? The words on the SCREEN read: LIFECLOCK-ALTER LOGAN (standing) I know that but I had four more years (extending the blinking palm) This means ten days to Lastday. Of course I will get the four years back, won't I?The words on the SCREEN read: TAKE OBJECT WITH YOU LOGAN (very urgent) Question: Do I get my four years back?Too late. The SCREEN is BLANK. For a moment his lips part as if tosay something more but he changes his mind, turns away.Now Logan walks over to the table and removes the ankh. Almostautomatically, he starts moving his hand toward the groove...but theSCREEN already has the words: CLEAR LOGAN-5Logan looks at it - then:The CAMERA PANS Logan out of the mammoth room.... past the GIANTLIFECLOCKS....where he pauses.... glances at his BLINKINGCRYSTAL....and continues out into:69X1 INT. - HYDROTONER - DAY Spectacularly 23rd century. Logan enters. He looks around and spotsFrancis.... in a whirlpool bath....trying to recover from hasincredible hangover.In the b.g. of the SHOT we can see some Sandmen doing calisthenics.Logan walks over to Francis....hiding his blinking crystal byholding his hand against his leg. FRANCIS What the hell took you so long? LOGAN (after a beat) Did you ever see anybody renew? FRANCIS I think you've been skulling out too much. First Nursery and now stupid questions. LOGAN Did you? FRANCIS Of course. LOGAN Anybody we know? FRANCIS Look....why don't you get into the water....you need it....more than I do. LOGAN (after a beat) I'm fine.... (walking away) See you.... FRANCIS At Carousel tonight?Logan nods, exits. The CAMERA REMAINS on a slightly puzzled FRANCISfor a moment then FOLLOW Logan out to:70 EXT. - SANDMAN BUILDING Logan is on the steps, irresolute. He looks at his blinkingcrystal...moves as if to reenter, changes his mind. Now takes outthe black box, dials. LOGAN (into box) Location...female Green Six... name Jessica...living in Quad K.71-73 OUT73X1 INT. - LOGAN'S APARTMENT Logan opens the door to see Jessica. Behind her a young SANDMAN whohas obviously escorted her there. YOUNG SANDMAN (smiling) She says she's been here before... LOGAN She has.Jessica half turns and shrugs a 'see?'. The young Sandman's smilewidens, he waves to Logan and shoves off. JESSICA You could have called me yourself. LOGAN But I wasn't sure you'd come. JESSICA (the game has started) Here I am. (beat) Shall I come in?Logan gestures, leading her inside to the living area. LOGAN I couldn't get you out of my mind. JESSICA I'm the most beautiful woman you've ever seen, I suppose? LOGAN Maybe...sure.... JESSICA Thanks...but I have the choice. LOGAN Of course. JESSICA Then it's still no.Logan laughs. JESSICA You can have any woman in the city. What do you really want? LOGAN You know JESSICA I don't believe you. There has to be more. LOGAN All right.Logan extends his right hand. He turns his right palm so that.Jessica can see it blinking red.Jessica gasps for a moment...then: JESSICA Why show me? LOGAN I'm going to run. JESSICA (after reacting) Why tell me? LOGAN You know something. JESSICA About running, dying what? LOGAN Both...running's what I'm interested in. JESSICA I know what everyone knows. Try like hell for Renewal. You have the same chance everyone else has. LOGAN It's different now. Help me. JESSICA How can I?Logan takes out the ankh. JESSICA Where did you get that? LOGAN A Runner gave it to me. JESSICA And then you killed him, right? LOGAN I let him go...believe me. JESSICA I don't.. LOGAN (a beat) Speak to your friends for me, Jessica... please... JESSICA Please? What friends? LOGAN (clutching the ankh, looking at Jessica's; then:) I don't have much time. JESSICA I never heard of a Sandman running . . . ever. . . LOGAN (putting the ankh in his pocket; dropping the bombshell) And I never heard of Sanctuary.Jessica reacts. She is about to speak. . .doesn't..Logan reaches out and touches her hand. LOGAN What can I do to make you believe me?Jessica draws her hand away quickly from his touch.Logan stands and starts out...as Jessica watches him..74-81 OUT 82 EXT. - A SLEEK, OUTDOOR RESTAURANT - NIGHTThere are three men and a woman seated at a table. Jessica reachesthe table and sits down.83 CLOSE ON - LOGAN A distance away...watching.84-85 OUT 86 EXT. - RESTAURANT - FULL ANGLE - THE THREE MEN, WOMAN AND JESSICAEating without enthusiasm...obviously more interested in theirconversation. SECOND MAN He's blinking...so what? Sandmen get old, too. FIRST MAN But what if he's telling the truth? THIRD MAN I say no. It's not worth the risk. WOMAN I absolutely agree. He's killed Runners for a decade. He has no feelings. JESSICA He was born a Sandman. He had no choice. WOMAN Neither do we.87-88 OUT88X1 SANDMAN READY ROOM Four Sandmen at the consoles. They look up as Francis enters. He goes to one of the men who stretches, yawns, gets up. 1ST SANDMAN Thanks, Francis. FRANCIS (taking his place at the console) Just don't be forever about it like last time. 1ST SANDMAN Ah-h you love it. You're afraid you'll miss a really good Run. They all laugh. Francis takes up his watch as the other exits.89 OUT89X1 EXT - RESTAURANT - THREE MEN A WOMAN AND JESSICALeaning together talking in an undertone SECOND MAN (urgently) If he believes you, he'll come. JESSICA Why Arcade Station? SECOND MAN (impatiently) Why? It's our only chance--kill him and get away in the crowd heading for the evening slaughter -- JESSICA Right at the station itself? MAN No - just there - on the first level. (beat) Don't look for us. We'll see you. WOMAN (cutting in) You don't seem quite sure, Jessica. (beat) Can you do it? Will you?Slowly, Jessica nods. THIRD MAN Tonight? JESSICA (stalling) Y-yes...if I can find him. WOMAN I think you can. Don't you?Jessica faces her squarely, nods. The woman looks deeply into hereyes, relaxes. WOMAN I'm sorry. We all are. But he has heard about Sanctuary -- and that makes him dangerous to all of us.After murmurs of agreement: SECOND MAN (staring at Jessica) We're counting on you.Jessica exits. They look at each other in dismay.. After a moment,one of the men follows her. They don't trust her.90-92 OUT93-94 OUT94A1 READY ROOM - FRANCIS Obviously enjoying the work, watching--tracking a Runner's progress,the assignment of a Sandman, the kill. 94X1 WITH JESSICA Making her way through the strolling crowd, her face thoughtful.94X2 ANOTHER ANGLEThe man from the restaurant, following.94X3 GALLERY, SANDMAN RESIDENCE -- JESSICAWalking slowly up to a door, she hesitates, KNOCKS.Logan opens the door, reacts. LOGAN Are you here to help me? JESSICA What do you need?A moment, then Logan moves toward her hungrily, pulling her in tohim as the door closes.94X4 OUTDISSOLVE TO: 94X5 WITH LOGAN AND JESSICAWalking along a handsomely landscaped stream. Laughing together,stopping to admire the beautiful fish (koi). JESSICA What're you going to do? LOGAN That's tomorrow. JESSICA (turning away slightly) I wish I could help you. LOGAN (turning her gently back) Maybe you'll chink of something... JESSICA (hating herself) I wish I knew what you think I know. Logan smiles at her, both knowing what's false, but drawn to eachother anyhow. They commence walking again. 94X6 ANOTHER ANGLE The followers, ahead now, watching, trying to make up their minds asto whether Jessica is bringing Logan to the ambush. As they argue,Logan and Jessica approach.94X7 WITH LOGAN AND JESSICA LOGAN If you did know, you'd tell me. JESSICA Of course-- LOGAN (overriding) If you trusted me, you'd know. JESSICA (evading it) We're coming to Arcade. (beat) - Shall we Relive together? 94X8 CLOSE ANGLEAs they pass, Jessica looks full in the face of one of thefollowers, looks away. Logan does not notice. The followers arepartly reassured. One of the men is now holding a garrote made fromhis necklace. The man who first followed gestures and the others gooff purposefully. He continues after Logan and Jessica as they exitround a corner.94X9 OUT94AX9 READY ROOM As 1st Sandman returns, still cheerfully chewing. Francis isreluctant to give up his place and when he does, he remains standingthere, watching. He loves the work--they all do.94X10 ARCADE - LOWER LEVEL Logan and Jessica entering. Logan is aware of Jessica's increasingtension. He pretends unconcern, but he is wary.94X11 ANOTHER ANGLEBehind them, visible through the crowd--two of the men we sawbefore. The Follower and the man with the garrote. They are movingso as to intersect with Logan and Jessica where the crowd isthickest, streams coming together to move to a higher level.94X12 FEATURING JESSICA As they move, fearful--torn between her promise and her feeling forLogan. Catching a glimpse of the followers, she makes a small sound,hesitates, pretends to have stumbled.94X13 THE AMBUSHERS Closer now, closing in -- the wire garrote gleaming between theman's hands. 94X14 LOGAN AND JESSICA Suddenly she stops. He comes round facing as people eddy by them.Logan looks at her searchingly. LOGAN Tell me, Jessica.Behind him the two men move in. The man with the garrote raises hishands. One more step... Logan senses something, half-turns just aswe hear a familiar urgent SOUND--the sound of his transceiver.Behind him the man hesitates, drops his hands. Logan takes thetransceiver from his belt and moves out of the crowd to the side,Jessica with him. Now he bends to read the message and Jessicacranes her head to see too. 94X15 READY ROOM - FRANCIS AND SANDMENAs the Runner alarm pulses and the readout flashes its message: RUNNER FEMALE: CATHEDRAL Q-2 ...LOGAN-5The Sandman at the console turns and says: 1ST SANDMAN Hey, Logan's got a mean one tonight-- why don't you--But Francis is already at the door. A wave and he's gone. The othersad lib interest-- "watch out in there--they can cut you before yousee them" etc.95-105 OUT105X1 ARCADE STATION - THE AMBUSH The two watching, muscles taut -- wondering.106-106X1 OUT106X2 ARCADE - TWO SHOT - LOGAN AND JESSICA As he speaks he leads her into the maze-car station and punches outhis destination on the car caller. LOGAN A Runner...Cathedral. A woman.106X3 MAZE-CAR STATION ARCADE JESSICA You're not going, are you? LOGAN (a beat) Why not? Maybe she'll help me. You won't. You'd better stay here.The maze-car arrives and they move to it. JESSICA (touching his arm) I'd rather be with you. LOGAN (knowing she is lying through her teeth) That's nice. They enter the car which instantly moves off. As it passes, the menin ambush come forward and read the destination. They ring foranother car which pulls in immediately.107-109X1 OUT 109X2 ANOTHER ANGLE As the two jam into the maze-car which rockets off in pursuit...110-120 OUT121 INT - MAZE-CAR - LOGAN AND JESSICA - MOVING SHOT LOGAN Have you ever been through Cathedral?Jessica shakes her head. LOGAN They're like beasts. Wild. JESSICA Maybe they're angry because they're grown in meccano-breeders. LOGAN (interrupting, grimacing) Instead of what? Nine months inside a woman: (ugh) We're all raised the same but most of us don't become cubs in Cathedral. JESSICA Some people say children need human mothering. LOGAN Insane. Nurseries are better than any mother could be. JESSICA I'm only telling you what I've heard... (slightest beat) Haven't you ever wondered what your seed-mother was Like...? LOGAN Uh-uh. JESSICA I have. LOGAN (after a beat) When did you begin to question Lastday? JESSICA I don't remember exactly...except I was a Green. (another beat) What would you like to relive, Logan? LOGAN (smiling) Let's see - how long has it been?As Jessica turns her head...looking somewhat guilty, the maze-carslides to a stop.A warning light pulses on the car's console and a RECORDED VOICEspeaks before the hatch opens. VOICE Attention passengers. Cathedral Station is a personal risk area. Persons with business are warned to be careful.121X1 EXT. - MAZE-CAR - CATHEDRAL STATION Now the hatch opens. They step out, Logan first, Jessica timidly,looking around. Behind them the hatch closes, the maze-car sighsaway into the distance. JESSICA I've never been in this quadrant. (looks off) Is that Arcade off there? There are standing on the maze-car platform -- a high overlook likean "elevated" station. 121X2 POV - THE CITY BEYOND THE WALLS OF CATHEDRALArcade shining like distant fireworks.122 EXT. - MAZE-CAR M PLATFORM - CATHEDRALBelow them a narrow, sharply angled concrete canyon, buttressedwalls rising featureless. The look of an old fortress, blank, dimand cool. Still visible over an opening the chiseled legend"Cathedral Plaza--2025 A.D.--Skidmore, Rosenfelt, Hennesyarchitects."Jessica shivers, looking around her. Logan takes her arm and theydescend into the canyon, move toward the wall. Their footsteps theonly SOUND. LOGAN Let me go first. Sometimes they're waiting just inside there--to rush you when it opens... LOGAN Quickly now--He helps her through the narrow opening--the portal's walls are verythick.. They turn abruptly and see:123 INT. - WALL - DAZZLE CHAMBERA room of angled, reflecting surfaces. At one end a jagged corridor,also mirrored, leads away. The zigzag, angled effect creates anabsolute confusion of images. but Logan leads her unhesitatinglyacross the chamber to the corridor. Jessica hangs back, momentarilycertain she's about to smash into something. LOGAN (guiding her) Just follow--no matter how it seems... JESSICA (doing her best) But what is this--why? LOGAN (as they enter the corridor) The Cubs. When they're flying on muscle there's no way to catch up. Without the dazzle, they'd just go past us-- (gesture) too fast JESSICA Muscle? I don't know that one. Logan is leading her down the zigzag corridor. It's stop and go--afun house in which you can get hurt. LOGAN It's unauthorized. No good for any- one over thirteen anyhow--shakes you to pieces--speeds everything up to a blur-- (he is amused) you can see what happens when some flying Cub tries to go through this on muscle--splat! Jessica reacts...to what Logan has said...then: A moment later: 124 ANOTHER ANGLE As they approach the end of the corridor, a small FIGURE in atattered garment approaches them. She stops SINGING as she seesLogan and Jessica. JESSICA (gently) Don't be afraid.We see that it is a little GIRL of seven. Her face is grimy and hairis tangled. JESSICA What's your name? MARY I'm Mary 2. JESSICA Where do you live, Mary? MARY Here. JESSICA Why aren't you in Nursery? MARY I'm very smart. JESSICA When do you go up? MARY I never go upstairs. You're a nice old lady.As soon as she finishes her last sentence, Mary grabs at Jessica'sclothing...tearing a pin (piece of Jewelry) off...and running awayswiftly.As Jessica instinctively starts after her...Logan... holds her back. LOGAN (shaking his head) Not here. Might be a decoy.Cautiously, Logan and Jessica exit from the wall, stepping out into-125 EXT. - CATHEDRAL ITSELFAn area of rubble and dilapidated buildings.Logan crouches, holding the transceiver and fanning the area,listening...SOUND: a soft beeping which abruptly grows louder and holds steady.Logan gestures to Jessica to follow him, and moves carefully in thedirection of the BEEPING, quartering occasionally like a huntingdog. Coming up to an angle of wall, he stops, flicks the sound off,puts the machine back onto his belt. He gestures to Jessica to standstill then he straightens, steps out, calls: LOGAN Runner!Silence. Jessica involuntarily moves to him and as she does, theRunner moves from behind an upright and stands.- The figure isshadowed, the arms out, palms facing in a kind of gesture ofsurrender. In the Runner's left hand, the tiny red crystal pulses onand off. The Runner is a woman!There is an instant of frozen confrontation and then suddenlyJessica gasps, grasping at him. As Logan whirls: 125X1 ANOTHER ANGLE Suddenly, from everywhere out of the shadows, a pack of snarlingCubs materializes--moving with blinding speed. At their appearancethe Runner whirls and races off into the dark shadows. Logan makes afutile gesture after her, then turns to face the Cubs.A strutting, feral-faced fourteen or fifteen year old heads thepack, dressed in fierce-looking tatters and hung with rip-offtrophies. He gestures to one of his followers to stand still. BILLY (speaking of the Runner) Don't worry about her. We'll have that one later. Right now I think we've got a Runner and his pairup. And what a Runner!The CAMERA PANS the other Cubs...mean, filthy. A VOICE We're going to have ourselves a time, we are. Right, Billy?!There is a chilling laughter of agreement from the rest. LOGAN I'm a Sandman! BILLY I cut up a Sandman yesterday. They said I'd never get him...but I cut him up good, I did. LOGAN (firm tone) I feel sorry for you, boy!Some murmuring as the pack watches their leader. BILLY For me? Better feel sorry for your- self, Sandman! LOGAN No, for you! How old are you, Billy?Billy is silent. LOGAN Fourteen? Fifteen? Your days are running out. How long can you last? A year. Six months? (he points to the yellow flower in Billy's palm) What happens when you're sixteen and you go green? BILLY (lashing out) Nothing will happen! I make the rules as I go!! Cubs do what I say! Always have! Always will! I got Cathedral and I'll never let go! LOGAN No cubs over fifteen, Billy! Ever heard of a cub with a green flower? You'll leave Cathedral then, Billy, when you're on green, because they won't let a green stay here. (slightest beat) If you try to stay the young ones will gut-rip you apart! BILLY Shut up! Shut up your damn mouth!Logan falls back into a fighting crouch...but before he can strike ablow..he is grabbed and slammed against the wall of an abandonedbuilding. ANOTHER VOICE Let him suck Muscle! That'll shut his mouth! Let's watch him shake himself to death!! We see the Cubs take out drugpads. They squeeze the pads and inhalethe "Muscle." At once their movements become blurringly rapid. Theytake menacing positions - some leaping overhead. A VOICE Give him some Muscle!! Like lightning they change positions and flash around Logan andJessica 126 CLOSE ON - JESSICA Watching..terrified.127 CLOSE ON - LOGAN Being held against the wall by Cubs as: ANOTHER VOICE Shake him to death!! A VOICE Kill him!128 ANOTHER ANGLE - INCLUDING BILLY moving a drugpad against Logan's face.Logan is holding his breath...desperately trying not to breathe the"Muscle" directly from the pad into his system. BILLY (chilling laugh) He's trying to hold his breath...As Billy presses the pad tighter against Logan's face:With all his might, Logan wrenches his arms loose... drops to theground and pulls out his gun.He fires and fire girdles a pillar...and they start to back away. BILLY We can rush him...we can take can take him again, we can!! The pack hesitates...stops backing away. LOGAN (moving the gun slowly back and forth) All right! How many of you want this to be Lastday?!The pack moves back again...and disperses, leaving Billy facingLogan alone. LOGAN Come on, Billy...come on...you cut a Sandman, didn't you?!Logan tucks the gun back into his waist. LOGAN Come on, Billy...cut me...Come onAfter a beat, Billy turns and runs away.Logan comforts the shivering Jessica for a moment then takes out thesmall box from his pocket and turns it...until it starts BEEPING.The CAMERA PANS Logan and Jessica...following the SOUND.They move over the rubble...and cautiously around abandonedbuildings.We HEAR A SCREAM...and HEAR the Cubs who've only obviously found andattacked someone. The SOUND is coming from a different directionthan where the beeping is coming from. LOGAN (shaking his head) They've got someone else! Why would anybody come here?Jessica shudders as the scream dies abruptly.The BEEPING is now very loud.Logan homes in on an abandoned building, enters, crosses swiftly toa door inside and kicks it down.We SEE the Runner. The WOMAN cringing, expecting death.129 FULL SHOT - LOGAN AND THE WOMAN frozen for a moment. In f.g. a figure stirs, moves and we see it isFrancis. His weapon is drawn and aimed, but as he watches, he lowersthe barrel and smiles. The is Logan's job.130 CLOSE ON - JESSICA watching131 LOGAN AND THE WOMAN WOMAN (nearing hysteria) There's been a terrible error! My Lifeclock must have broken in some way! (rising tone) I'm nowhere near thirty...look at me...I'm twenty-two. I should be green! Did you hear me? (shouting) Green! LOGAN (quietly) Don't be afraid-- Before Logan can continue...the Woman...who is now wild-eyed andhysterical lunges at Logan...and starts grappling with him. WOMAN I'll kill you!! I'll kill you!!After Logan pushes her away...and she falls down: LOGAN (breathing hard) I'm not going to hurt you.Slowly, she rises.Logan takes out the ankh. LOGAN Sanctuary? Anything?Logan reaches into his pocket and takes out a small roundobject...the size of a large marble. LOGAN If they find you throw this hard enough to break it. Then hold your breath till you get away...It's blind gas.Her reaction is blank, then, with desperate ferocity she attacksLogan again.During the course of the struggle, Logan subdues her again.Jessica enters, bends over the near-crazed Runner as Logan holdsher. Eyeing him, the woman stands and takes the small roundobject...she appears somewhat bewildered as Logan and Jessica moveoff. 132 EXT. - THE OTHER SIDE OF THE ABANDONED BUILDING - MED. ANGLE - FRANCIS WATCHINGHe is shocked, unbelieving. 133 CLOSE ON FRANCISStunned and uncertain, Francis aims his gun toward Logan andJessica...but he wavers...watching them disappear into the rubble... 134 ANOTHER ANGLE - FRANCISshivering like a wet dog. He turns toward open window. FRANCIS (in a firm, cold tone) Runner! The woman turns, staring insanely. Her mouth opens like a fish as:Francis FIRES his gun. A moment later, as the burning body topplesto the floor;134X1 MAZE-CAR PLATFORM - THE MEN hearing the unmistakable SCREAMING sound of the kill, they exchangea look.135 LOGAN AND JESSICA At the flash of FIRE from Francis' gun, they turn.Logan and Francis' eyes meet. A beat, then Logan grabs Jessica andpulls her away.136 FRANCIS After a long, long hesitation, takes out his small plastic box andstarts to speak into it: FRANCIS (quietly) Runner terminated at G.16 Ready for cleanup at Cathedral Quadrant 39. 137 ANOTHER ANGLE - OVERLOOKING CATHEDRAL ENTRANCE The Second and Third Men...very close to the maze-car platform...peering into the darkness and seeing Logan and Jessica emerge ontothe maze-car platform. We can tell from the way the two men look atone another that they believe Logan has fired the shot they haveheard.They hide from the approaching Logan and Jessica. SECOND MAN I almost believed her.They move off soundlessly. Behind them, a maze-car has arrived.138 MED. - ANGLE - FRANCIS Gun in hand...running through Cathedral toward the maze-carplatform.139 INT. - MAZE-CAR - LOGAN AND JESSICA - MOVING SHOT JESSICA I'm ashamed. I was bringing you to be killed. LOGAN Where? Sanctuary? Can you take me there? JESSICA Logan, I don't know where Sanctuary is. But if I take you to them, they'll kill you. LOGAN (a beat) All right. But why? I didn't kill the Runner. JESSICA (interrupting) Yes, but they won't know that...or care. They're hunting you, Logan. Maybe me too, now... LOGAN (wry laugh) That's nothing...there's a Sandman behind us, too and there'll be more soon. Take me to them. JESSICA (torn) I - I can't. LOGAN Then - why don't you leave me - go to them - explain JESSICA No. Not that either.Logan considers her. A long BEAT. Thinking, then: LOGAN All right. New You 483. I'll find out myself.139X1 INT. - SANDMAN READY ROOM - FRANCISDistracted...ignoring the greetings of Sandmen who are monitoringthe city.139X2 ANOTHER ANGLE - FRANCISWalking past the GIANT LIFECLOCKS into the debriefing area.The scanners begin moving.Moments later the scanner stops...the word: IDENTIFY appears on a SCREEN Francis pauses a moment and places his palm intothe groove.Now he takes out the items of the dead woman Runner and places themon the scanning table.An ALARM SOUNDS and the word: REJECTflashes on and off on the SCREEN.Sandmen come running into the Area. SANDMAN What happened?!Francis hesitates....then....quickly, as if changing his mind,taking the items off the table: FRANCIS Can you beat it....I've got the damn wrong bag. SANDMAN You ought to put yourself on reliefcall, Francis. FRANCIS (starting out) Yeah....140 EXT. - NEW YOU #483 - TWO SHOT - LOGAN AND JESSICA as they enter NEW YOU #483 they are being watched by:141 MED. ANGLE - THE SECOND AND THIRD MENA safe distance behind.142 INT. - NEW YOU #483The waiting room has many mirrors...where customers ...male andfemale...are checking their faces (and bodies).There are also various photographs on the walls... suggestions forchanges to foreheads, eyes, cheeks, lips, etcetera. The chattyinformality is very much like people in a beauty parlor or barbershop.There is a RECEPTIONIST seated behind a desk in a corner.Logan and Jessica walk up to the desk.The receptionist looks at Logan...ignoring Jessica. RECEPTIONIST Hello, Sandman. LOGAN Hello. RECEPTIONIST Do you want to see Doc?Logan nods, impatient - he knows someone's watching. RECEPTIONIST We don't get many Sandmen. I think we've only had one other since I've been here. LOGAN (brusquely) A Sandman can get as sick of his face as anyone else. Where's the doctor? RECEPTIONIST (smiling) I like your face. Would you mind if Doc took a picture? I'd Like him to give your face to somebody else. LOGAN It's all right with me. Is he here? RECEPTIONIST My name's Holly...Holly 13. In ancient times they said my number was unlucky. Do you believe in luck? LOGAN No - Look, I'm in a hurry. HOLLY Doc'll be with you soon, Sandman.Logan and Jessica walk to one of the chairs in the waiting area andsit down next to an attractive WOMAN. WOMAN CUSTOMER Is this your first time?Logan and Jessica nod. WOMAN CUSTOMER (smiling) This is my third... (a beat) ... I did it when I turned yellow ... and green. (showing her palm) I turned red yesterday. LOGAN (looking) Beautiful work. This man do them all? WOMAN CUSTOMER No. But I hear he's terrific. Have you seen any of his work? LOGAN Just one. HOLLY Doc's ready, Sandman. Logan and Jessica stand. They follow Holly into a large, shining,stainless steel room where we see: 143 MED. ANGLE - DOCwho looks about twenty-one years old, exchanges a pointed look withJessica. DOC It's a real privilege, Sandman. LOGAN Thanks. (slightest beat) I thought you'd be older. I ex- pected a Red. DOC (showing his palm; the flower crystal is Red) I am. LOGAN Your own work? DOC (with pride) And I did it myself right on there.144 FULL - ANGLE - THE SURGICAL APPARATUSAesculaptor Mark III -- the latest in servo-surgical designs.Completely self-contained -- tilt-bed, cryojector services embeddedin the platform. The Mark III's laser heads are integrated into thewhole cocoon, swiveled and gimbaled so as to be able to focus any ofthe surgical beams in microscopic delicacy or wide-bladed scraping.The machine vaguely resembles an enormously complicated x-ray tableon an angle -- the great slotted laser heads overhanging it andIntegral with it. From the cryonic receptor base there is a steadyexhalation of cold -- the vapor seeping steadily downwards, blurringthe endlessly looped and tangled tubes and wires and containersWhich join in solid state circuitry so that any random orinvoluntary twitch of a patient will be instantly compensated by anequivalent move of the laser head -- keeping the focus precise.At one end -- where the halves of the Mark III join, is n console ofswitches and dials -- lights nod servo-recorders which control the operation from the first injection of cold to the final healingvacuum drafts and scar burnishing. With the air of a magiciandemonstrating, Doc goes to the console and flips switches. Instantlythe table responds -- the platform tilting, the crab-like laser armsdescending flexing -- small vapor jets oozing as the beams slashharmlessly across the table. Beaming, Doc turns it off and the wholeapparatus subsides. DOC I designed it myself. (slightest beat) What'll it be ...a face job or a full-body job? LOGAN Just the face. DOC Fine....Holly will get you ready. You're in good hands, believe me.Holly comes forward and unbuttons the collar on Logan's tunic.As Holly brushes her fingertips lightly down Logan's arms: DOC Holly works here because she gets a lift out of watching the Table... (smiles) and other things. I'll be back in a minute. HOLLY He's going to sterilize himself. LOGAN Do I have to undress? HOLLY Not for your face.Logan follows Holly to the Table. (Jessica remains behind with Docwho speaks to her with soft urgency). DOC You shouldn't have brought him here. JESSICA; I didn't bring him -- what's the difference. He's blinking. He wants to run. DOC Run!? He's a Sandman. JESSICA I tell you he's running. I know. DOC Maybe...Maybe. But I wish he'd gone somewhere else. (a beat, a shrug) All right. He gets a face. 144X1 THE SURGICAL TABLE - LOGAN AND HOLLYLogan lies down.The Table ripples...accepting his weight prisoning and positioninghim. HOLLY (leaning - close to Logan) I like dark hair. Have him give you dark hair. DOC'S VOICE All set? HOLLY Um huh. Would you take a picture of him, Doc? I'd like you to give his face to somebody else. DOC Why not?Doc pushes a button...there is a tiny FLASH. DOC Do you have anything special in mind? LOGAN I don't care...Just get it over with. DOC (smiling) Hurry...hurry...hurry. HOLLY (whispering) Dark hair. LOGAN Holly'd like dark hair. DOC Holly'd like a lot of things. (studying Logan's face) We can start by narrowing the cheekbones. Doc presses buttons on the control board. Jessica, who is standingnext to Doc, is slightly startled as the Table begins to HUM...as apair of laser beams separate themselves from the overhead clusterand extend toward Logan, forming inner cones as they approach.CryoJector needles start to close in on them, nearing their facesand shoulders slowly...the visible cold streaming off the points.A vibrobeam begins to KEEN.SOUND: An insistent chiming.Doc hears the sound and turns with the martyred air of a man who'sbeen called to the phone too many times. He turns to a phone-likeapparatus nearby, shifting the table into neutral as he turns. Thetable and the laser heads stop moving. DOC (as if speaking on a phone) Hello (listening) Yes (listening) Yes, they are. (listening; his expression changing) Done.Doc turns back to the console, pausing to stare intently at Logan,then up at the brightly smiling Holly. Something in his lookregisters, and Holly's smile fades. Now Doc engages the machineagain... DOC Pay attention, Sandman. I'm proud of this machine.As he speaks he presses and an arm sweeps downward and into positionnear Logan's face. It pauses as DOC With this one there's no waiting for scar burnishing. It's all in one...watch now...The laser arm sweeps across Logan's forehead and cheeks, leaving abright trail of blood as DOC But here's the improvement. Instant healing---before you feel a thing. Watch now...Doc pushes a special button and the arm sweeps back along the track,spraying healing fluid. Magically the blood vanishes and the skin ismoist and whole.144X2 THE SURGICAL TABLE - LOGAN His face tense--he knows something's wrong. Over him Holly's brightface with its rapt look. She's not sure, but she enjoys whatever'shappening.144X3 BACK TO DOC who is playing the console as he speaks. DOC Perfect depth adjustment on this one, Sandman. The beam will cut through that uniform and just exactly through the skin beneath-- absolute precision. Watch now And the machine does its stuff, slashing through Logan's tunic--aseam of blood following the rip. DOC Of course, it doesn't mend uniforms, Sandman, but otherwise it does everything, doesn't it? Just imagine what would happen to you if the healing stopped functioning. And the arm moves back again, spraying the healing fluid intoLogan's new wound. Again the blood disappears. Suddenly Doc's look is ferocious. He turns off the healing switchand punches buttons fiercely. The laser arms begin to move wildlyand the SOUNDS become shrill. Holly looks alarmed. HOLLY No! You're scrambling the table. He'll be cut to pieces, Doc. DOC Damn right! It was a trap. They know! LOGAN No - I'm Running!Machine begins to WHINE LOUDLY.Jessica tries to turn the machine off...Doc starts to wrestle withher as:145-145X4 INTERCUT: CLOSE ANGLES - THE CLUSTER ABOVE LOGAN Moving.HOLLYWatching two stun beams lower.Doc knocks Jessica down. She is groggy on the floor asThe stun beams lance into Logan's cheeks.The Table holds him, biting into his right leg below the knee.146-148 QUICK CUTS OF DOC AND HOLLY Watching intently as: 149-150 CLOSE ANGLES - LOGAN AND THE CLUSTER ABOVE HIMAs surgical beams slit his shirt from the shoulder to the waistleaving two threads of blood. A vacu-head dips to suck the bloodaway neatly.151 ANOTHER ANGLE - LOGANAs Logan desperately sucks in his belly....trying to flatten himselfinto the Table.152-153 CLOSE ANGLES - LOGAN AND THE CLUSTER ABOVE HIMAs laser blades cut into his face....followed by a spray of healingliquid on the cuts. 154 CLOSE - ON HOLLYExcited....flushed....as:155 CLOSE - ON LOGAN AND THE CLUSTER ABOVE HIMAs two wide blades of light sweep downward....and hover three inchesabove his neck....and keep lowering ....HUMMING loudly....and oneinadvertently frees Logan's right arm.156 CLOSE ON - DOCShocked as Logan reaches for his gun.157 CLOSE - ON LOGAN AND THE CLUSTER ABOVE HIM.As dozens of laser beams slash toward Logan....he twists away....andbreaks off....jumping off the Table.Doc rushes Logan holding what appears to he a frozen police billy. In an instant he has knocked Logan's gun away....and as Logan looksdown at it....we see it lying on the floor completely frozen.Slowly, Doc moves toward Logan the short smoke-colored stickmenacing in his hand. LOGAN (out-of-breath) What I told you is the....Abruptly, Doc lunges toward Logan...missing him as Logan ducks away.As Doc turns to attack....Logan smashes his elbows into Doc's chestand Doc falls back onto the Table.157X1 CLOSE ON - HOLLYSCREAMING, as Doc is slashed by the machine amid showers of sparksand gouts of steam as the metal twists and wires short out andvarious fluids boil and spill onto hot surfaces. Holly tries tofight her way into the mess to help Doc, but Jessica, recovering,pulls her down and the two struggle.157X2 CLOSE ON - DOCIn terror as the laser beams begin to slash him to ribbons.157X3 LOGANMaking an effort to stop the machine, pulling levers and pushingbuttons in vain. He sees what's happening, pulls Jessica away fromHolly and, grabbing up his gun and tunic, heads for the entrance.Crossing the waiting room they are stopped by the sight of:158-162XI OUT163 FRANCISEntering...gun in hand.164 REVERSE ANGLE - LOGAN AND JESSICAAs they face Francis.165 FULL ANGLE - FRANCIS LOGAN AND JESSICA FRANCIS (frowning) What's going on, Logan?! LOGAN It has nothing to do with you. FRANCIS (choking but still loyal) What are you talking about?! I saw you let a Runner go? (up a notch) I saw you, Logan?? Tell me!!Suddenly the machine behind them erupts into a great burst of smokeand noise, momentarily drawing Francis' attention. Instantly Loganjumps him, grabs and throws him sprawling. Without a look back, heand Jessica run out.166 OUT166X1 FRANCISEnraged, finds his gun on the floor and, before rising, gets off ashot at them as they disappear. Then leaping to his feet, dashingoff in pursuit.167 ARCADE TRACKING Logan and Jessica running through Arcade. 167X1 LOGAN AND JESSICA Suddenly she pulls him in another direction. JESSICA Follow me, Logan. Stay close.As they run into Hallucimill...Francis...never too far behind...spots them and follows.168-173 OUT174 EXT. - HALLUCIMILL - TWO SHOT - LOGAN AND JESSICAExiting from the other side...and running through the crowd towardand into a Love Shop...followed by Francis coming out of theHallucimill, too... and running toward the Love Shop.175 INT. - LOVE SHOP - LOGAN AND JESSICA As they enter the hot darkness. The Love Shop is throbbing withsexuality. In it, the darkness breaks at Irregular intervals -- whenbooths and cubicles flare into brilliance, each time revealing anorgiastic tableau. The Love Shop is multi-leveled and the randomflashes may appear from any direction at any time, blinding andstunning the viewer. Logan and Jessica pause to get their bearingsand as they do, a beautiful WANTON grabs Logan, pulling andlaughing: WANTON I have an empty one, SandmanLogan tries to pull away, looks around for Jessica just in time tosee a man almost carrying her off. Then the light is gone again andJessica with it.176 LOGAN AND THE WANTON As she tears at his clothing, wrapping herself around him, trying topull him down. Then, as the light flares again she suddenly lets goand grabs another man...Logan is, freed, starts looking for Jessica.177-179 SERIES OF SHOTSLogan hunting through the Love Shop, fighting them off.INTERCUT SHOTS of the suddenly-illuminated tableaus. Sex, manifoldand multiform -- everybody doing it.180 ANOTHER ANGLE - FRANCISEntering, starting to look around -- grabbed by one of the laughingWantons.181-182 LOGAN, JESSICABrief glimpses of them looking for each other.183 FRANCISHunting both.184 WITH LOGANAs he suddenly collides with a woman -- shoves her away and seesit's Jessica. Now together they make for an archway where multiplemirrors enclose them.Suddenly they are in darkness. Then a heavy door slides open andJessica leads Logan through the opening. Behind them the door slidesshut again. 185 FRANCISDesperately trying to get rid of a woman, sees a flash of Logan andJessica far across the room -sees them leave. Then he's pulled downagain as the orgy continues.186-186X1 OUT186X2 INT. - AN IMMENSE METAL STAIRWAY After a moment, Jessica takes Logan's hand and they start down inthe darkness. The SOUNDS of Love Shop still heard from behind thewall. LOGAN Are you taking me to them? JESSICA Yes. (beat) I don't know what else to do -- with him following us. (she hesitates) Why do you keep running from your-- LOGAN Because he's my friend - (a beat) and I don't want to be killed by him - or anyone. JESSICA He's good, isn't he? LOGAN Will he find us and kill us? Yes...or one of the others. (a beat) You know there's only one place to go now... JESSICA (hopelessly) They won't believe us. LOGAN (beat) I'd rather take my chances with them...than with Francis. JESSICA They won¹t listen. LOGAN (interrupting) You think Sandmen will? (before she can answer) There's no other way for me, JESSICA We'll convince them.They pause. He puts his hand over hers. Jessica is silent. Then sheturns his hand over. The crystal blinks red -- on, off. JESSICA Yes, Logan. (turning to him blindly) I'm glad they didn't change your face. Logan embraces her, but his look is strange and remote. Theycontinue down into the darkness. Behind them the SOUNDS of Love Shop die away and only theirfootsteps are heard.187 OUT 187X1 FRANCIS At the mirrored archway, looking around carefully, testing. He knowsthey went through somehow. Hands claw at him - he brushes them awayas he searches.188-200 OUT200X1 WITH LOGAN AND JESSICA They have come to the foot of the stair. Here the flooring shineswetly in the darkness. JESSICA (softly) Exactly four steps now. Let me lead you. (they walk) Now to the right. It's narrow here, you'll have to get behind me. LOGAN (whispering) How will they know we're coming? JESSICA (whispering) They're watching us now. They'll let us in when they're sure. 200X2 CLOSE-UP - LOGAN'S HAND (INSERT) As he fumbles the transceiver switches at his belt, punching out asignal.200X3 INT. - SANDMAN H.Q. READY ROOMAs the Sandmen monitoring SEE THE SIGNAL FLASH and move smoothlyinto action.200X4 LOGAN AND JESSICA Close together, he behind, waiting--alert as a VOICE is suddenlyheard: VOICE (scratchy, filtered) Sandman, put your hands on your head. (he does) Clasp your fingers together. Now turn your hands over. Palms up. (beat) In a moment a light will shine in your eyes. Walk into it--Jessica first, then you, Sandman. You will have to stoop--but don't unclasp your hands. Do you agree?Logan nods.Jessica glances back at him but their faces are unreadable in thedark. Then suddenly--in front of her--a blindingly bright, narrowrectangle of light illuminating them fiercely. Jessica movesforward. Even she has to stoop. Logan is close behind. As he bendsawkwardly into the opening, the light goes out.201 LOGAN, JESSICA -- SANCTUARY HQAs he pushes her through the opening then moves instantly to theside, pulling her with him.. The move fails. Both are pinnedhelplessly in the blinding glare of the spotlight and the suddenappearance of glass-silver spear points pressed against them. Loganis unable to draw his gun. VOICE Hold still, Sandman, or die where you are. 2ND VOICE Is she the one? OTHER VOICES (like angry stage whispers) She betrayed us. Kill him. Kill them both. Jessica you sold us. Sandman butcher. Sandman murderer.Logan and Jessica stand rigid against the spear points, only theirheads turning to the echoing sibilants.. The spotlight goes off.202-204 OUT205 INT. - SANCTUARY HQ. - LOGAN, JESSICA - CLOSE In the darkness we see the glass-silver spear points are glowing allaround them, the long shafts falling away into darkness, the points,steaming gently when they touch--making an instant, wincing burn.Logan moves--a spear point presses--he flinches. LOGAN I'm a runner. She brought me here because I begged her to help me.He turns his palm. The red crystal blinks impressively in thedarkness.At the sight, a BABBLE of SOUNDS. Argument. VOICE He's lying. No Sandman ever ran. 2ND VOICE You don't run. You kill runners. You have killed runners all your life. - LOGAN Yes I have. (beat) Now it's my turn. And I want to live.Another angry murmur of VOICES. Over it Jessica suddenly: JESSICA (shouting) What's the matter with you. He's a runner-- he's blinking. We must help anyone who asks...we must-or we're the same as they are--deciding who lives and dies.One of the points lifts and touches Jessica's cheek. A quick, fierceburn. She shrieks--a tiny sound--and is silent.206 LOGAN Reacts fiercely, spinning against the spear points, he is Jabbed andpierced in a dozen places as he manages to get Jessica closer,shielding her with his body. But the spear points are too much. Hesubsides, as VOICES rise angrily "Kill him now".Suddenly a RINGING ALARM. All sound stops at once and we hear aCLATTER of FOOTSTEPS down the iron stair and across the outer floor.The spotlight bursts on again and a figure staggers into thechamber, straightening into the light, hair dishevelled, hands infront against the glare. It's Holly. HOLLY Holly. Holly, New You 483... He's dead. Doc's dead and the Sandmen came... VOICE (gentle) Holly--Holly. Remember the code. The code, please Holly... HOLLY (hysteria) They smashed everything and I barely got away. (beat) Holly. Station 12, Sanctuary 7. Holly. Holly...She lowers her hands and we see her, tattered, frightened--thebright smile strange. She comes to herself a bit, looks to the sideand sees Logan and Jessica, pinned against the wall.She reacts with fear at the sight. HOLLY It's him! The first Sandman. He killed...Doc. JESSICA No, Holly--wait! He's running. Tell them the rest! HOLLY (suddenly exhausted) He's the one. You too. I remember. He was in a hurry. Just a face job. Dark hair, I said. Then he killed Doc and you grabbed me--and the machine blew up and I ran...I ran JESSICA Holly. Holly! Please...The other Sandman. Remember the one who came after--Holly suddenly remembers and the shock makes her lucid. HOLLY (pouring it out) That's right. The other one came after. The older one. Smashing, killing, burning! JESSICA (coaching desperately) ...and he was hunting the first one, this one. Wasn't he? Wasn't he? This one was running, the other one was hunting him... HOLLY (remembers) Yes. Oh yes. (to Logan) He was after you. I remember. You're running!207-208 OUT208X1 ANOTHER ANGLE 1The spear points are withdrawn. Logan and Jessica relieved butshaken, wary. LOGAN May we move?A long beat. Then-- VOICE I saw we pass them through. Somebody help Holly. Other VOICES mumble agreement. Holly moves off into the dark room,hands reaching out to help her. VOICE You two. Just go straight ahead. Follow the corridors with the pipes overhead to the end. Then use the key.As the voice speaks the spotlight finally goes off and by a dim glowaround the perimeter, we see we're in some kind of large undergroundchamber--some part of the vast undercellars of the city. The lightis enough to reveal that there are perhaps twenty people in theroom, reds and greens both--but all are silhouetted, no face seen.There's a kind of aisle open down the room's center and it'sobviously the way they are to go. Logan and Jessica move off. Loganpauses. LOGAN I don't know who you are. I'd like to thank someone. VOICE It doesn't matter who we are. Follow the tunnel to the end. LOGAN I Will there be someone to tell us where to go from there...?A murmur of discussion then: VOICE Someone will follow. When you come to the lock, he will tell you how Co go on the other side. Jessica may go with you as far as the lock. LOGAN (a deep breath) No. Jessica goes back now. Take her back. (suddenly his tone is urgent as he speaks to her) Now! Go on back. Back outside, Jessica.She is bewildered by the change. JESSICA Why?- No...no...I'm going with you. VOICE1 Only to the lock. After that there's no way back. JESSICA (small voice) I don't care. I'm going to Sanctuary. With you.A BABBLE of VOICES. "Impossible"...She ignores, watches Logan. JESSICA (cont'd) Will you take me with you? LOGAN Why, Jessica? You're still a green. JESSICA shakes her head. She doesn't know why.Logan puts his arm around her, marveling, trying to understand,moved. But suddenly he remembers the urgency of the moment. Hewheels, pulling her with him. LOGAN Come on then--they'll be here any minute!Uncomprehending, she starts to run with him. Too late. An EXPLOSIONshakes the chamber--the wall bellies inward and a group of Sandmen,led by Francis, burst into the room, firing as they come. Panic. Turmoil. PEOPLE running, SCREAMING--the ALARM BELL RINGING,RINGING as Sandmen methodically slaughter the people in the wreckageof the room.209 OUT209X1 LOGAN AND JESSICA As the brief, one-sided battle rages, echoing SHOTS and SCREAMS inthe dust filled room, Logan pulls her down out of the way. Theywatch, helplessly. Suddenly the figure of a Sandman looms beforethem. He stares at Logan, unsure. Logan reacts, draws, fires. TheSandman is smashed away, burning.209X2 LOGAN Suddenly aware that he has killed a Sandman. Jessica pulls him downagain into the shadow. Neither realizes chat the soft pulsing of hiscrystal can be seen from the room.210 ANOTHER ANGLEFrancis, quartering the room like a hound, searching, searching,stopping as he sees211 FRANCIS P.O.V. The crystal blinking red, eerie in the darkness. FRANCIS (believing the blinking crystal is Jessica's) Logan. I know you're in here. What've you done...gone crazy over a Runner? (whispering) Nobody knows except me. You know I won't say anything. I should have turned you in but I couldn't. Leave her. Come on out with me. It'll look like you're part of the group that hit this nest. (pleading) Logan...you're a Sandman! (slightest beat) Logan...now...now...Logan...After the slightest beat, Logan FIRES and Francis falls, a greatchunk of the cave roof falling between him and Logan -- all visionobscured while EXPLOSIONS and SCREAMS continue.212 LOGAN AND JESSICAAs he pulls her shakily to her feet. She nods, she's okay. He leadsher off down the tunnel.213 WITH LOGAN AND JESSICA - TUNNELfollowing the tracks. The way leads down, curves, recurves, butalways down.214 ANOTHER ANGLE - INCLUDING LOCK As Logan and Jessica rush toward it. The corridor has widened into akind of chamber which ends in a great metal door like an immensesubmarine hatch.The tracks run straight to it and beneath it. The base of the door tands in a couple of inches of water. With great urgency, Logan and Jessica examine the huge door. Logangives the wheel a tug...nothing.SOUND: A WHIRRING like clockwork...A METALLIC BELL SOUND and then aRECORDED VOICE. VOICE Runner, this is the last gate. Use your key now. When the Bell sounds again...use your key. Good luck, Runner. May you find Sanctuary.SILENCE. Then the BELL CHIME SOUND and a light illumines the centerof the wheel where there's a kind of keyhole. The WHIRRING continuesfor about ten seconds. Then it stops and the light goes out.214X1 LOGAN AND JESSICA Hearing a SOUND they turn and see: 214X2 ANOTHER ANGLE - P.O.V.Far behind them, in the wet glisten of the tunnel, a bobbing lightand shadow -- the SOUND of RUNNING215-216 CLOSE ON - LOGAN AND JESSICAAs Jessica takes the ankh from her neck - fumbling with the chain. JESSICA (breathlessly) Every key only works once...and only a Lastday key must open this door.... They said it would fit - but....She tries to fit the ankh into the glowing one, but her hand shakes.Logan tries to steady her - and in helping, she drops it into thedark pool of water. They fall to their knees, searching desperately.Then Logan remembers. LOGAN Wait - I have the one I took from the Runner.SOUND: The same as before as Logan searches his pockets for theRunner's ankh.Logan finds it just as the WHIRRING SOUND has STOPPED again...andthe light has gone out again in the center of the wheel.As Logan and Jessica wait for the sound, etcetera to repeat againanother TREMENDOUS EXPLOSION is heard rocking everything. In thedistance, Jessica can see the shadow of a FIGURE approaching.As the SOUND, etcetera, repeat-s once more...Logan pushes the ankhinto the lighted center of the wheel. The ankh fuses and the lightedcenter becomes brighter as the door opens.There is a hesitation...in which Logan turning his head back...realizes what he has done and is shaken.As the shadowed FIGURE looms LARGER: JESSICA There's no turning back, is there?Logan turns and pushes Jessica through the door... following her...as the door closes and they are:217 ON THE OTHER SIDE now, they can still hear the SOUND, etcetera for the last time.Beyond the lock is the ruins of a vast undersea complex in whichfood was raised and harvested. What we see is an endless shadowylabyrinth of breeding pens which stretch off into the green darkness-- a kind of mammoth aquarium with catwalks and ramps intersectingthe huge tanks. The levels are multiple and everything is slimed,rusted, rotted and wet.In the tanks themselves are shoals of fish, gardens of seaweed, etc.The machinery for harvesting and winnowing has long since gone torust -- and visible in the great tanks are the wrecks of vessels andgear -- the kind of stuff Cousteau and Co. are using now.Footing is dangerous -- a slip from any catwalk means a plunge intowater and some of the walkways are well under water anyhow. From aninvisible ceiling comes a steady dripping and everything is crustedand smells of salt and decay and life in the darkness.217X1 WITH FRANCIS As he arrives at the door, the ankh glowing as before.But Francis has a light. He examines the door with it, and as itlights the pool of water on the ground, it picks out Jessica's ankh.FRANCIS stoops, gets it and looks from it to the one glowing 128 LOGAN AND JESSICA Bewildered -- uncertain, as their eyes adjust to the dim light.Finally, Logan gestures ''this way" and sets out.(NOTE: The action of the sequence is the action of people gropingthrough a labyrinth. They go along, gripping a rail where possible,sometimes sinking deep into water, sometimes rising above it. Theyrun into blind endings and retrace to the last junction -- alwaystrying for what looks driest and seems to stretch farthest along thegreat wall...)219-224 WITH LOGAN AND JESSICA - SERIES OF CUTS A. Making their way along the walkway side by side.B. Stopping as the walkway disappears under water. Logan wading inwhile she waits -- until he re-emerges. She follows. C. Choosing between diverging ramps. Having to return. JESSICA How do we know this is the right way? LOGAN It's the only way. D. POV an alley way full of machinery. Logan gives a wheel a halfturn -- great rusty net-combs start to winnow the water.E. Helping Jessica, Logan slips...falls into darkness. Jessica'sfear until he emerges, hand over slimy hand. The water is cold.F. POV ancient signs - PROTOPLANK...DEPOT NO #11 DO NOT DECANT...HABITAT MARITIME...ETC.They speculate. JESSICA What do you suppose this was...? LOGAN Some kind of breeding pens...I suppose...They say people used to breed animal s, fish, anything (at her disbelieving look) To eat, of course. JESSICA Ycch. (shudders) To kill things and then eat them. It must have been a savage world. Logan shrugs, but the idea makes him queasy, too. G. They stop, tired. Peer through at the wreckage of a smallinspection vessel and suddenly hear:SOUND: FOOTSTEPS, coming, halting, WATER sloshing. Steps again.225 POV - THROUGH THE MAZE OF TANKS - A LIGHT moving, hunting. LOGAN (alert) Stay here, while I see what it is. Jessica nods, frightened. Logan slips off into the darkness. In amoment he's back. His face - is grim. JESSICA It's Francis, isn't it?He nods.226 LOGAN AND JESSICATrying to move faster now, Logan makes a wrong turning and they mustgo back. But as they do so, Francis is ever closer -- a giganticdistorted SHAPE now visible through the eerie glass -then suddenlyseeming small and distant.As they emerge from the blind alley once again close to the wall,suddenly:227 FRANCISlooming huge, gun drawn, apparently only a few feet away.228 LOGAN AND JESSICA Logan desperately claws at machinery, succeeds in starting motion,somewhere what sounds like a GENERATOR begins laboring, ancientmachinery GROANS. They turn and run as they HEAR: FRANCIS (distorted; echo; etcetera) LOGAN N N N. 229 POV - FRANCIS' LIGHTis splashing the walls ahead and in it they suddenly see:THE DOOR -- a waterlock with a wheel. As the light passes, Loganheaves desperately on it. It starts to give as the light comes backand they are revealed.230 CLOSE - ON FRANCISaiming at Logan...then slowly moving his hand until Jessica is inhis sights.231 LOGAN - JESSICA - FRANCIS Francis FIRES -- tremendous SOUND, ECHOING and RESOUNDING. One ofthe great tanks buckles and a cascade of water erupts overeverything. Through it, Logan manages to get the door open andpushes a half-drowning Jessica through.232 INT. - THE SHAFT A sort of ancient freight elevator which commences to move groaningwhen the waterlock door closes. Logan slumps to the floor.233 INT. - SHAFT - TWO SHOT - LOGAN AND JESSICA Moving at an extremely high speed...We can see the outside -flickering - dark, light, - dark, light... and finally to a whitecolor. They lie slumped, motionless. Finally it stops. The dooropens into a kind of glistening darkness, suffused by a bluish glow.It is now very cold.In the silence Logan stirs. Groping, he touches Jessica, who movesclose to him. Logan puts his arm around her and they rise. Slowly,tentatively, he leads her out into the dark chamber where they standfor a moment trying to find themselves. What little light there isseems to come from the left. Arm around Jessica, Logan starts tomove. JESSICA (whispering) I'm afraid. LOGAN It's brighter there...besides, we can't go back.He starts to move again but Jessica hangs back. JESSICA Wait.He halts. JESSICA (cont'd) I don't know what's going to happen to us Logan but -- (a beat) Are you glad you didn't kill him? LOGAN It doesn't make any difference anymore. JESSICA You're really one of us now, aren't you? LOGAN You knew that I wasn't before, didn't you? (Jessica nods) Why did you stay with me? JESSICA (feelingly) I wanted to... (Logan puts his arms around her) ...And you...what made you kill Sandmen? LOGAN I had to. I did kill...for the first time in my life I killed. JESSICA Because you felt like a Runner, didn't you. LOGAN I guess so...I know I felt something I never felt before...and I didn't like it...not a bit. (after another long beat) I'll tell you one thing...Sanctuary better be worth it. That's the last place for me to live now. JESSICA For us.Logan mouths "Us"...a strange word...and why not... in the lastminutes he has done strange things.234-236 OUT 236x1 INT. - ICE CAVERNSuddenly they are blinded by a brilliant light coming from the sideand revealing for the first time where they are.236x2 ANGLEBefore them a vase, dim, ice-shrouded storage area, row upon endlessrow of frozen lockers trailing away into darkness, their legends andcontents unreadable in the thick covering of ice and frost. To theside, a bright light. 236x3 LOGAN AND JESSICAWalk toward the light.236x4 WITH LOGAN AND JESSICAWe see a huge, high-domed cavern ringed and ornamented withextraordinary ice sculptures-They are everywhere: Otters, fish, atusked walrus---overhead a flight of birds.236x5 ANOTHER ANGLEAs they look in wonder: VOICE Overwhelming, isn't it?Logan and Jessica turn and see:237-238 OUT239 FULL ANGLE - BOX Box is half-man...half-metal.From the midpoint of his sternum to his hips he is coils and cables.One hand is a cutting tool. His head is half-flesh...half-metal. hislegs are a chrome pedestal. BOX Are you too startled? Am I too removed from your ken? (slightest beat) I'm neither machine nor man...but a perfect fusion of the two...and better than either. (with great pride) No human sculptor could match this greatness...don't you agree? LOGAN All right - what are you? BOX (laughs) Your turn. JESSICA It's incredibly beautiful. BOX Ah, but wait for the winds. Then my birds sing. My walrus breathes. My palace chimes and bells. And the deep grottoes whisper my name...Box Box...Bahhhhxxxxsss... LOGAN (after a beat) We're hungry do you have anything to eat? BOX Anything to eat?Box starts to laugh...He is roaring with laughter as: JESSICA (quietly) We're human and we're hungry. BOX (still laughing) I know...I know. LOGAN This place is a link to Sanctuary, isn't it?Box looks totally confused. LOGAN (angrily) How do you think we got here??!! BOX You walked in. I saw you. Don't you remember?Logan contains his anger. LOGAN (beginning again; quietly) Where do you think we came from? BOX From? From? From? LOGAN We were sent here and you know it. Others have been sent here. Where are they? Hiding? Box looks around the cavern: BOX (mischievously) Hiding? Yes! Hiding, hiding. LOGAN Where do we go?! (up a notch) Where do we go from here??!!We hear a NOISE outside. BOX Is that the wind? (smiling) Not yet... (slightest beat) You must hear my birds sing. LOGAN You know about Sanctuary! I know you do! You have to help us! You don't have a choice! It isn't your decision!! Tell us. BOX Never a pair. I have never had a pair. LOGAN Where do you send them? BOX You're a beautiful pair. JESSICA Please. BOX I've never seen humans whom I thought worthy of being here... (a beat) I'd like to sculpt you. (looking around) Where would I put you? (smiling) I know...you'd be the base of the column. You'd hold up my world! LOGAN (exasperated) Answer the question! BOX Do you know how long all this will last? Not thirty years...or thirty thousand years...but thirty thousand thousand years...and you'll be part of it. Ages will roll...Ages. And you'll be here...the two of you... eternally frozen...frozen...beautiful. LOGAN (to Jessica) There must be somebody else up here. I can't believe that he's-- BOX (interrupting; his voice tone changing; very lucid) Let me sculpt you and I will show you where the others have gone. LOGAN That's better. (slightest beat) How do you want us? BOX Nude. Imagine, a pair. LOGAN (starting to take off his clothes; as Jessica hesitates, Logan smiles) It'll be all right...240-241 JESSICA Undresses.Box motions to a pedestal covered with deep white furs. BOX Up there.Logan helps Jessica up to the pedestal. As they stand there: LOGAN How do you want us? BOX (beat) Up there.Logan looks at Jessica. Her beauty is glowing in the lamplight.Logan takes Jessica into his arms. BOX Enchanting. Is that what humans do?By this time, Logan and Jessica are no longer listening toBox...their arms are enveloping one another...with strong feelings. BOX'S VOICE Superb! 242 ANOTHER ANGLE - INCLUDING BOXAs his metal hand begins to BUZZ...he brings it to the base of thehuge column supporting the cavern.As he works furiously...at Incredible speed:243 LOGAN AND JESSICA...oblivious to Box...their feelings intensifying as they continueto hold one another.244-245 OUT246 CLOSE - ON BOX BOX (stepping back) Done...behold...!247 REVERSE ANGLE - LOGAN AND JESSICABefore they turn to view the sculpture they kiss long andpassionately.Their mood is broken by: BOX'S VOICE Done...Done...Done...Logan and Jessica break. They turn and see:248 FULL ANGLE - THE ICE SCULPTUREBox has captured them perfectly...shimmering with life...filled withemotion.249 WIDE ANGLE - INCLUDING LOGAN, JESSICA AND BOXThere are tears in Jessica's eyes as she reacts to the sculpture. JESSICA (squeezing Logan's hand) It's glorious Logan helps Jessica off the pedestal and they both start to dress. LOGAN All right. Now you keep your bargain. BOX (rapt by his work) Wait for the wind! Wait and hear the birds sing over you! LOGAN (only interested in getting out) We're ready.Box mumbles as he leads Logan and Jessica toward the rear of the IceCavern.250 INT. - ICE ROOMAs Box enters followed by Logan and Jessica.This room has a fairly low ceiling and it is not too wide.It stretches back as far as the eye can see.The ice along the left wall is frosted...but the ice along the rightwall is perfectly clear.And embedded in the ice along the perfectly clear right wall are:251 WIDE ANGLE - MEN AND WOMENStanding in erect positions.At first it appears that they might be more of Box's perfect worksof sculpture.But as Logan and Jessica examine them closely through the clearice...it is soon apparent that they are real people...who have beenfrozen.252 CLOSE ON LOGAN AND JESSICAHorrified as they move slowly along the wall.253 ANOTHER ANGLE - INCLUDING THE MEN AND WOMEN FROZEN IN THE WALLWe can see that each of them has a black crystal flower in the palmof their right hands. Logan walks to the end of this wall. Each frozen body has a numberabove it. The final body's number is 1056...That number which thevoice in Sandman's headquarters revealed as the number of missingRunners.The CAMERA PANS Logan back to Box.254 ANOTHER ANGLE - INCLUDING BOXAs Logan turns toward him. LOGAN (stupefied) How did they get in here? BOX Regular storage procedure...the same as the other food... The other food stopped coming and they started. LOGAN What other food? BOX Fish and plankton, sea greens and protein from the sea. (pointing to the frosted ice wall) It's all here - ready - fresh as harvest day. Fish and plankton, sea greens and protein from the sea...And then it stopped coming and they (gesture) came instead. So I store them here. I'm ready. And you're ready. It's my Job - protein, plankton, grass from the seaLogan pulls out his gun. LOGAN Tell us how to get out...or I¹ll destroy you..I'll kill you!Box laughs...The same LOUD, ROARING LAUGH we HEARD earlier. Then: BOX (calmly) Such a beautiful pair. I'll stand you facing one another. Box starts his saw hand BUZZING. He turns all the flesh parts ofhis body away from Logan and starts advancing toward him and Jessicawho is now standing behind Logan.Box is now like an armed vehicle.Logan FIRES...the fire reflecting harmlessly off Box's metal frame. BOX (advancing) Resign yourself.255 MED. ANGLE - LOGAN AND JESSICARetreating...as Logan FIRES again and again...to no avail.As Logan and Jessica retreat further and further toward the rear ofthis room and:256 REVERSE ANGLE - BOXAdvancingWe can SEE PERSON AFTER PERSON...embedded in the clear wall of ice.A strange mute audience to this to-the-death drama.257 TWO SHOT - LOGAN AND JESSICAFinally reaching the rear wall of this room as:258 REVERSE ANGLE - BOXRelentlessly moving toward them.259 TWO SHOT - LOGAN AND JESSICASeemingly pinned back against the rear wall.Logan is FIRING his gun futilely with his right hand...while movinghis empty hand against the rear wall...trying to find a knob orbutton which might open it.The entire time he never takes his eyes off:260 REVERSE ANGLE - BOXGetting closer. The saw is BUZZING LOUDLY. BOX (chilling tone) I make such a small, quick incision ... you can hardly feel it.261 REVERSE ANGLE - LOGAN AND JESSICAAgainst the rear wall...We can SEE...but they cannot...that abovethem...on the ceiling...there are a number of exposed cables.262 FULL ANGLE - LOGAN, JESSICA AND BOX Box is practically upon them. As he lunges forward with hisWHIRRING saw hand Logan pushes Jessica to the floor and drops downalongside her.Box cannot stop his forward thrust and cuts a sizable chunk of iceout of the rear wall as:Logan SHOOTS at Box from the floor Level...upwards ...trying topenetrate some part of his seemingly impregnable body. He misses buthits the exposed cables on the ceiling.There is an EXPLOSION. BOX (looking up; screaming) No! The coils!Box rushes past Logan and Jessica toward the huge ice caverncontaining his sculptures. BOX (still screaming) All my work!' All my work!! As Logan and Jessica stand:263-270 OUT 270x1 ANGLE - THE REFRIGERANT COILSBursting open, discharging great streams of gases.270x2 LOGANSeeing the effect, shooting again and again at the ceiling andwalls.270x3 ANOTHER ANGLE Coils bursting everywhere, vapor billowing into the cavern. 270x4 ANOTHER ANGLE Huge slabs of ice instantly loosening, crashing over. 270x5 FULL SHOT AS the effect multiplies--Ln the hissing vapor-sculptures crashingover and enormous chunks of ice loosened and crashing.270x6 BOXCareening around wildly in the growing ruin, as the lights dim andflicker out.270X7 ANGLEThe ceiling full of birds loosening, crashing down upon Box. Againand again like great spears and wedges 270X8 BOX Buried in his work, still feebly moving, then still as the roaringice crashes down, in the terrible darkness. 270X9 LOGAN AND JESSICA Cowering in the crashing maelstrom of ice blocks--saved only byBeing in an angle of the cave.270X10 FULL SHOT The SCREEN blotted out by the cave-in, going out of focus. Silence.Then:SOUND: Ice melting, water running.270X11 LOGAN AND JESSICAStir in the dimness, amazed to be alive.SOUND: A heavy crash and splash as another huge ice block falls intothe water.As it falls, the cave is suddenly illuminated again. They look andsee the light is coming from a great fissure in the wall--opened bythe last ice fall. Water rains across the opening.Logan and Jessica make their way to it, step out.271-272 OUT273 EXT. - HIGH LEDGEWater is pouring down in a waterfall from the icemelt.They are blinded by:274 SUNSHINE: A HUGE RISING SUN As Logan and Jessica shield their eyes...then realizing that thedazzling light will not go away:Standing together...in fear of the sunrise. JESSICA Is there something on fire!! Logan shakes his head...he doesn't know.As Logan looks up at the sun. LOGAN It seems to be moving away. Come on...274X1 ANGLE - LOGAN AND JESSICAclambering cautiously down from the barren ledge.274X2 LOWER - AN AREA OF BOULDERS Suddenly, a FAIRLY STRONG WIND starts blowing. JESSICA (frightened) What's that? LOGAN It feels like breath. It makes everything move. Your hair is moving. JESSICA (smiling) And yours.They reach the level below and pause, look around. LOGAN Jessica -- we must be outside!She looks at him, uncertainly, he puts an arm around her and theyset out again.275-276 OUT276X1 INT. - CAVE - CLOSE ON FRANCISPicking his way through the ruined cave, puzzled.277-287X1 OUT288 EXT . - FOREST AREAAs Logan and Jessica reach it.They are startled by the SOUND of BIRDS SINGING for a moment...thencontinue through some high grass and thorned bushes being scratched,etcetera.A swarm of insects attack...Logan and Jessica fight them off: JESSICA (starting to panic) I hate outside! I hate it! LOGAN (holding her; comforting tone) We'll be all right... (a beat) We will...The sun is starting to go down...as they see a rabbit dart away inthe grass...startling them for a moment. 288XA1 FRANCISComing out through the fissure in the rock, squinting at theunexpected light from the sky, then setting out as Logan and Jessicadid. 288XB1 WITH LOGAN AND JESSICA - A BUSHY AREAThey come upon bushes of berries. Logan picks a few, looks at themand smells them. As he is about to put them in his mouth...Jesslcagrabs hold of his hand. JESSICA Don't! LOGAN Sooner or later, we'll have to try somethingLogan eats the berries...as Jessica watches intently.After a beat LOGAN They're good.Logan and Jessica pick berries and eat. When they are finished: JESSICA It's getting dark and cold. I'm tired. LOGAN Why don't we rest here? We know we can eat these.They sit on the ground.LAP DISSOLVE TO:288X1 TWO SHOT - LOGAN AND JESSICA - NIGHT Sitting on the ground.Jessica is shivering. Logan has his arms around her trying to keepher warm. JESSICA Where do you think that heat-ball went?Logan shrugs. JESSICA Do you think everything's going to turn to ice? LOGAN I doubt it. JESSICA Don't ever let go. LOGAN I won't. After a long beat: LOGAN It all seemed to make sense until Box. JESSICA Do you think he was telling the Truth?Logan shrugs. JESSICA (trying to convince herself) Maybe we're the first ones to get through... (hopeful tone) Maybe Sanctuary is near, now... another protected place. It couldn't be outside. LOGAN (grunts) How would anyone know? Even if we find it -- we can never go back.At her stricken look...Logan touches her in a caring way. LOGAN You're right...it must be near now. We'll find it. JESSICA (yawning; closing her eyes; resting on his shoulder) Thirty thousand years didn't last very long, did they? 288X2 EXT. - BARREN TERRAIN - NIGHT - FRANCIS Looking frightened as he looks up at the moon and the stars his gundrawn.Suddenly, a rabbit darts by.Francis jumps up in great fear and starts FIRING his gun...blastingthe rabbit to smithereens.He is breathing hard (fear)...and looking around...gun in hand.288X3 EXT. - FOREST AREA - DAY - LOGAN AND JESSICAwalking in the hot sun...grimy...thirsty.288X4 EXT. - FOREST AREA - FRANCISHis face still betrays a wild, frightened look as he moves verycautiously.He reaches the bushes of berries and sees some of them on theground.He picks a few off the bush...is ravenous...but finally...toofrightened that they might be some kind of poison to eat any.As he angrily crushes the berries in his hand... then wipes his handon his trousers:288X5 EXT. - FOREST AREA - LOGAN AND JESSICASeeing shimmering in the distance. They walk toward it.288X6-288X8 TRACKING SHOTS WITH LOGAN AND JESSICAReaching...289 FULL ANGLE - A BROOKThey rush to it...drink...then undress...swim...and as they embracein the water: JESSICA Logan!!!Look!! (Logan turns around) No...your palm...look!!! Logan looks at his palm...the blinking crystal is clear.He grabs Jessica's hand and looks at her palm... the same. JESSICA (quietly) What does it mean? LOGAN (trying to assimilate its meaning himself) The Lifeclocks have no power outside. Jessica takes Logan's palm and kisses it. JESSICA (with laughter) You can have any woman in the city. What do you really want? LOGAN (straight) You know, Jessica. JESSICA. (a beat) ...But I still have the choice...? LOGAN Of course. JESSICA Then the answer's Yes...They embrace there in the water... 290 OUT291 HIGH ANGLE - SHOOTING DOWN - LOGAN AND JESSICAComing out of the forest...climbing up a green hilly area...reachingthe top and seeing:292-301 OUT301X1 ESTABLISHING SHOT - WASHINGTON, D.C. - MATTE COMPOSITEThe monument rising up out of a tangle of forest -- other buildingsgleaming, half hidden. In the foreground Logan and Jessica walktoward monument.301X2 WITH LOGAN AND JESSICA Walking toward CAMERA to edge of swamp they stop and look at:301X3 LINCOLN MEMORIAL - LONG SHOT - (MATTE PAINTING)301X4 WITH LOGAN AND JESSICAExiting CAMERA RIGHT toward Memorial301X5 EXT. - MEMORIAL - LOGAN AND JESSICA - (MATTE COMPOSITE)Climbing steps of memorial toward statue.301X6 EXT. - MEMORIAL STEPS - HIGH REVERSE ANGLE - (MATTE COMPOSITE) Logan and Jessica walking up steps toward CAMERA. They pass betweentwo columns and EXIT CAMERA right.301X7 INT. - LINCOLN MEMORIAL (MATTE COMPOSITE) Logan and Jessica walk toward statue L-R. They stop and look up.301X8 CLOSEUP - LOGAN AND JESSICA Looking up at statue.301X9 WHAT THEY SEE: THE STATUE OF LINCOLN (MATTE PAINTING) 301X10 CLOSEUP - LOGAN AND JESSICA Looking up at statue. LOGAN I have never seen a face like that before. It must be the look of great age. Whoever he was he was terribly old. JESSICA (beat) Yes, do you think that's why he looks so sad---?Logan shrugs. They turn, start to EXIT from memorial.301X11 INT. - MEMORIAL - HIGH ANGLE OVER STATUE'S BACK (MATTE COMPOSITE)Logan and Jessica EXITING.301X12 LOGAN AND JESSICA 301X13 OVER LOGAN AND JESSICA - WASHINGTON MONUMENT AND CAPITOL IN B.G. (MATTE COMPOSITE)They walk through pond toward capitol.301X14 CEMETERY - CAPITOL IN B.G. (MATTE COMPOSITE) 301X14 (LOT 2)Logan and Jessica walking past gravestones. 301X15 LOGAN AND JESSICA'S POV - GRAVESTONES 301X15301X16 CLOSEUP - LOGAN AND JESSICA As they pass the stones, Logan glances at them. LOGAN They all have names and numbers on them. I wonder what they are? JESSICA "Beloved Husband". "Beloved Wife". What can all that mean? Just then their attention is focused by a distant SOUND as ofSHOUTING -- a man's voice. Jessica stops. JESSICA Francis? Logan shakes his head. They EXIT cemetery toward capitol. 301X17 LONG SHOT - CAPITOL (MATTE COMPOSITE)Logan and Jessica walking up steps toward building.301X18 TWO SHOT - LOGAN AND JESSICAWalking up the steps...many of which are cracked.They are proceeding with great caution...as they enter the CapitolBuilding.301X19 INT. - CAPITOL ROTUNDA - LONG SHOT - (MATTE COMPOSITE) Logan and Jessica enter the ancient room. They stop and look around.301X20 CLOSEUP - LOGAN AND JESSICA SOUND: HAMMERING NOISE -- irregular. It stops after a bit.They walk to the door and open it cautiously.They EXIT right.301X21 INT. - CORRIDOR OUTSIDE SENATE Logan and Jessica walking down corridor, left to right. The SOUND continues. 301X22 INT. - SENATE CHAMBERLogan and Jessica as Logan opens the aged door.301X22A CLOSEUP - A CAT SQUALLING OUT INTO CAMERA301X23 CLOSEUP - LOGAN AND JESSICA React, then they enter Senate and stop and look.301X24 INT. - SENATE - OVER LOGAN AND JESSICA'S BACK - A WHITE HAIRED MAN OF S SIXTY-PLUS There are HUNDREDS OF CATS...and THOUSANDS OF BOOKS all over theplace. JESSICA (frowning; whispering) Look at his face...and his hair... (grimacing) Is that what it is to grow old? LOGAN (still stunned) It could be...There are a COUPLE OF CATS on the man's lap as he turns and facesLogan and Jessica...when he HEARS them move closer.The man is stroking the cats calmly...unperturbed by the appearanceof Logan and Jessica. LOGAN How old are you? MAN As old as I am I suppose...who knows ? LOGAN Your hair is white. MAN It wasn't always. I remember when it wasn't. But it wasn't your color either. (looking at Jessica) ...or yours. I have my color somewhere. JESSICA Those cracks in your face...do they hurt? MAN Oh, no... JESSICA Could I touch them? MAN Oh, my...please try.Jessica walks up to the man and touches his face. JESSICA What's your name? MAN I've forgotten. It's been so long since I've used it. Logan and Jessica exchange a quick glance...feeling they have comeupon a nutsy, fruitsy cupcake. MAN But all of my cats have names. LOGAN Is that what they're called-- cats? OLD MAN Yes, cats, of course. What else could they be? Cats. Of course each one has his own name too. JESSICA But there are so many of them. Do you know each one separately. OLD MAN Yes indeed, everyone. Actually, they all have three. (reciting) "The naming of cats is a difficult matter. It isn't just one of your holiday games. You may think at first I'm mad as a hatter when I tell you a cat must have THREE DIFFERENT NAMES." (a beat) An ordinary name and a fancy name. That's two. Do you want to guess what the third one is? Logan and Jessica are silent. OLD MAN (reciting again) "But above and beyond there's still one name left over, And that is the name that you never will guess; The name that no human research can discover -- - But THE CAT HIMSELF KNOWS, and will never confess." (reaching down and stroking another cat) Will you, my pet? One of the cats jumps off his lap. OLD MAN (reciting) "Why did you go little fourpaws? You forgot to shut your big eyes." (the man closes his eyes for a moment; then:) "I have a Gumble Cat in mind!" As the man opens his eyes: LOGAN How long have you been living here? OLD MAN For as long as I can remember. LOGAN What kind of place is this? OLD MAN Just a place, I suppose...who knows?The man looks puzzled. LOGAN How did you get here? OLD MAN I have always been here... LOGAN Are there any other humans? OLD MAN Gracious...no. LOGAN Have any other people ever passed through?The man shakes his head...then: OLD MAN But there may be a few around somewhere. LOGAN What makes you think so? OLD MAN My parents thought so. Mother and Father. You know? LOGAN (astonished) Mother and -- ? You knew your mother and father?The man nods. JESSICA And...and how were you grown? Inside your mother? OLD MAN Yes... JESSICA Are you sure? OLD MAN Mother and Father said so... you know? LOGAN Where are they? OLD MAN Dead...they're dead...and buried. JESSICA (not knowing what it is) Buried???Logan wheels...as he HEARS THE NOISE OF A DOOR SQUEAKINGSLIGHTLY...as it opens a bit wider:302 CLOSE ON A CATComing through the opening - did he push it?303 CLOSE ON THE MAN OLD MAN (pleased; reciting) "Gus is the cat at the theatre door. His name, as I ought to have told you before, Is really Asparagus. That's such a fuss To pronounce, that we usually call him just Gus."306 WIDER ANGLE - INCLUDING LOGAN AND JESSICA OLD MAN May I see your hand again?Logan and Jessica extend their left hands. The Old Man takes them,looks from one to another with delight. OLD MAN They're beautiful. May I have one too please? LOGAN No--I'm sorry. It's not possible. OLD MAN (offended) It isn't fair. I'll give you one of my favorite cats...a Jellicle cat. (reciting) "Jellicle cats have cheerful faces, Jellicle cats have bright black eyes; They like to practice their airs and graces And wait for the Jellicle Moon to rise." LOGAN I'm sorry but I don't have anything to give you. As the man continues to look petulant: JESSICA (simply; sincerely) That's the truth.Jessica takes off a ring and hands it to the man. JESSICA Here you can have this.The man seems pleased. OLD MAN What kind of jewel is this? JESSICA I don't know. OLD MAN You're both full of secrets like Macavity. (looking at the ring) Did you steal this? JESSICA No. OLD MAN (reciting) "Macavity, Macavity, there's no one like Macavity, There never was a cat of such deceitfulness and suavity." LOGAN What's beyond this place - do you know? OLD MAN No, no, no LOGAN Did your Mother or Father ever mention another place? OLD MAN Never, never, ever. Nothing.After a pause: LOGAN May we stay here for a while? We'd like to rest. OLD MAN Of course you can stay. This belongs to the people. JESSICA What belongs to the people? OLD MAN All this. All of it. JESSICA What people? OLD MAN I don't know...but it does.The man stands...and starts walking toward a door to an adjoiningroom. OLD MAN I'll be right back. (stopping) Oh, yes...about the cats... one rule is true: (reciting) "Don't speak till you are spoken to." The man smiles and leaves. 305 LOGAN AND JESSICA Logan clears two chairs of cats and they sit down.Jessica picks up a book and starts leafing through it.Logan is deep in thought.Jessica looks up from the book. JESSICA (quietly) How curious people used to be -- All these books...Silence...until: LOGAN That sweet madman -- how could he Come to exist? JESSICA He had a mother and father -- and he knew them. LOGAN One in a million, I suppose LOGAN AND JESSICA (together; smiling) ...Who knows? JESSICA (after a beat) We're going on, aren't we? LOGAN (shaking his head) There's nothing to go on to, Jessica.Logan continues to shake his head through Jessica's following line: JESSICA There's a Sanctuary...there is! LOGAN You want there to be one...that Doesn't... JESSICA (interrupting; urgent tone) There has to be! I know it exists! It has to!! LOGAN (gently) No, there doesn't. Not really --just so many want it to exist...so many who don't want to die...want it so much that a place called Sanctuary becomes "real". But it doesn't exist. It never existed. Just the hope. JESSICA (becoming hysterical) You're wrong!! It has to be!! It Just has to be!!As Logan takes her in his arms...comforting her:306 FULL ANGLE - INCLUDING THE MANThe man returns with a portrait in hand. OLD MAN Oh, my don't cry.The man proudly shows them the portrait....which is a portrait ofhimself in his twenties. He sort of brushes the hair...which is richauburn. OLD MAN (gesturing) There are larger pictures of other people over there. I don't know who they are. Perhaps they're family.She man leads Logan across the chamber to a far corner.307 CLOSE ON - JESSICA Remaining near the podium. She is dejected. Logan's argument thatthere is no Sanctuary has sunk in and taken hold.308 OUT308x1 THE CORNER - LOGAN AND THE OLD MANWe see portraits of Presidents of the United States.We can recognize all of them...with the exception of the dozen or sothat come after Ford.As Logan looks at the portraits he recognizes Lincoln. LOGAN That's the same fellow who's outside. If he was so important - why isn't he first?The old man shakes his head.309 INT - SENATE CHAMBER - CLOSE ON - JESSICA As Francis suddenly appears alongside her.Jessica is terrified...speechless. Francis glances across thechamber, sees Logan. When he speaks, it is softly but urgently. FRANCIS What did you do to him?Jessica is silent. Francis' tone becomes increasingly sexual. FRANCIS Why? Why you? (grabbing her) Do you know you ruined him? Do you know that? Can you tell me why? Why you? (a beat) And now you've killed him, you know...Francis starts to tear off her clothes...obviously to rape...but hisexpression remains cold and without passion. JESSICA (screaming) Logan!!!As she screams, Francis clamps a hand over her mouth and drags herO.S.310 OUT310x1 LOGANhears the scream, wheels -- sees nothing for a moment.311 INT. - SENATE CHAMBER FRANCIS' VOICE Here!!!!Logan looks up...and we see Francis crouched behind the railing ofthe first row of the gallery...with his gun pointing down at Logan,holding the terrified Jessica with his other arm. OLD MAN (cheerfully) How nice...more company... FRANCIS (emotional; disjointed thoughts) We had such good times together... I let you go! (frenzied) You didn't terminate a Runner and I let you go!! (a beat) She did this to us! How could you let her?! An ordinary available??!! (with this he flings Jessica down and away. She lies there...stunned) And what about Logan-6 and Francis-8? (a tear in his eye) ....Why didn't you chink about them?! (up a notch) There's over two hundred years of Sandmen's blood in you, Logan.... and now you'll spill it for a stinking Runner!!312 CLOSE ON - LOGANHolding up his right palm. LOGAN Look at your palm, Francis.... look! It's clear. Clear!313 REVERSE ANGLE - FRANCISLooking at his palm....shocked...dropping his gun. It falls on theCHAMBER FLOOR. FRANCIS Why did you do that??!! LOGAN I didn't do anything, Francis! They've made us believe that.... FRANCIS (interrupting; wild) Why did you do that???!!!Francis leaps from the gallery and falls on Logan.314 WIDE ANGLE - CATSScattering in all directions as:315-319 CLOSE ACTION SHOTS - FRANCIS AND LOGANIn hand to hand combat punching...Kicking...wrestling320 INTERCUT WITH: JESSICA AND THE MAN REACTINGJessica deeply disturbed...The man enjoying himself as if Logan andFrancis were putting on a show for him.321-331 THE FIGHT- SERIES OF SHOTSA. Francis manages to pick up a chair and smashes it down on Logan.B. As Logan slumps to the floor and Francis cries to follow throughhis advantage by crushing Logan's face with his foot:C. Logan grabs Francis' foot and twists it...sending Francis reelingbackward.D. Standing, Logan grabs a table and hurls it at Francis...whoducks.E. Francis sees a steel flagpole (with an American flag that hassixty-one stars) and takes hold of it.F. Francis moves toward Logan...with the menacing steel flagpole infront of him.G. Logan is wary...watching every movement of the steel pole.H. Francis swings the steel pole twice...We can HEAR the WHISH-WHISHas it cuts through the air...with Logan avoiding the blows.I. On the third swing...Logan grabs hold of the steel pole andswings around on it...kicking Francis in the chest.J. Francis lets go of the steel pole as he staggers backward.Francis and Logan look at one another for a brief anguished momentas Logan crashes the steel pole (which he is now holding) down onFrancis' head.K. Francis crumbles to the floor. Feebly, he raises a hand towardLogan...Logan touches Francis' hand and Francis grasps his wrist, holdingdeath off with the strong grip. FRANCIS (delirious) That was the right shot--Look out there, he's trying to break free Watch it, Logan, steady, now!......His eyes focus briefly and he sees Logan's palm-the crystal shiningclear and white. Francis is suddenly radiant. FRANCIS Logan! You renewed!And he is dead. DIRECT CUT TO: 332 JESSICA AND THE MANThe man walks over to Francis and bends down. OLD MAN Oh, my...he died...333 CLOSE ON - LOGANRubbing his face with the palms of his hands...clearly upset.334 ANOTHER ANGLE - INCLUDING JESSICA AND THE MAN OLD MAN We¹ll have to bury him. JESSICA What¹s that? OLD MAN They¹re put into the ground so they can be visited by the living...Logan¹s eyes are glistening with tears. The man starts out. OLD MAN I¹ll make the arrangements. JESSICA (softly) At least it¹s over...Jessica¹s words don¹t help as Logan shakes his head...then: OLD MAN Are you ready to put him in? LOGAN Not yet. OLD MAN All right.The man sits down.Gently, Logan lifts Francis¹ body...trying to straighten him outfrom the slightly twisted position he assumed when he fell to thefloor.After resting Francis¹ body on the floor again. He cradles Francis¹head in his arms.DISSOLVE TO:335-338 OUT339 EXT. - HIGH ANGLE - CEMETERY - NIGHT - SHOOTING DOWN OLD MAN'S VOICE "Vigil wondrous and vigil sweet there in the fragrant silent night."339X1 CLOSER ANGLE - CEMETERYAs they look down at Francis' body...in the open grave.Jessica watches as Logan and the man start shoveling dirt into thegrave...starting to fill it.339X2 JESSICAquietly watching:DISSOLVE TO: 339X3 INT. - SENATE - NEXT MORNINGOn Logan sleeping - Jessica and Old Man in a spirited but softconversation in a far corner.As Logan wakes he hears: OLD MAN Of course...that's settled then. But just you remember your promise... JESSICA We'll remember. But that's a long time off...She sees Logan awake and listening, crosses to him, smiling. Loganrises to her. LOGAN What are we promising him? What can we possibly give him? JESSICA He asked if we would bury him when his time comes. LOGAN (beat) We can't. We're going back. JESSICA To what? LOGAN I'm going to try and tell people what we've seen and-- JESSICA (interrupting) You're lying! You'll never have the chance to tell anybody anything! You'll be killed the moment you're seen! LOGAN Do you expect me to let things go on without trying to change them?! JESSICA Things won't change...you know that! We can live here together, Logan... have a life as long as his... together! LOGAN (showing his palm) Things change! JESSICA You want to go back to kill, is that it?! Now, you'll want to kill your own!!! kill Sandmen!!! Killing's all you ever...!!!!Logan shakes Jessica who is becoming hysterical. LOGAN (softly) Jessica...listen to me...listen to me... (as she quiets down) The Lifeclocks made me kill Francis. They make people die or be killed every day. If I didn't try and destroy that...I couldn't live here or anywhere. Do you understand? JESSICA I want to be alive and with you, that's all I want.Logan puts his arms around her. LOGAN I know...I know...The Old Man comes to them, wondering. LOGAN We're leaving. OLD MAN What a pity. I was hoping you'd be here to bury me. JESSICA Come with us. OLD MAN Where are you going? LOGAN To a city with thousands and thousands of people. OLD MAN Alive?Logan nods. OLD MAN Thousands and thousands...as many as my cats? LOGAN More...many more. OLD MAN And all alive you say?Logan nods. OLD MAN Yes, I would like to see that. Is it a long journey?Again, Logan nods. OLD MAN (mumbling) Thousands and thousands alive... oh, my...340-349 OUT350 HIGH ANGLE - GREENBELT AREA - SHOOTING DOWN - DAYLogan, Jessica and the Old MAN are walking...with the CapitolBuilding blurred by overgrown foliage receding in the b.g. of theSHOT. 351-361 OUT361X1 EXT. - FOREST AREA - AFTERNOONThe Old Man has picked Some wild vegetables...and hands a piece toLogan and a piece to Jessica.As they hesitate...the Old Man bites into it... heartily. As Logan and Jessica start eating it, too: OLD MAN (marveling tone) Never see the sun or the moon... I hope we get there soon...361X1A NIGHT - WOODED AREA - CLOSE On Logan, Jessica and the Old Man as they emerge from a small groveof trees and stand looking O.S. past CAMERA Behind, a flicker offirelight. OLD MAN (weary but enthusiastic) Is that really it? It doesn't seem very far. Will we be there soon? LOGAN I promise. We '11 go on as soon as it's light. JESSICA (gently, turning O.M. away) But now I'm tired. Let's go back to the fire...They turn, the Old Man still marveling at the sight.P.O.V. WHAT THEY SEE (TO BE INTERCUT)NIGHT (Matte) view of the domed city seen through a fringe of trees and beyond distance hills.361X1B EXT. - WOODED AREA - NIGHTAs the three return to where a small fire is burning on the ground. OLD MAN That's better than gold when it's cold. LOGAN Thank you. (turning to Old Man) Tell me - what do those words mean? "Beloved husband²...²Beloved son"... "Beloved wife"'... OLD MAN My father was the husband and my mother was the wife. "Beloved" is a word they used - to stay together. LOGAN Stay? They lived together all their years? OLD MAN Oh, yes...I think... JESSICA (reading; moved) ³Beloved son²... (a beat) So people stayed together for that feeling of love... They would live and raise children together and be remembered. (another beat) I think I feel that way, Logan. Can we be that way? LOGAN (facing Jessica) Yes. You and I, Jessica. (a beat) JESSICA And Sanctuary? LOGAN Sanctuary is the right to live.... nothing more. But nothing less, either....There is a long beat...then Jessica snuggles up to Logan...she isready for sleep. JESSICA (whispering) Beloved husband... LOGAN (kissing her) Beloved wife...361X2 OUT361X3 EXT. - DAY - GREENBELT AREA - LOGAN, JESSICA AND THE OLD MAN Walking.361X4 OUT 361X5 EXT. - WOODED AREA - NIGHT - LOGAN, JESSICA AND THE OLD MAN As they walk the great glowing dome is visible in the distance.The Old Man marvels at what he sees...they walk on.362 LONG, LONG ANGLE - LOGAN JESSICA AND THE OLD MAN - DAYWalking up the beach toward the domed city. We get an idea of thescale. They appear as ants in front of redwood trees.363 OUT364 LOGAN, JESSICA AND THE OLD MANApproaching. The wave power inlet in f.g. TheyHEAR: THE ROAR OF THE WATERAs they approach cautiously...they see:365 WAVE POWER INLETWaves pounding over ACRES OF STRANGE STEPPED CONSTRUCTION...DESCENDING TO A VORTEX. JESSICA What does that water do? LOGAN It's part of the hydrogalvanic system. The ocean tides are changed into energy somehow. JESSICA Is it inside the city? LOGAN Of course. (a beat) I don't know where... (frowning) I Just took them for granted. (Logan takes Jessica's hand) It's our only chance.The CAMERA PANS LOGAN, JESSICA and the OLD MAN down the STRANGESTEPPED CONSTRUCTION until they reach:366 FULL ANGLE - A POOL OF WATERAt the CENTER of this IMMENSE WATER FLOWING CONSTRUCTION OF STEPS.After a beat Jessica looks at the Old Man: LOGAN (softly) I know... (after a beat; to the Old Man) We're going to try and get in this way. I don't think you can make it. OLD MAN (sadly) Oh...I did so look forward to seeing all those people. LOGAN I'm sorry. OLD MAN Yes... LOGAN Can you make it back? OLD MAN Oh my...I'll try. JESSICA (kissing the Old Man) Goodbye. OLD MAN Oh, my...The Old Man watches Logan and Jessica dive into the POOL anddisappear.367 THE OLD MANhe bends and plays with the water in the POOL for a moment...like ayoung child at a pond or lake.368 INT. - POWER CENTER OF THE CITY - LOGAN AND JESSICA Emerging from the water.It is a labyrinth of humming turbines, automonitored cables andimpulse collectors.Logan leads her swiftly through the humming maze toward an exit.369-369Xl OUT369AX2 GREAT HALL - AT CAROUSEL ENTRANCEAs the CROWD is pouring in: LOGAN'S VOICE No!! Don't go in there !!The CROWD turns and looks up at:369X2 LOGANOn a high balcony in the Great Hall.Looking down at them. LOGAN You don't have to die!! No one has to die at thirty!!! You don't have to blink out on Lastday. There's no renewal on Carrousel! You can live longer and grow old... I've seen it. She's seen it!! Believe me!!There is an angry murmur in the CROWD as Logan continues: LOGAN (holding up his palm) See... it's' clear. The Lifeclocks are a lie - Carousel is a lie!!369X3 WIDEN ANGLE - INCLUDING SANDMENTrying to grab Logan. There is a struggle. Some Sandmen are knockedover the railing.But remaining Sandmen fire a gas tranquilizer which subdues Loganand Jessica.The CROWD cheers...and continues into Carousel as:370 INT. - SANDMAN DEBRIEFING AREAIt is the same area where Logan received the original assignment tofind and destroy Sanctuary.In the rear...with the panel open...the sign reading: PROBABILITY blinks on and off. Logan is dragged in by a number of SANDMEN.We see Jessica , too, still groggy, being held by SANDMEN in theb.g. of the SHOT.Logan is placed on the chair in which his CRYSTAL was altered.371 CLOSE ANGLE - LOGAN IN THE CHAIRA shaft of light glows on and he stiffens - bound by it.372 OUT372X1-372X3 FULL SHOT - LOGAN AND THE SCREENAs around him in the air, a series of spectral greenish HEADS appear-- one after the other -in response to questions. Each of theseheads is Logan. Each revolves slowly on its axis as it responds.As the real Logan (in the chair) is questioned, each of the headsanswers in turn. They are each a part of his persona and his brain.373-378 OUT378X1-378X18 INTERCUT WITH CLOSER SHOTS OF LOGAN HIMSELF WRITHING IN AGONY AS THE IMPASSIVE HEADS SPEAK.ANOTHER ANGLE - LOGAN AND HEADSA. FIRST HEAD SPEAKS (Logan's voice) A Jewelry store. B. Logan himself - twisting in pain.C. The word NEGATIVE appears on the SCREEN.D. A SECOND HEAD (Logan's voice) A creature called Box - all frozen, all frozen.E. Logan writhes in the chair. F. Again the word NEGATIVE appears on the SCREEN. G. A THIRD IDENTICAL HEAD (Logan's Voice) No...There is no Sanctuary.H. The SCREEN seems to shimmer. It blinks.I. A third time the word negative appears on the SCREEN.J. A FOURTH HEAD (Logan's voice) There is no SanctuaryK. The SCREEN'S glow increases...to an almost blinding light...starting to frighten the Sandmen present.L. At the same time, we see JESSICA coming out of her tranquilizeddaze...fearful...still in the Sandmen's custody.M. A FIFTH HEAD (Logan's voice) An old man without a crystal...But there is no Sanctuary.N. Now the SCREEN is starting to spark. Behind it we SEE theintermittent glow of overheated electronic components.O. And we see the word negative...once more on the SCREEN -- butbroken now.P. A SIXTH HEAD (Logan's voice) There is no Sanctuary.Q. Now the noise and the light from the SCREEN are peaking...and wecan see the increasing fear of the Sandmen.R. On the SCREEN the word negative is beginning to shake...as theSCREEN begins to shake.379 FULL ANGLE - THE SIX HEADS LOGAN'S VOICE (emanating from all of them) There is no Sanctuary. There is no Sanctuary.The sign PROBABILITY bursts...the SIX HEADS of Logan go out. The noise and the light coming out of the screen Increase, as itbegins to burst into showers of sparks and flame.380-410 OUT410X1 ANOTHER ANGLE - LOGANStraining twisting, as the light above him bursts, goes out in apuff of smoke -- releasing him. Logan staggers to his feet in timeto meet:410X2 SANDMENRushing in from the Ready Room to join the others who have closed inon Logan One holding Jessica.410X3 LOGAN AND SANDMEN Manages to get one of the Sandmen's guns, instantly blasting himwith it. In the noise and confusion, the fight becomes general. ASandman fires back at Logan, misses -- the shot hits one of theLifeclocks which flares electrically, ribboning out a great arc.Instantly Logan gets off a couple of shots at the other Lifeclockswhich similarly flare and burst into violent electrical fire anddischarges.410X4 THE BATTLEThe electrical discharges, smoke and noise making great confusion.Sandmen hampered by their own numbers and by trying to miss themachinery. Logan firing methodically at the Lifeclocks, moving.Stumbles over Jessica, prone in the smoke. Helps her to her feet.Crouched, they make for the exit.410X5 ANOTHER ANGLE - THE. SCREEN Sputtering its life out in strange predictive words....PROBABILITYflashing on and off.... EQUILIBRIUM...DESTRUCT...EQUIL...NOBALANCE...NO BALANCE...FAMINE... INACCEPTABLE ...NO BALANCE...etc.,flashing vainly through the eddying smoke and the fierce dischargeswhich fill the great room.410X6 SANDMENThe battle is lost -- the smoke and noise overwhelming. They pick uptheir wounded and get out as best they can.410X7 INT. SANDMAN H.Q. LOBBYSandmen rushing out through the gathering smoke and the flare offire behind them.410X8 EXT. SANDMAN H.Q.Sandmen pouting out through smoke and fire effects. Pushing throughpassers-by herding everyone away from the scene.People getting the hell out of there.Ad Libs: Get away from here. The whole thing's going.410X9 INT. LIFECLOCK ROOMThrough the smoke, etc. The Lifeclocks EXPLODE.410X10 EXT. SANDMAN H.Q.The building EXPLODES -- great geyser of flame shooting upward.410X11 GREAT HALLThe sound of the explosion creates panic. Lights begin to flicker.The great red crystal lights fitfully on and off. People arepanicking, running in different directions. Some pressing intoCarrousel for safety.410X12 CAROUSELAs people run in there, the red crystal glowing and sputtering, thepetals moving spasmodically. As people look, the white crystal comeson, begins spinning wildly, bursting into strange, lancing lights. Agreat roaring commences and the whole arena starts to rock with thecrystals. Now the white crystal explodes and the whole room iscrisscrossed with deadly arcing discharges. People flee the scene ofdestruction.410X13 GREAT HALLThe panic is-full, people getting the hell out of there.410X14 ARCADEPeople are stampeding like cattle, all heading down and for theexits, trampling each other in their fright.410X15-X21 PANIC MONTAGE SERIES OF CUTSA. EXT. The City under the dome -- fitfully lit as the dome itselfseems to be cracking strange electrical discharges emanating from itas from a gigantic line storm.B. The lights in Arcade flicker and go dim.C. The chandeliers in Arcade swaying, a couple falling onto thescreaming panicky people.D. Maze-Car Station. People fighting to cram into cars. Car lightsgo out. People turn and bolt in another direction.E. Love Shop -- pandemonium as the drugged bodies clamber over eachother in fear, struggling to get away.F. Great Hall emptying -- the signs of panic everywhere.G. The great crystal -- a wildly spluttering electrical firewrecking it.410X22 EXT. - DOMED CITY - FIRE FX AND CRACKING INTERCUT with above:410X23 LOGAN AND JESSICAMaking their way through Cathedral -- out the dazzle chamber,running O.S. past Maze Car Station.410X24 LOGAN AND JESSICA Running past Power Center.411 EXT. - CITY - FULL SHOTThe dome of the city torn. Lightning effects playing on the stunnedpeople...who look up and see the starry heavens, too, as theystumble forward into the darkness.A wind begins to blow...where air had never stirred anything. Thereis a sense of wonder. Hysteria is lessening...as the people findthemselves moving through the crack...as they discover the fact thatthe crystals have disappeared from their palms.Some are joyful...others frightened...others puzzled...as theyemerge from the crack in the dome at:412 FULL ANGLE - THE ACRES OF STRANGE STEPPED CONSTRUCTION We can still see the fires in the b.g. of the SHOT as Logan holds onto Jessica...(like Gable onto Jeanette MacDonald at the end of SANFRANCISCO)...full of happiness and hope for the future.AS people continue to mill all over the acres of strange steppedconstruction...we see the Old Man WALKING INTO THE SHOT.Logan and Jessica run to him. He looks around. People start togather...they have never seen a white-haired Old Man in their lives.As people continue to gather around the Old Man... who couldn't bemore delighted...Logan and Jessica are smiling...inviting people totouch him...and some do.Yes, he is an old man...Yes, they will all live again to be old menand old women...Yes, this is the world renewing itself once again.FADE OUT:THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Lone Star.txt b/unformated_scripts/Script_Lone Star.txt new file mode 100644 index 0000000000000000000000000000000000000000..c799f440c9587d7f36e7a4a76b8498563e2c7e22 --- /dev/null +++ b/unformated_scripts/Script_Lone Star.txt @@ -0,0 +1 @@ +"LONE STAR" By John Sayles EXT. TEXAS SCRUB -- DAY Two men in shorts and Hawaiian shirts are poking around a sandy section in the middle of scrub flats. SERGEANT CLIFF POTTS is in the f.g., a plant-and-tree guidebook in hand, as SERGEANT "MIKEY" HOGAN works a metal detector over a large, sandy bank in the b.g. Both are Army career men with a morning off to pursue their hobbies. CLIFF We got ocotillo, devil's walking stick--what's this stuff--it's that whattayoucallit--horse-crippler. Mikey bends to scoop something out of the sand, putting it in a canvas bag slung on his hip. MIKEY This place is a gold mine. CLIFF Lead mine. MIKEY sees that Cliff is talking, pulls his headset off. MIKEY What? CLIFF It's a lead mine. MIKEY Right. CLIFF I don't know why I'm talking to you, you've got that thing on your head. MIKEY You finding lots of cactus and shit? CLIFF It's not just cactus. There's the nopals, the yuccas-- MIKEY (Puts headset on) Looks like a lot of cactus to me. CLIFF (Grumbles) Man knows a hundred-fifty varieties of beer, he can't tell a poinsettia from a prickly pear. MIKEY (Troubled) Cliff-- CLIFF You live in a place, you should know something about it. Explore-- MIKEY Cliff-- CU MIKEY MIKEY in the f.g. now, looking down at something as he pulls his headset off again-- MIKEY Cliff, you gotta look at this-- Cliff wearily turns and approaches from the b.g. CLIFF Don't tell me--Spanish treasure, right? Pieces of eight from the Coronado expedition-- He stops by Mikey and looks down, his expression changing CLIFF Jesus-- GROUND -- CU BONES Sticking out from the sand bank are the SKELETAL BONES of a MAN'S HAND. There is a ring on one finger. MIKEY (O.S.) Was Coronado in the Masons? EXT. ROAD -- DAY A distant cloud of DUST appears on the horizon MUSIC underscores that we are in Texas, and we SUPERIMPOSE the OPENING CREDITS as the dust takes form around an APPROACHING CAR. The car comes close enough to see it has a County Sheriff's insignia on the side. INT. CAR We see SAM DEEDS, the Sheriff, driving. Sam is 40, quietly competent to the point of seeming a bit moody. He sees something up ahead. MUSIC, CREDITS END as Sam pulls off the road and we see the sergeants standing in the scrub. EXT. SCRUB -- DAY -- BONES The hand and forearm down to the elbow of the skeleton are visible now. WIDER Cliff stands looking at the arm with Sam. MIKEY is a few yards behind them, playing with his metal detector. Beyond him we see the Sheriff's car parked. SAM I was driving back from Apache Wells when they got me on the radio. CLIFF This was a rifle range way back when. But we figured it isn't Army land anymore, it's your jurisdiction. SAM (Nods) I've got the forensics fella coming down from the Rangers. No way to know how old the body is without some lab work. CLIFF That ring-- SAM Masons been around a long while. Mikey has come up to them, still sweeping with the metal detector. SAM Treasure hunter? CLIFF (Apologetic) Old bullets. He uhm-- makes art with them. Sam just nods. Mikey frowns, goes down on one knee and scratches something out of the dirt at their feet-- CLIFF The Sheriff says we shouldn't touch anything, MIKEY (To Sam) He can't hear with that rig on-- Mikey! Mikey comes up with something, holds it before them. An encrusted piece of metal-- MIKEY What've we got here? Sam takes the thing, lays it back down where Mikey found it. SAM S'posed to leave everything right where we found it. They're real particular about that. MIKEY The scene of the crime. SAM No telling yet if there's been a crime. Sam frowns down at the piece of metal as he rubs the face of it. CU METAL Sam's thumb wipes across the face of the encrusted metal. It is roughly star-shaped. SAM (O.S.) But this country's seen a good number of disagreements over the years. INT. HIGH SCHOOL CLASSROOM -- DAY -- TEXAS MAP We look at a beautiful old pull-down map of Texas. PILAR (O.S.) We do the best we can here-- A teacher in her late 30s, PILAR CRUZ, steps in front of the map and we FOLLOW her across the room, carrying a poster PILAR --but hey, public education these days is a bit of a battleground. Posters hung on the walls beyond her show luminaries from Texas history-- Sam Houston, Stephen Austin, Juan Seguin. A new parent, CELIE PAYNE, stands in the middle of the otherwise empty classroom. CELIE He went to school on base when we were in Okinawa. It's all--you know-- kids in the same boat--Army brats. PILAR His record shows that he's a good student. CELIE I'm more worried about the social thing. Are therelike--gangs, or...? PILAR starts to put the poster up. CELIE moves to hold it in place for her. PILAR We haven't had any serious violence, if that's what you mean. We've got a pretty lively mix though--you walk into the cafeteria and the Anglo kids are in one section, the Mexican kids in another and the Black kids have a table in the back--thanks-- CELIE So Blacks are-- PILAR They're the smallest group except for a couple Kickapoo kids. Look, you're obviously a concerned parent. Chet has no history of getting into trouble--I'm happy to have him in my class. She steps back to see if the poster, an old photo of Geronimo, looks straight. Another teacher, MOLLY sticks her head in the door-- MOLLY (Uncomfortable) Pilar, is uhm--is Amado okay? PILAR Okay? He's not here? MOLLY No. Is he sick? PILAR (Mutters) He's going to wish he was dead. EXT. STREET -- DAY -- CU VAQUERO PICTURE On the door of a deluxe pickup truck is an airbrushed picture of a Pancho Villa-looking vaquero with bandoliers crossing his chest and a gun blazing in each hand. We hear LOUD MUSIC-- AMADO (O.S.) Luis! Give me that Phillips-head back-- WIDER A small group of teenage Chicano BOYS hang around the truck in the bed, on the hood, leaning against it. A BOOMBOX placed on top of the cab blasts RANCHA MUSIC out at the neighborhood. Somebody's legs are hanging out the open passenger-side door. The kids suddenly look as a Sheriff's Department car slides into the f.g. A Deputy Sheriff, TRAVIS, gets out. KIDS Trying to look tough and unworried as we TRACK across the street toward them. Travis's hand reaches out from behind the camera to flick the MUSIC OFF. INT. PICKUP AMADO CRUZ, Pilar's 15-year-old son, lies on the front seat installing a compact disc player into the dash slot. He reaches up to the dash, can't find what he wants. AMADO Somebody hand me the CD player-- damelo pendejos-- He looks up and we TILT to see Travis leaning in the window, examining the new radio TRAVIS They come a long way from those old 8-track jobs, haven't they? AMADO Something wrong? TRAVIS (Waves radio) This is stolen property. Alla you fellas are coming down to the station. INT. CAFE SANTA BARBARA -- AFTERNOON -- ENRIQUE Sweat beads the forehead of a thin, tired-looking recent immigrant, ENRIQUE, as he delivers platters of chile rellenos to a booth. MEXICAN MUSIC plays on a jukebox in the b.g. We HOLD on the booth, where HOLLIS POGUE, in his 60s entertains two GOOD OLD BOYS-- HOLLIS So Buddy walks up to the porch and there's old Fishbait McHenry, cleanin' the dirt out his toenails with a pocketknife--he was the most hygienic of all the McHenrys-- The breakfast companions are laughing already-- HOLLIS "Fishbait," says Buddy, in that quiet way of his, "What you know about them tires that went missing from markets?" Fishbait thinks for a minute, then he lifts up a loose board from the porch floor and calls down into it, "C'mon out, Pooter, they caught us!" FENTON (Laughing) Buddy Deeds. He had a way. HOLLIS He known who it was onnacouna the tire tracks in the dirt from the back of the garage to where they loaded up. "Old Fishbait," he says, "never lifted a thing in this world if there was a way he could roll it." More laughter-- FENTON Won't be another like him. That boy of his doesn't come near it. You ask me, he's all hat and no cattle SAM (O.S.) Fellas-- We WIDEN to see Sam standing by their booth. No telling how long he's been listening, Fenton is embarrassed. HOLLIS Sam! I was just telling a few about your old man. FENTON He was a unique individual. SAM Yeah, he was that. We sense a little strain when Sam has to talk about his father-- HOLLIS Big day coming up--I wish we'd have thought of it while he was still living. But he went so unexpected. FENTON Better late than never. Korean War hero, Sheriff for near thirty years-- Buddy Deeds Memorial P-- SAM I heard there was a bit of a fuss. HOLLIS Oh, you know, the usual troublemakers. Danny Padilla from the Sentinel, that crowd. FENTON Every other damn thing in the country is called after Martin Luther King, they can't let our side have one measly park? HOLLIS King wasn't Mexican, Fenton-- FENTON Bad enough all the street names are in Spanish-- SAM They were here first. FENTON Then name it after Big Chief Shitinabucket! Whoever that Tonkawa fella was. He had the Mexes beat by centuries. HOLLIS There was a faction pulling for that boy who was killed in the Gulf War-- Ruben-- SAM --Santiago. HOLLIS Right. But nobody here ever noticed him till they read his name on the national news-- FENTON They just wanted it to be one of theirs-- HOLLIS That's not the whole story. The Mexicans that know, that remember, understand what Buddy was for their people. Hell, it was Mercedes over there who swung the deciding vote for him. Sam looks to the register where Pilar's mother, MERCEDES CRUZ, whacks rolls of change apart on the counter. She seems to be avoiding looking toward him. SAM That so? HOLLIS She put it even at three to three, so as the Mayor I get to cast the tiebreaker. The older generation won't have any problem with it. They remember how Buddy come to be Sheriff, that it was all 'cause he took their part. FENTON Tell that one, Hollis-- HOLLIS Hell, everybody heard that story a million times. SAM I'd like to hear it. Your version of it. Something about the way Sam says it puts Hollis on guard. FENTON Go ahead, Hollis. CU HOLLIS Hollis is hooked into it now-- HOLLIS The two of us were the only deputies back then me and Buddy--it's what-- '58-- FENTON (O.S.) '57, 1 believe-- HOLLIS And the Sheriff at the time was Big Charley Wade. Charley was one of your old-fashioned bribe-or-bullets kind of Sheriffs, he took a healthy bite out of whatever moved through this county. He looks down at the table-- HOLLIS It was in here one night, back when Jimmy Herrera run the place. Started right here in this booth. We PAN down to the table, The food has changed. The tortillas are in a straw basket instead of plastic. The jukebox changes to ANOTHER SONG and the LIGHT DIMS slightly. A hand with a big Masonic ring on one finger appears to lift a tortilla-- underneath it lie three ten-dollar bills. The hand lifts them up and we TILT to see the face of SHERIFF CHARLEY WADE, a big, mean redneck with shrewd eyes. It is 1957-- WADE (Grins) This beaner fare doesn't agree with me, but the price sure is right. WIDER Wade sits across from his young deputies, YOUNG HOLLIS (30s) and BUDDY DEEDS (20s). A chicken-fried steak sits untouched in front of Buddy. Hollis has the anxious look of an errand boy, while Buddy is self-contained and quietly forceful for his age. BUDDY What's that for? WADE Jimmy got a kitchen full of wetbacks, most of 'em relatives. People breed like chickens. BUDDY So? WADE I roust some muchacho on the street, doesn't have his papers, all he got to say is "Yo trabajo para Jimmy Herrera." Wade folds the money and stuffs if in his pocket-- WADE You got to keep the wheels greased, son. Sheriff does his job right, everybody makes out. Now this is gonna be one of your pickups, Buddy. First of the month, just like the rent. Get the car, Hollis. Wade and Hollis slide out of the booth to stand. BUDDY I'm not doing it. Hollis stops a few feet away, shocked. Wade just stares down at Buddy. WADE Come again? Buddy looks Wade in the eye, seemingly unafraid. BUDDY It's your deal. You sweated it out of him, you pick it up. WADE There's gonna be some left over for you, Buddy. I take care of my boys. BUDDY That's not the point. WADE You feeling bad for Jimmy? Have him tell you the size of the mordida they took out of his hide when he run a place on the other side. Those old boys in Ciudad Leon-- BUDDY I'm not picking it up. WADE You do whatever I say you do or else you put it on the trail, son. The CUSTOMERS are all watching now, nervous. Buddy thinks for a moment, not taking his eyes off Wade. BUDDY How 'bout this--how 'bout you put that shield on this table and vanish before you end up dead or in jail? Wade rests his hand on his pistol. It is dead silent but for the MUSIC on the box. BUDDY You ever shoot anybody was looking you in the eye? WADE Who said anything about shootin' anybody? Buddy has his gun out under the table. He slowly brings it up and lays it flat on the table, not taking his hand off it or his eyes off Wade. BUDDY Whole different story; isn't it? WADE You're fired. You're outta the department. BUDDY There's not a soul in this county isn't sick to death of your bullshit, Charley. You made yourself scarce, you could make a lot of people happy. WADE You little pissant-- BUDDY Now or later, Charley. You won't have any trouble finding me. Wade feels the people around him waiting for a reaction. He leans close to Buddy to croak in a hoarse whisper. WADE You're a dead man. He turns and nearly bumps into Hollis. He gives the Deputy a shove. WADE Get the goddamn car. We're going to Roderick's. CU BUDDY He watches till the screen door shuts behind them, then holsters his gun and begins to saw at the steak as if nothing had happened. He calls softly-- BUDDY Muchacho--mas cerveza por favor. He looks up at somebody and we PAN till we see Sam, still standing over the booth, listening. We are back in 1995-- HOLLIS (O.S.) "Mas cerveza por favor." FENTON (O.S.) That Buddy was a cool breeze. We PULL BACK to see Hollis and his buddies at the table, eating their lunches as they listen. FENTON Charley Wade were known to have put a good number of people in the ground, and your daddy gets eyeball to eyeball with him. HOLLIS We made our collection at Roderick's place and that was the last anybody seen hide nor hair of him. He went missing the next day, along with ten thousand dollars in county funds from the safe at the jail. SAM Never heard from him again? HOLLIS Not a peep. Buddy run the man out of town. FENTON Buddy Deeds said a thing, he damn well backed it up. Won't be another like him. SAM So he arrested all of Jimmy Herrera's people and sent 'em back to the other side? Hollis sees what Sam is getting at, grins-- HOLLIS Oh--he come to an accommodation. Money doesn't always need to change hands to keep the wheels turning. SAM Right. HOLLIS Look, I know you had some problems with your father, and he and Muriel-- well-- FENTON Your mother was a saint. HOLLIS --but Buddy Deeds was my salvation. Sam nods, speaks softly-- SAM Won't be another like him. EXT. ARMY INSTALLATION -- DAY -- CU DEL PAYNE COLONEL DELMORE PAYNE (DEL), a very direct, by-the-book Black officer, addresses them. Artillery pieces angle toward the sky behind him-- DEL --it's an honor for me to assume command of this unit, and I look forward to working with all of you. OFFICERS Cliff and Mikey, in uniform now, flank SERGEANT PRISCILLA WORTH, a Black woman in her early 40s, as they stand in formation-- DEL (O.S.) I'm sure you're all aware of the Army's decision to close this installation under the Reduction in Force plan. That does not mean, however-- REVERSE We look over the shoulders of assembled OFFICERS and NCOs toward Del. DEL --that we've been sent here to mark time until we are absorbed by another unit. CU DEL DEL You may have heard rumors that I run a very tight operation. These rumors are not exaggerated. INT. SHERIFF'S OFFICE -- AFTERNOON -- BUDDY PHOTO We are looking through a magnifying glass at an old photo. Buddy's face is slightly distorted by the glass. SECRETARY (O.S.) Sam? I got Danny Padilla from the paper for you-- Sam sits at his desk in the Sheriff's office, looking down at the photo-- SAM Tell him I'll catch him later. CU PHOTOGRAPH An old photo of the 1957 Sheriff's Department officers on the courthouse steps. Wade, Hollis, Buddy, a few others, all in uniform. SECRETARY (O.S.) He says he needs to talk to you before the ceremony, Sam. Sam puts a magnifying glass over the photo and bends close to look. SAM Tell him to try me tomorrow. EXTREME CU PHOTO -- BADGE MAGNIFIED POV of the badge on Wade's chest swims into view. A metal star. We hear the secretary getting rid of the caller. SECRETARY (O.S.) He thinks you're trying to duck him. CU SAM Looking at the photo, troubled-- SAM (Mutters) He's right. EXT. BIG O'S ROADHOUSE -- NIGHT -- NEON SIGN We start on a BLINKING SIGN--BIG O'S, then PAN to see a full parking lot outside the low, neon-lit roadhouse. R&B MUSIC blasts from inside. EXT. DOORWAY -- CHET CHET, a Black kid around 15, stands nervously at the door building up his courage. He takes a deep breath, plunges in. INT. BIG O'S We TRACK with Chet, very nervous, as he makes his way through the crowded roadhouse. The customers are all Black, many from the nearby Army post, SHOUTING and LAUGHING over the loud MUSIC. Chet, edgy, is looking for somebody. He sees... CHET'S POV -- OTIS Seen through the crush is OTIS "BIG O" PAYNE, a large man in his early 60s, laughing as he stands behind the bar. CHET He nervously puts his hand under his jacket. A gun? He pushes forward to get a better view. CHET'S POV -- OTIS Moving in on him. Otis looks over, sees the boy, frowns-- CHET Reaching under his jacket, he pulls out--a photograph. He looks at it--suddenly there is a SCREAM from behind, then GUNSHOTS, patrons diving for the floor. Chet whirls around and we WHIP PAN to see a young man, SHADOW, emptying his pistol into RICHIE, a young soldier, as a young woman, ATHENA, screams and tries to pull the gun away. With the last shot, Shadow turns and heads for the door, but is tackled and swarmed by angry men, SHOUTING. We PAN to Athena, kneeling over the bleeding, twitching body of Richie-- CHET Chet backs up, horrified. A large hand grasps him on the shoulder from behind. He turns to see Otis standing over him, strangely calm amid the chaos OTIS You weren't in here tonight, were you? CHET No sir. OTIS (Points) Go out through the back. Chet hurries away. Otis watches him for a moment, then turns to the mess in his club. INT. AUDITORIUM -- NIGHT -- CU ANGLO MOTHER An angry woman stands from her auditorium chair-- ANGLO MOTHER You're just tearin' everything down! Tearin' down our heritage, tearin' down the memory of people that fought and died for this land. CHICANO FATHER (O.S.) We fought and died for this land, too! We WHIP PAN to see another standing parent-- CHICANO FATHER We fought the U.S. Army, the Texas Rangers-- ANGLO FATHER (O.S.) Yeah, but you lost, buddy! We WHIP PAN to a man in the rear-- ANGLO FATHER Winners get the bragging rights, that's how it goes. PRINCIPAL (O.S.) People--people-- WIDER We are in the High School auditorium, a hot-and-heavy teachers- and-parents meeting in progress. Pilar sits at the end of a long table facing the agitated parents, taking some heat. DANNY PADILLA, a young, long-haired reporter, sits in the front taking notes, enjoying the show. PRINCIPAL I think it would be best not to put things in terms of winners and losers-- ANGLO MOTHER (Points at Pilar) Well, the way she's teachin' it has got everything switched around. I was on the textbook committee, and her version is not-- PRINCIPAL We think of the textbook as kind of a guide, not an absolute-- ANGLO MOTHER --it is not what we set as the standard! Now you people can believe what you want, but when it comes to teaching our children-- CHICANO MOTHER They're our children, too! ANGLO FATHER The men who founded this state have a right to have their story-- DANNY The men who founded this state broke from Mexico because they needed slavery to be legal to make a fortune in the cotton business! PILAR I think that's a bit of an oversimplification-- ANGLO FATHER Are you reporting this meeting or runnin' it, Danny? DANNY Just adding a little historical perspective-- REAR OF AUDITORIUM PALOMA CRUZ, Pilar's teenage daughter, peeks into the room, then moves down the side toward the stage. ANGLO FATHER You may call it history, but I call it propaganda. I'm sure they got their own account of the Alamo on the other side, but we're not on the other side, so we're not about to have it taught in our schools! PILAR There's no reason to be so threatened by this-- Pilar is trying to stay calm despite her anger. PILAR I've only been trying to get across some of the complexity of our situation down here--cultures coming together in both negative and positive ways. ANGLO MOTHER (O.S.) If you mean like music and food and all, I have no problem with that. REVERSE We shoot past Pilar toward the parents in their seats. PALOMA steps up to whisper to her. ANGLO MOTHER --but when you start changing who did what to who. TEACHER We're not changing anything, we're presenting a more complete picture. ANGLO MOTHER And that's what's got to stop! Pilar looks troubled by what she's heard. She shoots a look toward the others at the table, then slips away with Paloma-- TEACHER There's enough ignorance in the world without us encouraging it in the classroom-- ANGLO MOTHER Now who are you calling ignorant? PRINCIPAL Folks, I know this is a very emotional issue for some of you, but we do have other business to attend to-- CHICANO FATHER We're not going to get some resolution on this? CU PRINCIPAL Weary-- PRINCIPAL Would you people like to form another committee? GROANS from the parents-- INT. SHERIFF'S OFFICE -- NIGHT -- SHADOW Shadow, face bruised, hands cuffed behind him, is pushed in through the door to be booked. SHADOW I hope the sucker does die, man! Mess with me, that's what you get! Sam steps in behind him and meets his Chief Deputy RAY HERNANDEZ, coming from the other direction. RAY Hospital says the other kid is in bad shape-- SAM (Glances ahead) The shooter local? RAY (Shakes his bead) Down from Houston. I think he knew the girl before. SAM Okay--we'll take a statement from all the GIs before they go back to post. You can get the story from Otis over at the club. RAY Any poop on the John Doe you found out there today? SAM Nothin' much. The Rangers put Ben Wetzel on it. Catch you later. As Ray steps out, Pilar looking distraught, walks into the station, passing right by Sam without seeing him. CU SAM Wonders what she's doing there-- SAM'S POV -- PILAR She stands by an unoccupied reception desk, very upset, unable to attract anyone's attention because of the activity around the shooting. She looks tired and a bit scared under the harsh overhead light. SAM (O.S.) Pilar. PILAR AND SAM Pilar looks around. Sam is standing by her. We can tell there is some history between these two. SAM Something wrong? PILAR They've got my Amado. SAM Got him here? PILAR Somebody called--something about an electronics store. SAM I'll see what's going on. He starts away, stops, comes back-- SAM I was--I was real sorry about Nando. He was a good fella. We haven't talked since. PILAR We haven't talked since high school. SAM Yeah. I'll go check on your boy. Pilar watches Sam go-- REAR OF OFFICE Travis sits typing away at a word processor as Athena, in tears, gives testimony. ATHENA --so Richie just didn't say nothin' 'cause he didn't want to get into it, see, and the next thing I know there's shots and Richie is down. It happened so fast-- SAM (O.S.) Excuse me-- We WIDEN to see Sam standing over the desk-- SAM We got some boys you run in earlier today? TRAVIS Yeah. I pulled the bunch that hangs at Pico Bernal's place. We finally caught them with something. SAM You got a juvenile with 'ern--Amado Cruz? Travis looks at his booking sheets-- TRAVIS Yeah--let's see--the other ones say he wasn't in on the theft, he just knows how to hook things up. We've been trying to contact a parent. INT. JAIL HALLWAY Sam walks with Amado, who is trying to look defiant-- SAM They tell me you're good at fixing things. Nothin-- SAM Your father was a hell of a mechanic. Still nothing-- SAM You know, if you figure minimum wage on the time most thieves spend in jail, they could have bought most everything they stole. AMADO I didn't steal anything. SAM I didn't say you did. My name is Sam, by the way. Amado just gives him a look-- INT. SHERIFF'S OFFICE Sam and AMADO step out into the office, where Pilar stands waiting. SAM He's all yours. PILAR Are you okay? AMADO I don't know what the big deal is. PILAR You'll find out when I get you home. Thanks, Sam. SAM No problem. Pilar yanks AMADO outside by his arm. She turns to shoot a look back at Sam, then steps out through the glass door. CU SAM Watching her go-- SAM Any time. FADE OUT: EXT. OBSTACLE COURSE -- MORNING -- PIT We shoot up from a pit in the ground. WHUMP! WHUMP! WHUMP! Three men leap over, landing on the far side and running away from us. MEN Del Payne runs with Cliff and Mikey on a pathway along a security fence, the two sergeants struggling to keep up, occasionally vaulting or scaling some mild obstacle. MIKEY There's not that much down here, Colonel. Big O's is the only place in the county that our African American soldiers are uhm--that they feel comfortable in. DEL Have we had trouble there before? CLIFF Since I've been stationed here? A fistfight now and then-- MIKEY We had a kid pass out in the men's room. The town isn't much. DEL They didn't come for a vacation. CLIFF Yes sir. MIKEY You know how it is, Colonel--first time away from home, dealing with new people--I remember my first hitch-- DEL Substance abuse? MIKEY Well, yeah, but I went through the Program. I haven't had a drink since-- DEL I meant on the post. In general. How are you dealing with it? CLIFF We throw a urine test at them once a month. Random numbers, maybe a hundred people at a time DEL Why don't we make it once a week for a while? CLIFF No problem, sir. Del notices bow hard they are breathing-- DEL I sprint the last quarter mile. You gentlemen don't have to keep up if you don't care to. MIKEY Appreciate it, sir. Del accelerates and we HOLD with the sergeants, slowing to a near-walk. MIKEY Guy cracks walnuts with his asshole. CLIFF (Grins) You get the feeling he doesn't want to be here? INT. FORENSICS LAB -- VARIOUS SHOTS We hear Hank Williams' gospel song "I'll Have a New Body (I'll Have a New Life)" as we see the gathered bones of the skeleton tagged and photographed and measured, impressions made of the dental work in the skull, photographs of the excavation of the body at various stages marked with red grease pencil, the piece of metal laid in a de-tarnishing dish, the ring put under a microscope. CU METAL MUSIC CONTINUES as we TIGHTEN on the piece of metal, a pair of tongs pulling it from the de-tarnishing solution. It is a star-shaped badge, bearing the words "SHERIFF--RIO COUNTY." INT. COUNTRY AND WESTERN BAR -- AFTERNOON C&W MUSIC playing, the regulars starting to show up. Sam makes his way to a table where BEN WETZEL, a Texas Ranger, sits with a file of forensic reports. BEN Sam the Man. SAM Hey, Ben. Thanks for coming down. They shake, Sam sits. BEN How's business? SAM Business is booming. Got your drugs, got your illegals--had a shooting the other night at Big O's--Soldier got ventilated. BEN I hear they're closing that post down. SAM September '97, that's all she wrote. BEN Gonna pull a lot of jobs out of this county. SAM Yeah, we'll have folks swimming over to Mexico to work in the sweatshops. Sam looks at the folder of reports. SAM That the word on our boy? BEN Yeah, this is Skinny. SAM Skinny? BEN We find a body, it's either Skinny or Stinky, depending on how much meat there is on the bones. SAM Nice job. BEN (Opens folder) Male, 40 to 50 years old, five-foot- eleven, chewed tobacco--then we get into the dental records-- SAM Charley Wade. BEN (Nods) That badge-- SAM --it didn't come out of a cereal box. BEN Yeah. SAM You know the popular version of how he left town. BEN Everybody on the border knows that story. SAM You got a cause of death? BEN Skull was intact, no soft tissue left--not much to go on. SAM So he could have gone out to the base, hopped the fence, dug down into the dirt on the old rifle range and had a heart attack. Ben smiles, closes the folder-- BEN You uhm--you remember what old Buddy carried for a side arm? SAM Colt Peacemaker. BEN A .45-- SAM He swore by it. (Ben frowns) What? BEN Just wondering. SAM So is Buddy on your short list? BEN If it was some poor mojado, swam across at night, got lost in the scrub and starved out there, we wouldn't go any further. But this is a formerly prominent citizen. SAM You got to investigate. No question about it. BEN What I will do is keep names out of it till we got some answers or hit a dead end. You know how the press is with a murder story--even if it's forty years old. SAM Yeah, it's a pretty cold trail. They sit in awkward silence for a moment. Ben feels bad about it. BEN I remember Charley Wade come to my father's hardware store once when I was a little boy. I'd heard stories how he shot this one, how he shot that one--man winked at me and I peed in my pants. (Shakes his head) Winked at me. INT. CLASSROOM -- DAY Pilar stands at the blackboard by her outline of 19th century Texas history. PILAR Okay, we have the fight against the Spanish with bloody conflict for dozens of years till they're finally defeated in 1821 and Mexican independence is declared. Anglo settlers are invited-- CU DRAWING Somebody making a skillful pencil drawing on the corner of a sheet of lined notebook paper. A bald, muscular shotputter after releasing the shot, his hand large in the f.g. PILAR (O.S.) --to colonize the area and by the time they begin the movement against Santa Anna they outnumber the Mexicans here by four to one. The war between Mexico-- CHET Drawing intently. He takes the notebook and lays his thumb over the corner. PILAR (O.S.) and the Anglo forces ends in 1836 with the formation of the Texas Republic. Texas joins the United States as a state where slavery is legal in 1845-- NOTEBOOK Chet "flips" the corner of the notebook and the series of drawings he's made form a brief cartoon of the shot-putter blowing his cheeks out and heaving the shot right past us. Extremely well-drawn-- PILAR (O.S.) after the so-called Mexican war and then secedes to join the Confederacy in 1861. The Confederacy is beaten, and the Reformation period here is marked by range wars and race wars-- PILAR Looking out at the class-- PILAR --and all this paralleled by constant battles between both the Mexican and Anglo settlers and the various Indian nations in the area. What are we seeing here? Chet? CHET Startled, he hides the notebook under his hands -- CHET Uhm--everybody is killing everybody else? EXT. LAKE -- DAY -- CU FISHING LURE A nasty-looking thing. Only a bass would want to eat this. Hollis leans in to peer at the thing dangling before his face. WIDER Hollis sits in the swivel chair of a bass boat tied to a dock at the lake, going through his box of lures. Sam appears on the dock and steps down. SAM I always wondered what you Mayors do when you're not cutting ribbons. HOLLIS Sam! Hey podner! You caught me playing hooky-- SAM (Looks across lake) Floating around out here, playin' hell with them bass--play a little cards, play a little golf, drink some beer-- HOLLIS Sounds great. Where do I sign up? SAM I haven't been out here for a while. HOLLIS You go by your old house? SAM No. HOLLIS Just as well. The new people just painted it some God-awful color-- SAM We found a body out by the Army base yesterday. Been there for a long time. Hollis squints at a rubber lure, rejects it-- HOLLIS Was it Davy Crockett or Jim Bowie? SAM (Smiles) You recall if Charley Wade was a Mason? HOLLIS Charley? I believe he was. Used to go for lodge meetings over to Laredo. What's he got to do with your body? SAM All it was wearing was a big old Masonic ring and a Rio County Sheriffs badge. Hollis reacts. Sam puts a foot on the gunwale of the boat. SAM You don't remember anything else from that last night you saw him, do you? HOLLIS I told the story enough times--hell, we were just in the car, he was stewing about the fight with Buddy while we drove over to Roderick Bledsoe's-- SAM Bledso HOLLIS He owned the colored roadhouse before Big O-- SAM He still living? HOLLIS No. I think his widow's still in their place in Darktown, though. (Shakes his bead) You think it's Charley Wade, huh? SAM Forensics people are sure of it. You have any idea who might have put him there? Hollis makes a great show of considering-- SAM Besides my father, I mean. HOLLIS There's no call for that, Sam. Fella made himself a pile of enemies over the years. SAM And Buddy was one of them. HOLLIS We got that dedication tomorrow. This is a hell of a time to be draggin' up old business. SAM People have worked this whole big thing up around my father. If it's built on a crime, they deserve to know. Now I understand why you might want to believe he couldn't do it. HOLLIS And I understand why you might want to think he could. This is a low blow, but accurate enough to shake Sam. SAM Thanks for your time, Hollis. Hollis holds up a double handful of lures--dozens of rubber and plastic worms and shiners and frogs and spinners-- HOLLIS Look at all this, would you? My tackle, the boat, all to catch a little old fish just minding its business on the bottom of the lake. He gives Sam a look-- HOLLIS Hardly seems worth the effort--does it, Sam? Sam walks away-- INT. CLASSROOM -- ARMY BASE -- DAY -- CU ATHENA Athena stands at attention, trying to keep her composure-- CLIFF (O.S.) So you knew this young man before? ATHENA From back in Houston. We both come up on Fifth Street. PRISCILLA (O.S.) Did you know he was going to be there last night? ATHENA If I had I wouldn't have gone in. PRISCILLA (O.S.) And you and Private Graves-- ATHENA We were just dancing-- WIDER Cliff leans against a desk, a blackboard covered with radar diagrams behind him. Priscilla sits nearby, both of them focused on Athena. PRISCILLA We're not running a dating service here. ATHENA I know that, Sergeant. We were just dancing. There was a bunch of us there. Shadow just come down looking for trouble. CLIFF It's not our job to get involved in your personal life, but when it interferes with the training here-- ATHENA I'm sorry, Sergeant Major. There wasn't anything I could do. Shadow gets crazy-- A silence as the sergeant lets her stew for a moment. She works up her courage-- ATHENA Sergeant Major? How is Richie doing? Private Graves? CLIFF He'll live. PRISCILLA He'll be transferred to a military hospital as soon as he's stabilized-- CLIFF He'll probably be getting a medical discharge-- ATHENA Out of the Army? CLIFF He's going to lose a lung. This is not good news for Athena-- ATHENA Will this go on my record? Cliff considers for a long moment-- CLIFF If the incident happened the way you say it did, there hasn't been an infraction. ATHENA Thank you, Sergeant Major. CLIFF You're dismissed. ATHENA Thank you, Sergeant Major. Athena steps out of the room. Cliff sits on the desk-- PRISCILLA You spoil 'em, Cliff. CLIFF Hey--she's in a tough situation. I cut her some slack-- PRISCILLA But I'm the one in charge of her sorry ass. CLIFF She's pulled herself out of a pretty rough neighborhood. Crossing to the door-- PRISCILLA And if she isn't careful she's gonna slide right back into it. EXT. BLEDSOE HOUSE -- DAY -- ROCKER We start on a CU of a rocker creaking back and forth on an old wooden porch. A WOMAN HUMS. MINNIE MINNIE BLEDSOE, in her 60s, sits on her porch in the old Black section of town, playing with a Gameboy. She has very thick glasses on. Sam walks up to her from his car-- SAM Mrs. Bledsoe? MINNIE That's me. SAM I'm Sheriff Deeds-- MINNIE Sheriff Deeds' dead, honey--you just Sheriff junior. SAM (Smiles) Yeah, that's the story of my life. MINNIE You ever play one of these? SAM I've seen 'em. MINNIE Well, don't ever start up on 'em, cause once you do you can't stop. I tell myself I'm gonna play just three little games after breakfast, and here I sit with half the day gone. SAM You mind if I ask a few questions about your husband? Roderick? MINNIE I won't say nothing bad about the man, but you can ask away. SAM He had the club out on the old trail road-- MINNIE We run that twenty-odd years. Give it over to Otis Payne in 1967. April. SAM So you must remember Sheriff Wade. MINNIE Not if I can help it. SAM You had to deal with him in running the club. MINNIE Them days, you deal with Sheriff Wade or you didn't deal at all. First of the month, every month, he remind you of who you really workin' for. SAM He squeezed money out of you? MINNIE Wasn't legal to sell liquor in a glass back then unless you was a club, see. Roderick used to say, "Buy yourself a drink, you get a free membership." But Sheriff Wade, he could shut you down anytime. SAM And my father? MINNIE Sheriff Buddy was a different story. Long as Roderick throw his weight the right way on election day, make sure all the colored get out to vote- we was called colored back then, if you was polite--maybe throw a barbecue for the right people now and then, things was peaceful. That Sheriff Wade, though, he took an awful big bite. SAM People didn't complain? MINNIE Not if they was colored or Meskin. Not if they wanted to keep breathin'. SAM Do you remember the last time you saw him? Minnie thinks, puts down the Gameboy-- MINNIE I seen him in our place the last week before he gone missin'. We TRACK in to a close-up of her. R&B MUSIC FADES UP slowly-- MINNIE He used to come in whilst we was in full swing, make people nervous. Had him a smile like the Grim Reaper-- DISSOLVE TO: INT. ROADHOUSE -- The joint is crowded, people drinking, talking, laughing, a few dancing, all trying to avoid locking eyes with Sheriff Wade, who sits with his legs stretched out at a table. Young Hollis sits by him, smiling uncomfortably. Sax-wailing R&B blasts from the jukebox. YOUNG OTIS, a slick, confident character with straightened hair and a silk shirt on, in his early 20s, stops to talk with a MAN on his way to bring a tray with a couple beers and glasses over. MINNIE (V.O.) --just sit back with his hand on that big ol' gun and act the kingfish with everybody. Otis Payne had come to work for us by then, and that boy had him some attitude-- CU WADE Watching Young Otis with narrowed eyes-- CU WADE'S POV -- OTIS A man puts a slip of paper in Otis's pocket, pats his back. Otis winks to acknowledge the bet, turns, makes eyes at a PRETTY WOMAN sitting at the bar, who is eyeing him back. He lays the beers and glasses on the table, starts away. WADE Pour it. OTIS TURNS, CUPS HIS HAND AROUND HIS EAR- WADE Pour it. Expressionless, he starts to pour the beer into Wade's glass. The Sheriff looks up into his face-- WADE I know you? YOUNG OTIS Name's Otis. WADE Otis what? YOUNG OTIS Payne. WADE One of Cleroe Payne's boys? YOUNG OTIS Uh-huh. WADE I sent your Daddy to the farm once. YOUNG OTIS I know that. WADE Why you think that was? Otis feels people watching. He doesn't want to lose face-- YOUNG OTIS Some crop needed pickin' and the man was shorthanded. A very insolent answer for the time and place-- WADE As I remember it was because he had a sassy mouth on him. Must run in the family--You wouldn't be runnin' numbers out of this club, now, would you, son? YOUNG OTIS Runnin' numbers illegal. WADE Runnin' numbers without I know about it is both illegal and unhealthy. You remember that. The beer is poured. Otis starts away-- WADE Whoah, son. You're not finished. Pour his. YOUNG HOLLIS I prefer it in the bottle-- WADE Shut up, Hollis. Pour. Otis meets Wade's look now, pours the other beer-- WADE How come you don't took familiar? YOUNG OTIS Been away. Up to Houston. WADE Houston, huh? I hear they let you boys run wild up there. No response. Wade deliberately pushes the glass away so beer splashes on the table and drips into Hollis's lap-- WADE Aw--look what you done now. Better get something to wipe it up, son. Half the people in the room are watching now, the other half moving away to relative safety. Otis tries to keep a lid on his temper, looks around the room-- YOUNG OTIS You spilt it, you wipe it up. Wade stands, steely-eyed, and looks at Otis nose to nose-- WADE I told you to do something. Are you gonna hop to it, or are we gonna have a problem? Otis is starting to shake, but holds his ground-- WADE Don't want to turn tail in front of your people. I understand. He starts to turn away then WHAP! brings the butt of his pistol up under Otis's chin, knocking him to the floor. A woman SCREAMS and Otis, enraged, grabs the chair he has fallen over, starts to get up--but Wade has the pistol levelled at his face-- WADE Come on, Houston, give it a try! Come to Poppa-- RODERICK is out on the floor now, hands held out in a gesture of peace, as YOUNG MINNIE watches from behind the bar, petrified-- RODERICK Don't mind him, Sheriff. Boy's just a bit slow, is all. He don't mean nothin' by it-- WADE That the problem, son? You Slow? RODERICK Otis, apologize to the Sheriff-- Otis eases the chair down but doesn't say anything-- RODERICK You got him too scared to peep, Sheriff. Maybe if you put that gun up-- WADE You telling me what to do, Roderick? RODERICK No, Sheriff, I'm just-- Wade looks around, widens his eyes in mock surprise-- WADE What's this I see? Is that whiskey in them glasses on the Bar? Roderick, I'm gonna have to cite you for a violation of state law-- RODERICK This is a club, Sheriff--you been in here-- WADE And people better clear out of here! Now! A few people start for the exit. Wade swivels and BLAM sends a bullet past Minnie that shatters a crystal decanter behind the bar. People run for the door. Wade squats down to look Otis in the face-- CU WADE WADE You learn how to act your place, son. This idn't Houston. He stands and we FOLLOW him toward the bar-- OTIS (V.O.) 'Course I was young and full of beans then-- The camera passes Wade and instead of Minnie there stands Otis, PRESENT DAY, reminiscing. We are back in '95-- OTIS I didn't understand the spot I was putting Roderick in. SAM And that was the last time you saw him? We SHIFT to see Sam sitting where Wade was headed-- OTIS Oh--I think he came in one more time with Hollis and--naw, your Daddy wasn't with them. Made their monthly pickup. Roderick wasn't in so I just kept my mouth good and shut and handed over that envelope. SAM That was the night he disappeared? OTIS (Shakes his head) Could of been. That was white people's business. SAM And when my father was Sheriff? OTIS What about it? SAM What was your deal with him? Otis smiles, chooses his words carefully-- OTIS Buddy was more a part of the big picture--county political machine, chamber of commerce, zoning board if I kept those people happy, he was pretty much on my side. (Smiles) Whenever somebody thought--they start up another bar for the black folks, they'd be--how should I put this? They'd be officially discouraged. SAM He ever accept cash for a favor? Otis smiles, looks away to ponder his response-- OTIS I don't recall a prisoner ever died in your father's custody. I don't recall a man in this town--Black, White, Mexican--who'd hesitate a minute before they'd call on Buddy Deeds to solve a problem. More than that I wouldn't like to say. INT. CAR -- LATE AFTERNOON Pilar drives Amado and her daughter Paloma home-- AMADO If you had your way I wouldn't have any friends. PILAR Oh, come on, Amado-- AMADO Just 'cause I'm not like Little Miss Honor Roll here-- PILAR Leave your sister out of it. AMADO You and all of the teachers in this dump--your story's over, so you don't want anybody else to have fun. We see on PILAR's face that he has scored-- PALOMA You jerk-- AMADO I'm not talking to you. You don't have any friends. PILAR eases the car down San Jacinto street, seeing something on the street and she's tuning her kids' conversation out-- PALOMA Who'd want to be friends with that bunch of pachuco wannabes? AMADO I don't pretend I came over on the Mayflower-- PALOMA And those stupid girls who hang out with them-- AMADO Just shut up. PILAR'S POV -- SAM Sam walks on the sidewalk parallel to them, talking with three other MEN-- PALOMA (O.S.) Joanie Orozco's telling the whole school she's like desperately in love with Santo Guerra. AMADO (O.S.) So? PALOMA (O.S.) It's pathetic. You can't be desperately in love when you're 14 years old. INT. PILAR'S CAR Pilar is still looking fixedly out the window-- PALOMA Not if you have half a brain in your head. PILAR Of course you can. PALOMA What? PILAR It doesn't have anything to do with being smart. EXT. SAN JACINTO STREET -- LATE AFTERNOON Danny Padilla is arguing with H.L. BRIGGS, a construction company big shot, and JORGE GUERRA, a Council member in his 40s and Sam, as they walk down the sidewalk of the main street-- JORGE What I'm saying is, I don't see the point. You had your chance when the dedication committee was meeting-- DANNY I've got new information-- H.L. It's ancient goddarn history, Danny-- DANNY 1963, they dam up the north branch to make Lake Pescadero. A whole little town disappears-- H.L. Squatter town-- DANNY People had been living in Perdido for over a hundred years. Mexicans and Chicanos are deported, evicted, moved forcibly out of their houses by our local hero, Buddy Deeds, and his department-- JORGE There was a bill from the state legislature-- DANNY Families were split apart, a whole community was destroyed-- H.L. They were trespassing, Danny-- DANNY --and who ends up with lakefront property bought for a fraction of the market price? Buddy Deeds, Sheriff of Rio County, and his Chief Deputy, Hollis Pogue. They all look at Sam, who has been listening patiently the whole while. They've reached his office. SAM You finished? DANNY Look, I'm not after you, Sam. I just think people in town ought to know the full story on Buddy Deeds. SAM (Nods) That makes two of us. Sam steps into his office, leaving H.L. shaking his head-- H.L. You best be thankful that's the son and not the father. Buddy woulda kicked your ass from here to sundown. INT. HALLWAY -- DEL'S HOUSE -- LATE AFTERNOON We TRACK down a hallway as Celie walks toward us, calling ahead. Chet stands in the middle of the hall behind her. CELIE (O.S.) I don't see what the big deal is. Go back over, talk to the man, and bury the hatchet, Del-- CELIE passes us and Del crosses back in the other direction from behind the camera, carrying boxes of their belongings. We continue our SLOW TRACK forward-- DEL Otis Payne was never embarrassed about a thing in his life. CHET Dad-- CELIE (O.S.) You were 8 years old when he left-- DEL He didn't leave, he moved three houses down with one of my mother's best friends. CHET Dad--? DEL "Hey, Delmore, where's your Daddy?" Del disappears into the bedroom at the end of the hall-- DEL (O.S.) Everybody else's business. And everybody loved Big O-- DEL comes back out, empty-handed-- DEL Big O was always there with a smile or a loan or a free drink. CHET Dad, can I talk to you about track? CELIE (O.S.) People change. DEL Not that much. CHET Dad, I talked to the track coach-- DEL I thought we already had this out? Next year, if your grades are high enough-- CHET I have a B average. DEL How many B-average students do you think they take at West Point? CELIE (O.S.) We're going to have to see him. DEL No, we don't. Del steps away past us, leaving Chet, defeated-- INT. CAFE -- NIGHT -- ENRIQUE We start on Enrique, talking surreptitiously on the pay phone on the way to the kitchen. ENRIQUE Sabado por la noche--Is, es el mas seguero--a cruzar por la manana y pues tendremos que esperar--[Friday night--Yes, that's the safest--I'll cross in the morning and then we'll have to wait--] Mercedes bustles by, snapping her fingers-- MERCEDES Off the phone, by we've got people waiting. Andale! We FOLLOW Mercedes back into the kitchen, where she moves through, kibbitzing the operation-- WAITRESS Mercedes stops by a young girl prepping a pork loin to be cooked. She isn't wearing gloves. MERCEDES Donde estan sus guantes? Tonta! Quiere matar a mis clientes? [Where are your gloves? Stupid! You want to kill my customers?] She continues past, shaking her bead, bringing us to Pilar, who is trying to stay out of the way-- MERCEDES These ones coming up are getting stupider every year. PILAR Maybe you're just getting less patient. MERCEDES If they're going to survive here, they have to know how to work, Elalco! Adelante! Los clientes esperan! PILAR Well, you hire illegals-- MERCEDES (Indignant) Nobody is illegal in my cafe! They've got green cards, they've got relatives who were born here--if they only had a little common sense I'd be very happy. PILAR If you spent a little more time training them-- MERCEDES Did you come here to tell me how to run my business? PILAR No. I was wondering if you'd like to take a trip down south with us. Maybe see where you grew up-- MERCEDES Why would I want to go there? PILAR Oh, come on--you must be curious how it's changed. Amado is into this big Tejano roots thing and I've never been further than Ciudad Leon-- MERCEDES You want to see Mexicans, open your eyes and look around you. We're up to our ears in them. Pilar gives up on the trip. She watches her mother poking at the plates of chips and salsa ready to go out-- PILAR Mami, how old were you when my father-- MERCEDES He was killed. PILAR Right. When he was killed. MERCEDES A little older than Paloma is now. PILAR How come you never got married again? Mercedes just glares at her-- PILAR There must have been somebody. MERCEDES (Mutters) I was too busy. PILAR Nobody's too busy. MERCEDES Maybe now. It was different back then. I had this place, I was doing all the shopping, all the cooking. What do I need some chulo with grease under his nails to drink up the profit? PILAR (Pissed off) Thank you. MERCEDES I don't mean Fernando. PILAR Mami, the first time I brought him home, those were your exact words-- "some chulo with grease under his nails." MERCEDES I never said that. PILAR You made it pretty damn clear you thought he was nobody. MERCEDES I felt that you could do better for yourself-- PILAR What? Become a nun? You didn't want me going out with Anglos-- MERCEDES I never said that. It was just that boy-- PILAR "That boy"--Mami, say his name for chrissakes! The employees are staring. Mercedes won't look at her daughter as she steps out of the kitchen, banging into Enrique on his way back in-- MERCEDES You people are stealing my money-- Entiende? Robandome? Mercedes is gone. The young girl, pulling plastic gloves on, looks to Pilar. GIRL Su madre? [Your mother?] PILAR Si. The girl puts her hand on her heart in sympathy-- GIRL Lo siento [My condolences.] INT. COUNTRY AND WESTERN BAR -- NIGHT A crowded room, C&W MUSIC plays on the box. Sam sits behind a bottle of beer as the bartender, CODY, in his early 50s philosophizes. CODY Now I'm just as liberal as the next guy-- SAM If the next guy's a redneck. CODY --but I gotta say I think there's something to this cold climate business. I mean, you go to the beach- what do you do? Drink a few beers, wait for a fish to flop up on the sand. Can't build no civilization that way. You got a hard winter coming, though, you got to plan ahead, and that gives your cerebral cortex a workout. SAM Good deal you were born down here, then. CODY You joke about it, Sam, but we are in a state of crisis. The lines of demarcation has gotten fuzzy--to run a sucessfull civilization you got to have lines of demarcation between right and wrong, between this one and that one--your Daddy understood that. He was like the whatchacallit-- the referee for this damn menudo we got down here. He understood how most people don't want their sugar and salt in the same jar. SAM You mixed drinks bad as you mix metaphors, you be out of a job. CODY Take that pair over in the corner-- Sam swivels to look where Cody points-- CODY Place like this, twenty years ago, Buddy woulda been, on them two-- SAM'S POV -- CORNER BOOTH Cliff and Priscilla talk across a table-- CODY (O.S.) --warning. Not 'cause he had it in for the colored SAM AND CODY CODY --but just as a kind of safety tip. SAM Yeah. I bet he would. CODY Old Sam stood for somethin', you know? The day that man died they broke the goddamn mold. BOOTH -- CLIFF AND PRISCILLA Things are obviously more than professional between these two-- PRISCILLA So where does that put us? CLIFF Well--I don't see what's changed. No - PDA's, no necking on the obstacle course. PRISCILLA Seriously. CLIFF Seriously, I think we should get married. PRISCILLA We been through this before-- CLIFF We should just do it. PRISCILLA And if I get a shot at a promotion somewhere-- CLIFF You could take it-- PRISCILLA It's up or out these days, Cliff. Say I get transferred to a different post-- CLIFF I'd quit the Army for you, if it came to that. PRISCILLA (Grins) Man's gonna retire in two years and he offer to quit. Big goddamn deal. SAM (O.S.) Excuse me-- They look up to see Sam standing over them-- CLIFF Sheriff--hi--this is Sergeant--this is Priscilla Worth. SAM Pleased to meet you. CLIFF Sheriff Deeds was in on our archeological find yesterday. PRISCILLA It true they gonna build a shopping mall out there? SAM If certain people have their way, it's going to be a new jail. PRISCILLA Damn. Maybe we got in the wrong business. They closin' down military bases left and right, puttin' up jails like 7-11 stores. SAM Do either of you have any idea when they stopped using that site as a rifle range? CLIFF They stopped training infantry there in the late '50s. It was just a playground for the jackrabbits till they gave it to the county last year. PRISCILLA You know who it was they dug up? SAM Not for sure yet. But I kind of wish they hadn't. EXT. CAFE -- NIGHT Enrique steps out of the darkened cafe, followed by Mercedes, who locks up. Mercedes steps over to an expensive-looking car-- ENRIQUE Es muy lindo, su coche-- MERCEDES En ingles Enrique. This is the United States. We speak English. ENRIQUE Is very beautiful, your car. MERCEDES Good night, Enrique. She slides into the car-- ENRIQUE Buenas noches, Senora Cruz. Enrique walks in the opposite direction-- FADE OUT EXT. BIG O'S ROADHOUSE -- DAY -- CU DEL Del, in uniform, approaches the front door of Big O's, not open for business yet. We TIGHTEN as he stops to read a handlettered sign next to it: "BLACK SEMINOLE EXHIBIT REAR ENTRANCE." He steps in-- INT. ROADHOUSE Late-50s R&B plays on the JUKEBOX. Otis stands behind the counter hooking the beer taps up. Del steps in and sits on a stool at the far end of the bar, tense, looking around the place. When Otis sees him, he stops dead. They lock eyes for a moment, then Otis turns to call. OTIS Carolyn--knock that off for a minute. CAROLYN CAROLYN SYKES, an attractive woman maybe ten years younger than Otis, pulls the plug from the jukebox near where she's scrubbing bloodstains off the floor. She turns to look at the newcomer-- BAR Del doesn't move to come closer-- DEL Black Seminoles? OTIS (Shrugs) Hobby of mine. Got some artifacts, couple pieces one of your men out at the base made. Free admission. Del nods toward where Carolyn is mopping-- DEL That where he was shot? OTIS That's where he fell. DEL You get much of that in here? OTIS It's a bar. People come together, drink, fall in love, fall out of love, air their grudges out-- DEL Deal drugs in the bathroom-- OTIS If I thought it would help I'd put up a sign telling them not to. Right under the one about the employees washing their hands. Carolyn has come over by Otis, lugging the bucket and mop-- OTIS This here's Carolyn. Honey, this is my son, Delmore. DEL Nice to meet you, Ma'am. Carolyn nods, shoots a look to Otis-- CAROLYN I'll be in back waiting for that delivery. They wail till she is gone to start again-- OTIS So. DEL So tell me why I shouldn't make this place off-limits. OTIS This is an official visit, then-- DEL I assume a lot of your business is from our people. Otis pulls a tap back and it coughs before squirting beer. OTIS Your boys out there cooped up together, need somewhere they can let the steam out. If they're Black, there's not but one place in this town they feel welcome. Been that way since before you were born. DEL We have an enlisted man's club at the post. OTIS Well, you're the Man out there now, aren't you? It's your call. DEL That's right. OTIS (Smiles) I been hearing rumors about this new commander coming for a couple weeks now. Boys say they heard he's a real hard case. Spit-and-polish man. Full- bird colonel name of Payne, they say-- Bet you never figured you end up back here. DEL The Army hands you a command, you go wherever it is. OTIS Right. DEL I hear things, too. People call you the Mayor of Darktown. OTIS (Shrugs) Over the years, this is the one place that's always been there. I loan a little money out, settle some arguments. Got a cot in the back- people get afraid to go home they can spend the night. There's not enough of us to run anything in this town- the white people are mostly out on the lake now and the Mexicans hire each other. There's the Holiness Church and there's Big O's place. DEL And people make their choice-- OTIS (Smiles) A lot of 'em choose both. There's not like a borderline between the good people and the bad people--you're not either on one side or the other-- Del looks away, not wanting to believe this-- OTIS (Softly) I gonna meet that family of yours? DEL Why would you want to do that? OTIS Because I'm your father. Del gives him a dark look and lets the statement hang between them. He gets up and heads for the door-- DEL You'll get official notification when I make my decision. He is out the door--Otis pulls himself a beer as Carolyn steps back out-- CAROLYN So that's him-- OTIS Yeah--that's him. Got two, three thousand people under him out there, you count the civilians. CAROLYN That must be a laugh a minute. EXT. SAN JACINTO STREET -- DAY Sam walks down the main street of town. A CROWD is gathering at the other end for the ceremony-- H.L. (O.S.) Sheriff! We WIDEN as H.L. and Jorge catch up to him. H.L. slaps Sam on the back-- H.L. Historic occasion, isn't it? SAM Seems like we have another one every week. H.L. Jorge and his Chamber of Commerce boys got to keep things hummin'-- JORGE We're building up tourism, Sam-- SAM People come here to catch bass and to get laid at the Boy's Town in Cuidad Leon-- JORGE Sam-- SAM You ought to put up a banner-- "Frontera, Texas: Gateway to Cut- Rate Pussy"-- H.L. That kind of talk doesn't help, Sam. SAM Rather have that than the ten-foot- high catfish statue-- JORGE I got Eddie Richter at the Sentinel to kill that story. SAM The Perdido thing? JORGE He agreed it wasn't exactly news-- SAM Danny's gonna be out for blood the next time. H.L. Which is why we need to talk to you about the new jail--just so we're all on the same page. SAM We don't need a new jail. H.L. That's a matter of interpretation-- SAM We're already renting cells to the Feds for their overflow-- JORGE There was a mandate in the last election-- SAM It wouldn't happen to be your construction company gonna get the bid on building this thing, would it, H.L. And Jorge, you wouldn't be thinking about a couple dozen new jobs to dangle in front of the voters-- H.L. Dammit, Sam, the people are concerned about crime-- SAM We need a drug rehab program, we need a new elementary school-- JORGE There isn't money allocated for that. But a jail-- SAM Look, I'm not gonna campaign against your deal here, but if anybody asks me, I got to tell them the truth. We-- don't--need--a new jail. H.L. When we backed you-- SAM When you backed me you needed somebody named Deeds to bump the other fella out of office. Hey, folks-- Sam and the others smile as they reach the CROWD of townspeople, mostly small business owners and retired people. Photographers from the paper and a local TV news crew wait by a veiled Statue roped off in a little traffic island. Mercedes, dressed to kill, stands waiting next to Hollis with a huge pair of scissors in her hand. CU MERCEDES Slowly working the blades of the scissors, she looks coldly at Sam-- CU SAM He nods to her as the crowd opens a path for him. SAM Let's get this thing over with. INT. MIKEY'S WORKSHOP -- MORNING We start on a two-foot-high statue of a cowboy made from old bullets and shell casings. We PAN past a few others, the poses lifted from Frederic Remington paintings, till we see Mikey, gluing together a work in progress, a Remington book propped open in front of him. Cliff sits at the worktable playing absently with the old bullets spilled out from MIKEY'S bag MIKEY Never thought I'd see the day a buddy of mine was dating a woman with three up and three down on her shoulder. CLIFF I think it's beyond what you'd call dating. MIKEY You going to get married? CLIFF (Shrugs) Maybe. MIKEY You met her family? They gonna be cool about you being a white guy? CLIFF Priscilla says they think any woman over 30 who isn't married must be a lesbian. She figures they'll be so relieved I'm a man-- MIKEY Always heartwarming to see a prejudice defeated by a deeper prejudice. But marriage, man--I did two tours in Southeast Asia and I was married for five years--I couldn't tell you which experience was worse. Cliff picks up a slug-- CLIFF Hey, Mikey-- MIKEY I knew she was Japanese going into it, but she didn't tell me the ninja assassin part-- CLIFF Mikey-- MIKEY Her parents acted like I was gonna blow my nose on their curtains-- CLIFF Mikey-- MIKEY If I stayed out past ten with the guys she'd go into her Madame Butterfly routine-- CLIFF Mikey look at this-- MIKEY What--it's a bullet. I'm lousy with bullets here. CLIFF It's a .45. MIKEY Yeah? CLIFF This is the stuff we picked up the other day, right? The rest of this is all .30 caliber-- MIKEY They were using M-1's, yeah-- CLIFF What's it doing on a rifle range? MIKEY holds the slug in front of his face-- MIKEY We better call that Sheriff. EXT. SAN JACINTO STREET -- DAY Hollis is finishing his oration, having put the crowd in a good mood. HOLLIS Sometime in the early '70s a reporter from a national magazine was talking to the governor of our Lone Star state, and he asked him, "Governor, what's your ideal of what a real Texan ought to be?" Governor said, "That's easy, son- you just go down to Rio County and get a look at Sheriff Buddy Deeds." Applause-- SAM Watching the crowd-- SAM'S POV We PAN with his gaze across smiling faces, till he comes to Danny and a couple of Chicano friends, looking grim. We RACK FOCUS beyond them to see Pilar, watching the ceremony from a few yards back-- HOLLIS (O.S.) Thank you. We've got one more person to hear from-- HOLLIS HOLLIS --and he's somebody who probably knew Buddy better than any of us, Sam--would you say a few words? SAM Not thrilled to be called on. He steps forward reluctantly to APPLAUSE-- SAM You folks who remember my father knew him as Sheriff. But at home he was also judge, jury He looks to Hollis-- SAM --and executioner. LAUGHTER. Sam holds Hollis's eyes for a moment before continuing-- SAM This is a real honor you're doing him today, and if Buddy was around I'm sure his hat size would be gettin' bigger every minute. PILAR Watching-- SAM (O.S.) I used to come to this park to hide from him. Now that you're putting his name on it-- SAM SAM I'll have to find someplace new to duck out. More LAUGHTER-- SAM I do appreciate it, and wherever he is, Buddy's puttin' the beer on ice for the bunch of you. Thank you. APPLAUSE-- Sam steps back and Mercedes steps forward with her scissors without looking at him-- HOLLIS And now my fellow Council member and one of Frontera's most respected businesswomen, Mrs. Mercedes Cruz, will do the honors for us. MERCEDES She freezes, smiling, till the still photographers have gotten their shots, then snips the cord to a pulley system that lets the cloth drop-- STATUE The cloth drops to reveal a bas-relief in brass set in a block of smooth limestone. A decent likeness of Buddy in uniform, his hand on the shoulder of a small Chicano-looking boy who stands beside him, eyes raised worshipfully. APPLAUSE from the gathering-- SAM Watching, a bit removed, as Mercedes shakes hands with Jorge and H.L. and Hollis for the cameras. He overhears a pair of BYSTANDERS who are checking out the statue-- BYSTANDER 1 (O.S.) It does look like old Buddy. BYSTANDER 2 (O.S.) Runnin that kid in for loiterin'-- The bystanders LAUGH--Sam steps away, intercepting Mercedes as she steps away-- SAM Nice to see you, Mrs. Cruz. Mercedes just looks at him, keeps going. His gaze brings him to Pilar, standing on the sidewalk, watching. SAM Steps over from the dispersing crowd-- SAM Field trip? PILAR Lunch hour. My next class isn't till nine-thirty. SAM Want to take a walk? EXT. RIVERSIDE -- DAY Sam and PILAR walk together alongside the Rio-- SAM Your mother still doesn't like me. PILAR I can't name anybody she does like these days. SAM I see she built a place up here by the river. PILAR A real palace. She rattles around alone in that thing-- SAM She's done well for herself--on her own and all-- PILAR So she tells me three times a week. She looks at him-- PILAR I thought you got through that pretty well. SAM They cooked the whole thing up without asking me. PILAR People liked him. SAM Most people did, yeah. PILAR I remember him watching me once. When I was little--before you and I-- She shrugs. PILAR I was on the playground with all the other kids, but I thought he was only looking at me. I was afraid he was going to arrest me--he had those eyes, you know-- SAM Yeah. PILAR Weird what you remember. They walk in silence a moment-- SAM Your boy, there-- PILAR Amado. SAM Nice-looking kid. PILAR He hates me. SAM No-- PILAR With Paloma, it's more like she pities and tolerates me- totally age- appropriate. But Amado--he's--he's never been book-smart. Had a hard time learning to read. Me being a teacher and caring about those things is like an embarrassment--like a betrayal. SAM Fernando did okay, and he dropped out-- PILAR Fernando wasn't pissed off at everybody. He just wanted to fix their cars. SAM It might just be the age. I spent my first fifteen years trying to be just like Buddy and the next fifteen trying to give him a heart attack. She looks at him-- PILAR So why did you come back here, Sam? SAM Got divorced, I wasn't gonna work for my father-in-law anymore. The fellas down here said they'd back me-- PILAR You don't want to be Sheriff. SAM I got to admit it's not what I thought it'd be. Back When Buddy had it-- hell, I'm just a jailer. Run a 60- room hotel with bars on the windows. PILAR It can happen so sudden, can't it? Being left out on your own. SAM You've got your mother, your kids-- PILAR They've got me. Different thing. They stop at a spot where you can climb down the bank-- SAM Remember this? Pilar looks at the spot. She isn't ready to deal with whatever memory it brings back-- PILAR I should get back. SAM Pilar-- PILAR Looks real bad if the teacher's late for class. It's really nice to talk with you, Sam. She waves and walks away, feeling awkward. Sam watches for a minute, then turns and steps down to the bank, He looks at the water. RIVER SURFACE A little piece of tree bark is tossed onto the water and drifts away with the current. We TILT UP to see YOUNG PILAR tossing bark into the river as YOUNG SAM sits on the bank beside her. They are 14 and 15 years old--It is 1972-- YOUNG SAM You going to tell her? YOUNG PILAR You going to tell him? YOUNG SAM He doesn't need to know all my business. YOUNG PILAR He's gonna find out. YOUNG SAM So? What's he gonna do, arrest us? Young Pilar frowns, tosses more bark-- YOUNG PILAR It's supposed to be some big sin, even if you love each other. YOUNG SAM You believe that? CU YOUNG PILAR She turns to look at him-- YOUNG PILAR No. We PAN with her gaze to see Sam, PRESENT DAY, sitting on the bank, lost in thought-- SAM Me neither. EXT. ARMY POST -- DAY Athena walking between buildings, looking a bit out of it. Sergeant Worth cuts into her-- PRISCILLA Private Johnson! ATHENA Sergeant? PRISCILLA Report to Dr. Innis at the clinic. ATHENA I'm feeling okay-- PRISCILLA I'm very happy to hear that, Private. Now you go put some pee-pee in a cup for Dr. Innis and I'll be feeling okay, too. ATHENA (Reacts) You're testing me? PRISCILLA You and one hundred nineteen other fortunate individuals. Put it in gear. ATHENA Yes, Sergeant. Sergeant Worth watches Athena go, suspicious-- INT. SHERIFF'S OFFICE -- AFTERNOON Ray Hernandez and another DEPUTY guide Shadow back in from the courthouse in handcuffs-- RAY Excellent performance, my friend. The judge was very impressed. SHADOW You don't need to cuff me. RAY You been talking so much trash today, you made us think you're a dangerous criminal. Be a good boy, now-- They guide him past Sam's desk-- SHADOW You're the one who's a good boy. Man say "fetch" and you fetch-- RAY Just doing my job. SHADOW White man just using you to keep the Black man down. RAY This isn't Houston, my friend. We pretty much running things now. Our good day has come. SHADOW You suckers haven't had a good day since the Alamo. Ray smiles, pushes him out-- RAY Andale, amigo, We HOLD on Sam at his desk, TIGHTENING as he holds the .45 slug from the sergeants in front of his eyes-- SAM Lupe? Get me the rangers up in Austin-- INT. MERCEDES' KITCHEN -- NIGHT -- CU GLASS We hear old MEXICAN MUSIC. Ice cubes plunk into a glass. WIDER, MERCEDES Mercedes, exhausted from a day at the cafe, pours herself a Scotch and soda-- EXT. BACK PATIO -- NIGHT The back LIGHT is flicked on and Mercedes steps out with her drink in hand, the MUSIC audible from inside. She sinks into a recliner. We TIGHTEN as she closes her eyes. Something RUSTLES out In the dark. Mercedes opens her eyes. There is WHISPERING. Mercedes sits up and suddenly two MEN run past the edge of the patio toward the front of the house. Mercedes sighs-- MERCEDES Otra vez los mojados--[Wetbacks again--] Mercedes searches to find a portable phone on the patio table, punches a number in-- MERCEDES Hello? Border Patrol? EXT. SAM'S HOUSE -- NIGHT Sam, out of uniform, stands behind his little house chucking fallen pecans out into the dark, thinking, listening to the night sounds. CU SAM Working something out in his head. He looks off into the dark and we PAN with his gaze--A MAN steps toward us, barely visible in the darkness. It is Charley Wade--We're in Sam's REVERIE, in 1957-- WADE Who is that? Come out here where I can see you! BLAM! A GUNSHOT, and Wade falls to his knees-- WADE You sonofabitch-- Wade falls on his face. A FLASHLIGHT BEAM flicks ON and plays over his body. We PAN back along the be to see Buddy, holstering his Pistol. He hears something, swings the flashlight up. SAM We are back in 1995. Sam is blasted in the face with a FLASHLIGHT BEAM-- PATROLMAN (O.S.) Hold it right there! Brazos arriba! Sam, squinting toward the light to see who it is, raises his hands over his head-- ZACK (O.S.) Get that thing off 'im! He's one of ours-- SAM Zack? The FLASHLIGHT BEAM PANS AWAY and ZACK POLLARD, a Border Patrol agent, steps out of the dark to Sam-- ZACK Hey Sam. Sorry 'bout that. SAM What's up? ZACK We had about a dozen wets come over just upriver. They ran into one of our posts--it was like a breakshot on a pool table, illegals runnin' every which way. SAM I haven't seen anybody come by. ZACK We'll get 'em-- (Looks around) So you livin' out here now? SAM Yeah. It's quiet-- ZACK I heard about that deal for your father--You must be real proud. SAM Sure. ZACK The stories people tell, he was a real colorful fella-- PATROLMAN (O.S.) Zack! We got one! ZACK Well--back on the clock. You see any of our neighbors from the south, let 'em know I'm lookin' for 'em. SAM 'Night-- Zack steps away. Sam shakes the pecans still in his band, goes back to chucking them-- EXT. COURTYARD -- DANCERS Older CHICANO COUPLES dance to Mexican Music playing from speakers set up in the apartment complex courtyard. We TILT UP to see Enrique watching from his window-- INT. APARTMENT -- NIGHT MUSIC still blasting. Enrique steps away from the window, and sits on the bed of his drab furnished apartment. He goes back to tying knots in a length of clothesline splicing it to another. On the bed beside him are new flashlights and the batteries, still in their packaging. He begins to coil the rope--it is hundreds of feet long. EXT. FRONT PORCH, PILAR'S HOUSE -- NIGHT Pilar sits on her front Porch, listening to the MUSIC in the distance. A woman singing a MEXICAN LOVE BALLAD. After a while we hear Paloma open the screen door behind her-- PALOMA (O.S.) Mom? PILAR Yeah? PALOMA (O.S.) You gonna stay out here? PILAR For a while. A silence. They listen to the RECORD-- PALOMA (O.S.) What's she singing about? PILAR (Smiles) What do you think? FADE OUT INT. SHERIFF'S OFFICE -- EARLY MORNING Sam has been up since dawn, searching through piles of old department records. Papers cover his desk and the chairs he's dragged over next to it. He reads out loud himself from a report in front of him-- SAM First bullet entered beneath the left eye, severing the optical nerve and exiting from top rear of skull causing tissue damage DOCUMENTS -- VARIOUS SHOTS As Sam reads, we see quick pops of various records-- Certificates of death. An old Sheriff's Department payroll. An autopsy report. Eviction notices. SAM (O.S.) --and severe cerebral hemorrhaging. Second bullet entered left cheek driving fragment of upper and lower molars into base of skull. Third bullet-- Real estate transfers. A map of the Proposed Lake Pescadero. Another autopsy report. A FAX COPY of the forensics dental report on Charley Wade. Another autopsy report-- CU SAM Intent as he pores over the paperwork-- LEGAL PAD We TILT DOWN to read various notes Sam has written--Reynaldo Garcia killed by Shf Wade--3/49 Hollis Kinney hired by Shf Dep.--9/51 Lucas Johnson k. by Shf Wade--7/53 Horace Gaines k. by Shf Wade--1/54 Santiago Huerta k. by Shf Wade--4/54 Rifle range closed--9/56 Eladio Cruz k. by Shf Wade--12/56 Buddy Deeds hired by Shf Dep.--2/57 Shf Wade disappears-- 3/57 $10,000 cnty funds missing Buddy Deeds new Shf We come to Sam's hand, writing, when it clears we can read the last entry-- Mercedes Cruz hired as cook, Rio Co. jail--4/57 ????? CU SAM Trying to put it all together. PETE ZAYAS, a skinny, older man in trustee's coveralls, wanders in, emptying the trash baskets in the front office-- PETE Morning, Sheriff. SAM Hey, Pete. How's it going? PETE Time marches on. SAM How much you got left? PETE Three months. SAM You stop growing that loco weed at your place, you'd see a lot more daylight. PETE It was for personal consumption. SAM You're going to smoke an acre and a half of marijuana? PETE I got a bad stomach. It helps me digest. Pete dumps out the basket by Sam-- PETE Your father never bothered me about it. Leastways not till the drug people got on his back in the late '60s. SAM I thought he busted you a couple times. PETE Different charge. I had a still. Made my own mescal. Sam looks up at him. PETE That's how I ruined my stomach. SAM (Smiles) I'm surprised he bothered with it. PETE He was afraid I was going to poison somebody. Your father tried to do good for people-- SAM So I've heard-- PETE And your mother was a saint. That summer I built the patio at your house? She made me lunch every day. SAM Well, you were working there-- PETE It could have just been a box lunch from the jail. Sam looks up again, troubled. SAM You built our patio while you were on the county? PETE Out in the fresh air, nice gringo lady making you pies--who's gonna sit back in a little jail cell all day? Sheriff Buddy, man. Como el no hay dos. And after that cabron Charley Wade-- SAM I've heard Wade was a bit tough on the Mexicans-- PETE He murdered Eladio Cruz. That tough enough for you? SAM Murdered him? PETE Chucho Montoya saw it with his own eyes. Shot him in cold blood. EXT. SAN JACINTO STREET -- MORNING Ray Hernandez, heading in to work, comes upon Sam getting into his car-- RAY You're out early. SAM Yeah. RAY Haven't seen much of you at the jail lately. SAM I been working on a few things. RAY Uh-huh. SAM I'm going over to the other side. RAY (Concerned) The Republicans? SAM No--to Mexico. I've got to talk to somebody. RAY They got telephones. SAM Gotta be in person. RAY Oh. An awkward silence. Sam sits into the driver's seal and Ray leans down to talk-- RAY Sam? I--the Committee--you know Jorge and H.L. and all--they asked me-- SAM They want you to stand for Sheriff next election. RAY Yeah. SAM You'd do a good job. RAY How 'bout you? SAM Don't know if I'll still want it. RAY I didn't want to be going around your back. SAM I appreciate you telling me. Sam looks at his Chief Deputy-- SAM You think we need a new jail? RAY Well, it's a complicated issue-- Sam smiles, turns the engine on-- SAM Yeah, Ray, you'd be a hell of a Sheriff. EXT. SCHOOL -- MORNING Pilar sits with Amado on the football field bleachers before school starts-- PILAR I'm only going to have you for two more years. If you decide not to go on to college-- AMADO I can't take any more school. PILAR --you're going to be on your own. AMADO So? PILAR So I'm worried about you. I don't want you to end up in jail like your friends. AMADO They're not going to jail. PILAR Don't try to con me, Amado. You knew how they got all those things. AMADO Just some rich Anglo out on the lake. Don't even live here all year. PILAR That makes it okay? AMADO They stole our land-- PILAR Save your breath. That line doesn't cut it with me. A silence. Amado sulks. PILAR How do you think you're going to make a living? AMADO I can fix cars. PILAR You can fix old cars. Mr. Washburn told me that the cars they're making now are all computerized-- AMADO You think I can't learn that? PILAR I think you can learn whatever you want to. I just don't see you doing it. If you want to settle for-- AMADO I'm not settling for anything. I like cars, it's just not a move up the ladder to you, so you think it's a waste. PILAR That isn't true. AMADO Oh, come on--you and Grandma think anybody who works with their hands is a peasant. When Dad-- PILAR If you grew up to he anywhere near as good a man as your father was, I would be happy! I would be thrilled. They look, at each other for a long moment. AMADO It's my life. If I want to fuck it up, that's my business. PILAR (Nods) I said pretty much the same thing to my mother when I was your age. AMADO And what did she do? PILAR Two years at hard labor, Our Lady of Perpetual Help. AMADO Catholic school, nasty. Pilar is nearly in tears. PILAR Honey, I think you're smart and you're good and I love you. So don't act like an idiot, all right? EXT. BORDER CROSSING -- DAY We see Sam's car roll through the "express lane" as other cars in both directions stop by the inspection booths. Sam drives across the bridge over the Rio-- EXT. STREETS -- CIUDAD LEON -- VARIOUS SHOTS Sam drives slowly through the sprawling, more populous town on the other side. Lots of the streets are unpaved. We PAN with the car till we HOLD on ANSELMA, a country girl of 15, aimlessly walking the streets-- EXT. LLANTERIA (TIRE REPAIR SHOP) -- DAY We watch a KID about Amado's age pulling a tire off its rim to put a patch on it-- CHUCHO (O.S.) Over here we don't throw everything away like you gringos do. CHUCHO AND SAM CHUCHO MONTOYA, in his mid-50s, stands by Sam drinking a Coke as they watch the kid work. CHUCHO Recycling, right? We invented that. The government doesn't have to tell people to do it. SAM You own this place? CHUCHO This place, the one across the street, four other ones around Ciudad Leon-- soy el Rey de las Llantas. King of the Tires. Lots of your people rollin' back over that bridge on my rubber. SAM (Nods) You lived in the States for a while? CHUCHO Fifteen years in El Paso. SAM Made some money, came back here-- CHUCHO Something like that. SAM You ever know a fella named Eladio Cruz? CHUCHO smiles, draws a line in the dirt with his heel-- CHUCHO You the sheriff of Rio County, right? Un jefe muy respetado. Step over this line. Sam obliges-- CHUCHO Ay, que milagro! You're not the Sheriff of nothing anymore- just some tejano with a lot of questions I don't have to answer. Sam smiles, plays with the line with his toe-- CHUCHO Bird flying south-you think he sees that line? Rattlesnake, javelina-- whatever you got--halfway across that line they don't start thinking different. So why should a man? SAM Your government always been pretty happy to have that line. The question's just been where to draw it CU CHUCHO CHUCHO My government can go fuck itself, and so can yours. I'm talking about people here--men. Mi amigo Eladio Cruz is giving some friends of his a lift in his camion one day-- We PAN from CHUCHO to the FLAT TIRE on a battered old pickup truck-- CHUCHO (V.O.) --but because he's on one side of this invisible line and not the other, they got to hide in the back like criminals-- Eladio CRUZ, young and good-looking, squats into the shot to examine the tire, jack in hand. It Is 1956-- CHUCHO (V.O.) And because over there he's just another Mex bracero, any man with a badge is his jefe-- CONJUNTO MUSIC comes from the truck RADIO. YOUNG CHUCHO steps past Eladio-- ELADIO Donde vas, Chucho, Tienes que quedar escondido! [Shit, CHUCHO you got to stay hidden!] YOUNG CHUCHO Voy a romper las rinones si no hago pipi--[I'm gonna bust my kidneys if I don't pee--] We TRACK back with Young CHUCHO to see we are at the side of a dirt road on the scrubby flatland near the border. Eladio's battered pickup truck has wood-slat sides and a canvas top. Eladio begins to undo the nuts on the flat tire as Young CHUCHO climbs down into a dry creek bed to relieve himself-- YOUNG CHUCHO Los demas son tan espantados que prefieran mojar sus pantalones. [The other guys are so scared they'd rather wet their pants.] CHUCHO tightens as he sees something, ducks down-- YOUNG CHUCHO Mira, Eladio [Look!] We PAN to see the Sheriff's car approaching in a cloud of DUST-- ELADIO (Calling from where he lies changing the tire) Muchachos! Escondases! [Boys! Hide yourselves!] INT. REAR OF TRUCK Eight illegal WORKERS hear this and lie down, pulling a canvas tarp over themselves. We hear the CAR STOP behind them-- EXT. ARROYO -- CU CHUCHO He makes the sign of the cross as he presses his back against the dirt of the arroyo-- ROAD Sheriff Wade and Deputy Hollis get out of their car and start toward Eladio-- ELADIO He stands, takes a deep breath--Wade steps up to him with his hard-eyed smile-- WADE Hola, amgio. Problemas de llanta? [Hey, friend. Tire problems?] ELADIO No hay de que. Tengo otra. [No problem, I've got another.] WADE What's in the back? EXT. TRUCK Young Hollis strolls around the truck as if he's considering buying it. He reaches in and flicks the RADIO OFF-- ELADIO Not much, jefe. Some watermelons. WADE I heard somebody been haulin' wets on this road. ELADIO I haven't seen anybody doing that. WADE This same person been bragging all over the county how he don't have to cut that big gringo Sheriff in on it-- he can run his own operation 'thout any help. Como se llama, amigo? ELADIO Eladio Cruz. WADE You know this road got a bad reputation, Eladio-- ARROYO -- CHUCHO Young CHUCHO pecks over the edge to see what's happening. ELADIO Reputation? WADE Bandidos, Injuns-- CLOSER -- MEN Hollis wanders over to stand by Wade-- WADE There's many an unfortunate soul been ambushed out on this stretch. Hope you're carrying some protection. ELADIO Protection? WADE You carryin' a firearm, son? Don't lie to me now. ELADIO Si--tengo escopeto--just a shotgun-- WADE Just a shotgun, huh? Better let me take a look at that. ELADIO opens the truck door and digs under the seat. Wade winks to Hollis, then turns and BLAM! shoots ELADIO through the head. Hollis jumps back startled and horrified-- YOUNG HOLLIS Oh no--oh Jesus--oh my Lord-- WADE Little greaser sonofabitch been running a goddarn bus service. Think he can make a fool out of Charley Wade! Get them wets outta the back, Hollis, see what we've got-- CU CHUCHO Squatting in a ball to make himself as small as possible, eyes covered with his hands. YOUNG HOLLIS (O.S.) You killed him-- WADE (O.S.) You got a talent for statin' the obvious, son Muchachos! Venga afuera!Brazos arribas! [Come on out! Hands up!] Young CHUCHO hears FOOTSTEPS approaching. We PAN as he looks-- a man's BOOTS appear at the top of the arroyo. We TILT UP to see a Sheriff, BACKLIT, then CRANE to see it is Sam, back in the PRESENT looking over the site, troubled. His car sits on the empty road behind him. He frowns, turns to go-- EXT. PARK -- DAY -- PLAQUE Somebody has spray-painted "PERDIDO!" over the plaque of Buddy and the little boy-- HOLLIS (O.S.) Hooligans-- WIDER Hollis and a couple of MEN from the Public Work Department look at the damage. HOLLIS It happens again, we build a fence around it. INT. CAFE -- DAY Enrique steels himself, trying to cover his nerves. We CROSS with him to a booth. ZACK Podemos ganar muchas batallas pero la guerra ya es perdido--[We can win a lot of battles but the war's already been lost--] Zack and another BORDER PATROLMAN look up at him-- CU ENRIQUE Eyes glued to his notepad-- ENRIQUE You wan' something to drink? EXT. ROADSIDE STAND -- DAY -- CU CATTLE SKULL A Georgia O'Keefe-looking cattle skull sits on a pedestal against the Western sky-- WESLEY (O.S.) The longhorns go for ten times the price-- We WIDEN as the skull is lifted by WESLEY BIRDSONG, a Native American man in his 70s who wears extremely thick glasses. Sam tags along as the old man rearranges the display of Texas curios laid out in front of his trailer. Empty scrubland surrounds them. WESLEY --but longhorns are hard to come by these days. SAM You sell much out here? WESLEY How am I gonna sell things if nobody comes by? This stretch of road runs between Nowheres and Nothin' Much. SAM Hell of a spot to put a business. WESLEY But you don't see much competition, do you? He winks at Sam, picks up a wooden radio carved to resemble the Alamo-- WESLEY These things used to sell like hotcakes. Now, if it can't play those discs, they won't look at it. He puts the radio on, looks out at the emptiness around-- WESLEY I like it here. Once I tried going onto that reservation to live. Couldn't take the politics. Damn Indian'll drive you crazy with that, Now your father--this wasn't what he had in mind at all. He come out of Korea, he had this Chevy with too much engine in it. He'd come roarin' up and down this road all hours of the day and night,looking for somebody to race. He lifts a jar with a leathery brown thing in it-- WESLEY Buffalo chips. Fella in Santa Fe told me he sells these as fast as the buffalo can squeeze 'em out. SAM So when did Buddy leave? WESLEY For Frontera? Hell, I can't remember dates no more. I do recall it was after an affair of the heart had gone sour on him. He almost took some poor fella's head off at the Legion in Arroyo Grande, and figured it was time to move on. SAM You think he killed anybody in Korea? WESLEY They don't hand those medals out for hidin'in your foxhole. Would you buy this? SAM No-- WESLEY Me neither. He searches for something among the curios-- WESLEY If he hadn't found that Deputy job, I believe Buddy might've gone down the other path, got into some serious trouble. Settled him right down. That and your mother. 'Course he had that other one later. SAM Another woman? WESLEY Your mother wasn't one to get chased off her patch. Half the damn county knew and nobody thought the worse of her for seein' it through. SAM You know who it was? WESLEY The other one? Hell, at my age, every time you learn a new name you got to forget an old one. Your head's all crowded up--here it is-- Wesley stretches out a four-foot rattlesnake skin, rattles still attached-- WESLEY This big fella was sleepin' in a crate at Cisco's junkyard right when I looked to see what was in it. Jumped up at my face--scared me so bad I killed him without thinkin'. He shakes the rattles at Sam-- WESLEY Gotta be careful where you're pokin'-- who knows what you'll find. INT. SCHOOL HALLWAY -- DAY PILAR talks with Molly as they near the administration office-- PILAR I don't think you can take it personally-- MOLLY I'd like to see them spend a day pulling 14-year-olds off of each other--I should get combat pay-- PILAR I have new respect for some of my kids, meeting the parents they've been dealt-- Molly keeps going as Pilar ducks into the office-- PILAR See you, Molly. INT. OFFICE PILAR crosses past the principal's secretary, MARISOL-- MARISOL Steve called for you. PILAR Steve? MARISOL Steve. Board of Education Steve who likes you? He goes for us hot-blooded Mexican girls, I can tell. PILAR Spanish, please. My mother would have a heart attack. MARISOL Your mother's family is Spanish? PILAR Sure, they go back to Cortez. When he rode by, they were squatting in a hut cooking hamsters for dinner. MARISOL You got to be interested in somebody. All you do is work. PILAR All my mother does is work. That's how you get to be Spanish. MARISOL How 'bout the Sheriff? PILAR The Sheriff. MARISOL The old-high-school-heartthrob Sheriff. I thought you were crazy about each other. He's available, you're available-- PILAR I'm unmarried. I'm not available. MARISOL You told me one time it was true love. PILAR takes the pile of mimeos and mail from her slot and turns to go-- PILAR (Mutters) Nobody stays in love for twenty-three years. EXT. DRIVE-IN MOVIE -- NIGHT It is 1972. An early-'70s cheezy action picture (Filipino women-in-chains or biker flick is playing. We TILT DOWN to a man's BOOTS crunching across the gravel of the parking area. Now and then, the man turns a FLASHLIGHT BEAM on a license plate. The cars are all pre-'72, lots of pickups, and the patrons are almost all TEENAGERS. Some have turned their pickups around to sit on the tailgate and watch, while others have set lawn furniture out to sit on. We TILT UP slightly to see the glint of a Rio County Sheriff's badge pinned on the man's shirt. He meets a DEPUTY coming in the other direction. Both train their FLASHLIGHTS on the license of the car we see in the b.g. between them. We TILT and RACK to see that nobody is visible through the window-- BUDDY (O.S.) Let's go. We FOLLOW Buddy up to the driver's side of the car as the Deputy goes to the passenger side. We PAN with Buddy's hand down to the door handle--he grabs it, flings it open--the overhead LIGHT flicks ON and there lie YOUNG SAM and PILAR, teenagers, half their clothes off and just about to close the deal. PILAR SCREAMS and the Deputy throws the door open by their heads-- BUDDY Goddammit! Buddy grabs Sam's ankles and yanks him out of the car onto the ground as the Deputy awkwardly pulls PILAR, out the other side-- YOUNG SAM What the hell are you doing? You fucking asshole! BUDDY How old is that girl? Goddammit, where's your goddam sense? YOUNG PILAR (O.S.) Let me go! Pendejo! YOUNG HOLLIS (O.S.) Come on now, Missy, get your clothes in order-- Sam is trying to kick and punch at his father, pausing in between to pull his pants up. People are BOOING and HONKING their HORNS all around-- YOUNG SAM You got no fuckin' right! You stay out of my fuckin' life! BUDDY Gimme the keys--gimme the goddamn car keys, son-- YOUNG HOLLIS (O.S.) What am I s'posed to do with her, Buddy? BUDDY You drive her home and tell her mother where we found her-- YOUNG PILAR (O.S.) Sam! The kids are dragged forward into the HEADLIGHTS that are being turned on to see what the ruckus is. Both are crying, struggling-- YOUNG SAM You leave her the fuck alone! BUDDY You just shut that filthy mouth, son. I'll deal with you when we get home-- YOUNG PILAR Please, don't tell my mother! She's gonna kill me! They step closer into the glaring HEADLIGHTS which WHITE OUT the scene, then FADE. EXT. RUINED DRIVE-IN -- DUSK It is DUSK, PRESENT DAY. Our eyes readjust to see Sam, standing by his car in the lot of the long-abandoned drive- in. The ruined screen rises in the b.g. CU SAM Remembering. MUSIC BEGINS as he gets back into the car, pulls away. MARQUEE -- DUSK MUSIC CONTINUES as the car cruises out past the old marquee, a few letters still jumbled on it, several bullet holes around them. INT. CAR MUSIC CONTINUES as Sam drives, thinking-- EXT. ROADS -- VARIOUS SHOTS -- DUSK/NIGHT MUSIC CONTINUES as the car crosses the scrubland back toward town. DUSK turns to NIGHT-- EXT. PILAR'S HOUSE -- NIGHT MUSIC CONTINUES as Sam cruises past Pilar's house. The car is not in the driveway: Paloma hangs out with a couple FRIENDS under the porch light, laughing-- EXT. HIGH SCHOOL -- NIGHT MUSIC CONTINUES as Sam's car pulls into the high school lot. He looks up toward the school-- EXT. WINDOW, PILAR, -- SAM'S POV MUSIC CONTINUES. We can see PILAR, through the lighted window of her classroom, preparing something on the blackboard-- INT. CAR MUSIC ENDS as Sam leans back to wait-- EXT. PARKING LOT PILAR digs in her bag for her car keys as she makes her way across the lot. She sees something, slows, reacting, then brings us to Sam in his car. He has parked head-to-foot next to hers. They look at each other for a long moment PILAR (Softly) Follow me. EXT. MAIN STREET -- NIGHT Nothing stirring. Pilar's car appears, closely followed by Sam's. The cafe has closed for the night. INT. CAFE -- NIGHT Sam and Pilar sit on chairs next to each other, facing the window, talking softly. The STREETLIGHT shining through the letters in the front window makes patterns on their faces PILAR We thought we were something, didn't we? SAM Yeah. PILAR I look at my kids in school--tenth, eleventh graders. That's who we were. Children. SAM Yeah. PILAR I mean what did we know about anything? SAM Nothing. Pilar looks at him-- PILAR When Nando died--it was so sudden--I was kind of in shock for awhile. Then I woke up and there was the whole rest of my life and I didn't have any idea what to do with it. SAM You know the other day, you asked why I came back? PILAR Yeah? SAM I came back 'cause you were here. PILAR nods. She gets up and we FOLLOW her across the dark room to the jukebox. She looks at the selections-- PILAR My mother hasn't changed the songs since I was 10. She puts in a quarter, punches some numbers. A Mexican BALLAD comes on. She crosses back to Sam, holds her hand out. He stands to greet her. They slow-dance in the empty cafe-- INT. SAM'S APARTMENT -- BEDROOM Sam and Pilar finish making love. They lie beside each other, shaking a little-- PILAR Wow. SAM Yeah. PILAR How come it feels the same? SAM I don't know. It just feels good. Always did. PILAR So what are we gonna do about this? SAM More, I hope. PILAR smiles, looks around the room-- PILAR How long have you lived here? SAM Two years. PILAR There's nothing on the walls. No pictures-- SAM Don't have kids. Other pictures--I don't know--it's nothing I want to look back on. PILAR Like your story is over. SAM I've felt that way, yeah. Sbe puts her head on his cbest-- PILAR It isn't. Not by a long shot. He holds her and they lie silently for a moment-- SAM Pilar-- PILAR Yeah? SAM What was your father's name? PILAR Eladio. Eladio. Cruz. FADE OUT: EXT. PILAR'S HOUSE -- MORNING Paloma sits on the top step of the porch, reading teen magazines. PILAR steps out behind her, dressed casually, and squints at the day-- PALOMA She finally got in-- PILAR It's Saturday. PALOMA You got in late last night. PILAR Yeah. I had uhm--school business. Paloma gives her a look, then holds a fashion page up for her to see-- PALOMA Can I get this? PILAR Nobody really wears that stuff, Paloma. PALOMA I could name five girls at school who have one just like it-- PILAR Enough with the clothes-- PALOMA Just 'cause you went to Catholic school and wore a uniform. PILAR I only went for my last two years. PALOMA How come? PILAR Oh, my mother wanted to keep me away from away from boys. PILAR steps out into the sun-- PALOMA Did it work? INT. CAFE -- MORNING Hollis is sitting alone in a booth, working on some heuvos rancheros. Sam slides in across from him-- SAM Morning, Hollis. HOLLIS Sam! Quite a do the other day. It meant a lot to folks that you said something. SAM You thought any more about our murder? HOLLIS We have a murder? SAM Charley Wade. HOLLIS I wish I could tell you I remembered something new, but I can't. SAM I got an idea what happened. HOLLIS Do you? SAM I think somewhere between Roderick Bledsoe's club and his house, Wade ran into Buddy Deeds. I think Buddy put a bullet in him, waited for him to die, threw him in the trunk of the Sheriff's car and drove him out by the Army post, I think he buried him under four feet of sand and never looked back. Hollis sits back to look Sam in the eye-- HOLLIS You lived in the man's house what-- seventeen, eighteen years? And you didn't get to know him any better than that? SAM I got to go see somebody in San Antonio today. Your memory gets any better, I'll be back tonight. Sam stands and walks away. We HOLD on Hollis, his appetite gone-- EXT. BIG O'S -- MORNING Chet steps around to the side entrance-- INT. BLACK SEMINOLE EXHIBIT -- DAY -- CU STATUE We start on a statue of a BUFFALO SOLDIER made from spent bullets and shell casings, then PAN to another, then WIDEN to see Chet as he pokes his head in, the BELL of the door ringing. He steps in cautiously, looking around the room. On the walls there are photo-blowups, some artifacts, handlettered information on cardboard. Chet stops to look up at a picture of a barechested Black man with a couple of feathers stuck in his headband OTIS (O.S.) That's John Horse. Chet turns to see Otis standing back by, the door from the bar-- OTIS Spanish in Florida called him Juan Caballo. John Horse. CHET (Looks at picture) He a Black man or an Indian? OTIS (Steps in) Both. Otis crosses to the poker table, begins to clean up-- OTIS He was part of the Seminole Nation, got pushed down into the Everglades in pioneer days. African people who run off from the slaveholders hooked up with them, married up, had children. When the Spanish give up Florida, the U.S.Army come down to move all them Indian peoples off to Oklahoma-- CHET The Trail of Tears. OTIS (Smiles) They teaching that now? Good. Only a couple of 'em held out--this man, John Horse, and his friend Wild Cat, and a fella name of Osceola. Army put all of them in prison and Osceola died, but them other two escaped and put together a fighting band and held out another ten, fifteen years. Beat Zach Taylor and a thousand troops at Lake Okeechobee. CHET So they stayed in Florida? OTIS They got tired of fighting, went to the Indian Territories for a while. But the slave-raiders were on 'em even there, and one night they packed up and nearly the whole band rode down to Mexico. Crossed at Eagle Pass. They move on to some photos of very African-looking people dressed in beautiful Seminole clothing-- OTIS Men worked for Santa Anna down there, waited out the Civil War. The land wasn't much to feed people on, so in 1870 they come north and put up at Fort Duncan and the men joined up what was called the Seminole Negro Indian Scouts. Best trackers either side of the border. Bandits, rustlers, Texas rednecks, Kiowa, Comanche-- CHET They fought against the Indians? OTIS Same as they done in Mexico. CHET But they were Indians themselves. OTIS They were in the Army. Like your father. CHET (Surprised) You know who I am? OTIS I got a pretty good guess. CHET That guy who got shot-- OTIS You didn't go telling your father you were here? CHET Are you kidding? And face a court- martial? OTIS (Smiles) He's a pretty tough old man, huh? CHET No sports if I don't keep a B average, no TV on school nights, no PDA's-- OTIS PDA? CHET Public Display of Affection. Every time he moves up a rank, it's like he's got to tighten the screws a little more-- OTIS Well-- CHET I mean, just 'cause he didn't--you know-- OTIS Didn't have a father? CHET (Shrugs) He's still pissed off about it. OTIS When you're his age you'll still be pissed off about him. Chet nods, looks around-- CHET So how come you got into all this? OTIS These are our people. There were Paynes in Florida, Oklahoma, Piedras Negras--couple of 'em won the whatsit-- Congressional Medal Of Honor-- CHET So I'm part-Indian? OTIS By blood you are. But blood only means what you let it. CHET My father says the day you're born you start from scratch, no breaks and no excuses, and you got to pull yourself up on your own. OTIS (Sad) Well, he's living proof of that, son. Living proof. INT. DEL'S OFFICE -- DAY Athena stands at attention as Del sits at his desk, reviewing her record. He lets her stand for a long time before speaking-- DEL Private Johnson, are you unhappy in the Army? ATHENA No, sir-- DEL Then how would you explain the fact that out of one hundred twenty people we tested, you're the only one who came up positive for drugs? ATHENA I'm sorry, sir. DEL When you were given the opportunity to enlist, a kind of contract was agreed upon. I think the Army has honored its part of that agreement. ATHENA Yes, sir-- DEL Do you believe in what we're doing here, Private Johnson? ATHENA I-I can do the job, sir. DEL You don't sound too enthusiastic. ATHENA I am, sir. DEL What exactly do you think your job is, Private? ATHENA Follow orders. Do whatever they say. DEL Who's "they"? ATHENA The--the officers. DEL And that's the job? Nothing about serving your country? Athena is confused, hesitates to speak-- DEL These aren't trick questions, Private. You'll be given an Article 15 and be going into the ADCAP Program one way or the other. What happens after that is up to you. I'm just trying to understand how somebody like you thinks. Silence-- DEL Well? ATHENA (Hesitant) You really want to know, sir? DEL Please. ATHENA It's their country. This is one of the best deals they offer. Del knows he asked for it, but doesn't like the answer-- DEL How do you think I got to be a colonel? ATHENA Work hard, be good at your job. Sir. Do whatever they tell you. DEL Do whatever they tell you-- ATHENA I mean, follow orders, sir. DEL With your attitude, Private, I'm surprised you want to stay in the service. ATHENA I do, sir. DEL Because it's a job? ATHENA (Struggling) Outside it's--it's such a mess--it's-- DEL Chaos. Athena is sure she's overstepped her rank-- DEL Why do you think they let us in on the "deal"? ATHENA They got people to fight. Arabs, yellow people, whatever. Might as well use us. DEL Do you think you've been discriminated against on this post? ATHENA No, sir. Not at all. DEL Any serious problems with your sergeant or your fellow soldiers? ATHENA No, sir. They all been real straight with me. Del stands, thinking, trying not to bullshit her-- DEL It works like this, Private--every soldier in a war doesn't have to believe in what he's fighting for. Most of them fight just to back up the soldiers in their squad--you try not to get them killed, try not to get them extra duty, try not to embarrass yourself in front of them. He is right in her face now-- DEL Why don't you start with that? ATHENA Yes, sir. DEL You're dismissed, Private. ATHENA Thank you, sir. Athena salutes, steps out. Del looks out the window, troubled by the encounter. EXT. BORDER CONTROL A battered car full of Mexican DAY WORKERS rolls toward the Mexican side checkpoint-- INT. CAR Enrique sits squeezed between workers in the back. The driver never stops talking as the officer waves them through. DRIVER (O.S.) --Julia es demasiado flaca para mime gusto mas mujeres con algo en frente-- o muy altas como Cindy Crofor. Quisiera montar esa caballa--[Julia's too skinny for me--I like women with something up front--or really tall like Cindy Crawford. I'd like to ride that horse--] EXT. KINCAID HOUSE -- DAY Sam's car is parked on the street in front of an expensive- looking house in a tree-lined neighborhood-- INT. LIVING ROOM Sam's ex-wife, BUNNY KINCAID, shuffles across her living room in slippers, crossing to turn off a big-screen TV playing football highlights. Bunny wears shorts, a Houston Oilers sweatshirt and a Dallas Cowboys cap. The living room is like a sports museum-- signed footballs, team posters, a bookcase filled with tapes of Texas pro and college football games-- BUNNY The Longhorns gonna kick some serious butt this Saturday, you just watch. We got a kid at tailback from down your way--outta El Indio-- SAM (O.S.) That's in Maverick County. She brings us to Sam, sitting uncomfortably, beneath a full- sized blowup of Tony Dorsett hurdling a tackler-- BUNNY Oh. Right. And you're in--? SAM Rio. BUNNY Right. This kid, Hosea Brown? Does tire 40 in 3.4, soft hands, lateral movement--the whole package. Only a sophomore-- SAM You still going to all the home games? BUNNY Well, Daddy's got his box at the stadium, of course, and I'll fly to the Cowboy away games when they're in the Conference. Then there's the high school on Friday' nights. West Side got a boy 6'6", 310, moves like a cat. High school, we're talkin'. Guess how much he can bench-press? SAM Bunny, you--uhm--you on that same medication? BUNNY Do I seem jumpy? SAM No, you look good. I was just wondering. BUNNY Last year was awful rough--Mama passing on and the whole business with O.J.--I mean it's not like it was Don Meredith or Roger Staubach or one of our own boys, but it really knocked me for a loop-- SAM You look good-- BUNNY --and that squeaker the Aggies dropped to Oklahoma-sonofabitch stepped in some lucky shit before he kicked that goal-- SAM Yeah, well-- BUNNY --they hadn't pulled me off that woman I would have jerked a knot in her. SAM You were in a fight-- BUNNY Daddy calls it an "altercation." How you doing, Sam? You look skinny. SAM Same weight I always was. BUNNY You look awful good in that uniform, though. SAM Best part of the job. BUNNY Daddy hired a pinhead to take your job. He says so himself. Says "Even my son-in-law was better than this pinhead I got now". SAM Bunny, is that stuff I left in the garage still there? BUNNY Least he never called me that. With me, it was always "high-strung." "My Bunny might have done something with her life, she wasn't so high-strung." Or "tightly wound," that was another one. You seeing anyone? SAM No. You? BUNNY Yeah. Sort of. Daddy rounds 'em up. You aren't talking about money, their beady little eyes go dead. SAM You didn't--uhm--you didn't have one of your fires, did you? The stuff I left in the garage--some of it was my father's-- BUNNY You watch the draft this year? 'Course you didn't, idiot question. They try to make it dramatic, like there's some big surprise who picks who in the first round? Only they been working it over with their experts and their computers for months. Doctor's reports, highlight reels, coaches' evaluations, psychological profiles--hell, I wouldn't be surprised if they collected stool samples on these boys, have 'em analyzed. All this stuff to pick a football player for your squad. Compared to that, what you know about the person you get married to don't amount to diddly, does it? SAM Suppose not. BUNNY You kind of bought yourself a pig in a poke, didn't you, Sam? All that time we were first seeing each other you didn't know I was tightly wound-- SAM It wasn't just you, Bunny. BUNNY No, it wasn't, was it? You didn't exactly throw yourself into it heart and soul, did you? She looks at him for an uncomfortably long moment-- BUNNY Your shit's still in the garage if that's what you came for. Sam nods, stands. Bunny is in tears-- BUNNY 350 pounds. SAM What? BUNNY This boy from West Side, plays tackle both ways. Bench-presses 350 pounds. You imagine having that much weight on top of you? Pushing down? Be hard to breathe. Hard to swallow. SAM I think they have another fella there to keep it off your chest. A spotter. BUNNY "I only got my little girl now," he says, "she's my lifeline." Then he tells me I can't be in the box anymore if I can't control myself. Sonofabitch don't even watch the damn game, just sits there drinking with his bidness friends, look up at the TV now and then. I do better to sit in the cheap seats with some real football people. SAM (Edging out) You look good, Bunny. It's nice to see you. BUNNY (Smiles) Thanks. I like it when you say that, Sam. EXT. STREET -- CIUDAD LEON Enrique looks nervously over his shoulder before stepping into a funky apartment building. We TILT up to the second floor balcony, where a LITTLE BOY is watching the street-- INT. APARTMENT There are eight PEOPLE not including the little boy on the balcony. All are securing their possessions--rolling things in blankets, filling shopping bags and grain sacks. Enrique steps in-- ENRIQUE Todos estamos? [Everybody here?] Anselma reaches up from the floor to take his hand-- ANSELMA Van a disparar a nosotros? [Are they going to shoot at us?] ENRIQUE Nadie nos veran. Seramos invisibles. Nobody's going to see us. We'll be invisible.] INT. GARAGE -- KINCAID HOUSE -- DAY A mess. We start on a campaign poster with Sam's face on it and the legend--"ONE GOOD DEEDS DESERVES ANOTHER--VOTE SAM DEEDS FOR COUNTY SHERIFF". We PAN to see Sam, who has been digging through piles of old junk, set down the box he was looking for-- CLOSER Sam pulls out an old holster, a sheaf of real estate and insurance forms, a couple of old paperback Zane Grey westerns. He pulls out a cracked leather pouch, turns it over--letters fall out. He examines an envelope--no stamp or postmark-- pulls a letter out, reads-- SAM "Dearest Buddy--" He puts the letter down for a moment, thinks. He needs to know. He picks the letter up again, reads. INT. OTIS'S HOUSE -- EVENING Carolyn crosses the living room to answer the RING at the front door. Del stands there-- CAROLYN Hey, it's the General. DEL Colonel. Is uhm--is Otis in? CAROLYN Come on in-- DEL If it's too late-- CAROLYN Come on in. Del enters the house as if walking into an AMBUSH-- INT. OTIS'S LIVING ROOM -- EVENING Carolyn sits back in the couch, drink in hand, checking Del out-- CAROLYN Otis sittin' up with some people at the club. I don't think he'll be long. CU DEL Uncomfortable, sitting at the edge of an easy chair. He looks at a mounted magazine photo of Otis smiling as he pours hot sauce on a rack of ribs-- CAROLYN His hot sauce recipe won a contest last year. They sellin' it far away as San Antonio. He got a lot of talent, your father. Del squirm a bit at the word "father"-- DEL You've been in this house for a while? CAROLYN I been here with him eight years now. He built it when he was with Leora. DEL I never met her. CAROLYN There was a bunch of 'em You never met. Me neither. Del looks around the living room-- CAROLYN Let me show you around-- INT. DEN -- PHOTOGRAPH A blowup of a photo of a squad of Buffalo Soldiers is mounted on the wall-- CAROLYN (O.S.) He got into all this cowboys and Indians stuff awhile back. Spend half his time pokin' around in the library way up to Austin. CU DEL He looks at something below -- DEL'S POV -- CLIPPINGS We PAN slowly over laminated newspaper clippings mounted behind a picture of young Del in a track uniform, holding a vaulting pole. The clippings are about Del making honor rolls, winning a Silver Star in Vietnam, graduating from Officer Candidate School, being named head of this and that in the Army-- CAROLYN (O.S.) Kind of like a shrine, isn't it? DEL, CAROLYN Carolyn stands behind, watching Del's face as he looks at the stuff-- DEL Where'd he get all this? CAROLYN Your mother got a brother--Alphonse-- DEL Uncle Al-- CAROLYN Otis stood on good terms with the man. Whenever you do something makes the news, he sends it on. When they made you General, Otis just about drove away all our customers going on about it. DEL I'm a colonel. CAROLYN Yeah, I know--Man made me memorize the whole damn Army chain of command before he'd marry me. So this is a big deal, commander and all? DEL It's a small post and they're phasing it out in two years, but I moved up in rank and--well, a command is a command. CAROLYN Otis went on like you were that guy who won the Gulf War. Colin whatsit. DEL My mother said he never asked about-- CAROLYN He never asked her. It's a bit too much for Del-- DEL Listen, I uh--tell him I came by. Thanks-- We HOLD on Carolyn as he hurries out. She salutes-- CAROLYN Catch you later, Colonel. EXT. RIVER -- NIGHT PEOPLE, crouching low, wade across the river toward us. When he gets close enough to us, we recognize Enrique, nervously leading a group of Mexican men, women and children to the U.S. side. They are spaced out in the dark, loosely holding the line Enrique made in one hand and holding their bundles high away from the water with the other. Enrique turns as he hears a WOMAN'S CRY. The line goes slack, then NESTOR steps out of the darkness to join him-- ENRIQUE Que Paso? [What happened?] NESTOR Anselma cayo en las rocas. Creo que la pierna ha sido root--[Anselma felt on the rocks. I think her leg's broken--] Two men struggle forward supporting Anselma, trying to hold her leg out straight in front of her. She is in a lot of pain-- NESTOR No podemos alcanzar el camion llevando a ella. Hay lugar para esconderla? [We can't reach the truck if we're carrying her. Is there somewhere to hide her?] Enrique thinks, trying not to panic, as the others come up around him-- ENRIQUE Conozco solamente una persona con casa--[I only know one person with a house--] ANSELMA (In pain) Esta lejos? [Is it far?] EXT. PATIO -- NIGHT Mercedes sits on her recliner, drink in hand. An old RECORD plays from inside. She is startled by the voice from the dark-- ENRIQUE (O.S.) Senora Cruz? MERCEDES (Standing) Quien es? [Who is it?] ENRIQUE Soy yo, Enrique! No tiene miedo-- [It's me, Enrique. Don't be afraid] Enrique steps out into the light. His pants are wet and he's scared-- MERCEDES What are you doing out there? Are you crazy? ENRIQUE Hay pasado un accidente muy grave-- [There's been a bad accident--] MERCEDES In English, Enrique. We're in the United States-- ENRIQUE I have some friends who have had a accident-- MERCEDES You have somebody else out there? ENRIQUE We was by the river? And I hear my friend callin' for help, and I look and she has falling in the water-- MERCEDES Don't tell me lies, Enrique. Que paso? ENRIQUE We was crossin' the river-- Nestor appears in the light now, supporting Anselma, who hops awkwardly to move forward-- MERCEDES Enrique! Quienes son estos? How could you bring them here? ENRIQUE They need help. Jaime, Anselma-- esta es mi jefa-- NESTOR Senora-- MERCEDES I'll call the Border Patrol, they'll get her to the hospital. ENRIQUE No! No puede hacer esto--[You can't do that--] MERCEDES You think you're doing these people a favor? What are they going to do? Either they get on welfare or they become criminals-- ENRIQUE No es la verdad--[That isn't true--] NESTOR Con permiso, Senora, la muchacha tiene mucho dolor--[Please, Senora, the girl is in a lot of pain--] Mercedes grudgingly indicates the lounge chair-- MERCEDES Sientase. [Sit.] NESTOR Es muy amable. [You're very kind.] He and Enrique help Anselma into the chair. The Girl looks up at Mercedes, frightened-- ANSELMA Ayudanos, Senora, por favor no podemos regresar--[Help us, Senora, please. We can't go back] Mercedes looks at ANSELMA disapprovingly. The girl can't be more than 14-- MERCEDES This girl is a friend of yours? ENRIQUE Es mi novia. [She's my girlfriend.] MERCEDES I thought you were married! ENRIQUE I am marry to the cousin of a friend-- but only to be able to live here. This is the mother of my child-- MERCEDES This girl has a child? ENRIQUE We have a daughter. MERCEDES (Scornful) Tipico. EXT. HOUSE -- NIGHT Sam stands at the front door of a house on the lake, banging on the door-- SAM Hollis? You in there? Hollis? EXT. RIVER -- NIGHT Moonlight kicks off the surface of the water. We hear SPLASHING, the frightened VOICE of a young woman-- YOUNG MERCEDES (O.S.) Donde esta? Estoy perdido--[Where are you? I'm lost--] ELADIO (O.S., DISTANT) Aqui! [Here!] The girl flounders into the shot, wet and scared. Young Mercedes, a teenager not unlike ANSELMA is wading thigh-deep in the Rio, lost, scared-- YOUNG MERCEDES No puedo ver la orilla! [I can't see the bank!] ELADIO (O.S.) Aqui! Venga por aqui! [Over here! Come this way!] Mercedes struggles toward the voice and suddenly a young man becomes visible, standing in the water, holding his band out for her, ELADIO-- YOUNG MERCEDES Vi a Rosaria arastrado para el corriente--[I saw Rosaria taken away by the current--] ELADIO No te molestas. Tenemos a ella. [Don't worry. We've got her.] He takes her arm, pulls her toward the far shore-- ELADIO Como se llama? [What's your name?] YOUNG MERCEDES Mercedes Gonzales Ruiz. ELADIO (Smiles) Me llama Eladio Cruz--Bienvenido a Tejas. [Welcome to Texas.] DISSOLVE TO: EXT. MERCEDES' HOUSE -- MERCEDES Mercedes is lost in thought as she recalls. She steps into the light by the carport. Enrique and Nestor are propping Anselma's leg up on pillows in the back of Mercedes' old station wagon-- MERCEDES Rapidamente! Everybody in the world is going to see! ENRIQUE Donde vamos? [Where are we going?] MERCEDES A casa de Porfirio Zayas. He used to be a doctor on the other side. Gunshot wounds, fixing babies--if you can pay he can handle it. ENRIQUE Senora, anything it costs, I can work-- MERCEDES Don't worry about it. He owes me some favors. Enrique turns to ANSELMA still frightened in the rear of the station wagon-- ENRIQUE Seas tranquila, mija. (Nods to Mercedes) Estamos en las manos de Senora Cruz. [Just relax, honey. We're in the hands of Senora Cruz.] Mercedes starts the car-- MERCEDES In English, Enrique. In English-- INT. DEL'S HOUSE -- DINING ROOM Del steps in. Chet sits at the table, drawing a cartoon in panels. Del looks over his shoulder for a moment-- CARTOON A tank rolling over barbed wire, cannon and machine gun blasting away-- DEL (O.S.) Homework? DEL AND CHET CHET I finished that. I'm just messing around. DEL Tanks, huh? CHET You got to be in the Army, you might as well have something slick to drive. DEL So you're going into the Army? Chet looks at him, not in a good mood, then goes back to his drawing-- CHET That's the general plan, isn't it? Del watches for a long moment, thinking-- DEL (Softly) That's up to you. Chet looks at his father again. All this is news to him-- DEL The Army isn't for everybody. Chet can't quite believe he is hearing this. Del crosses to the refrigerator-- DEL Not that I don't think you'd be good at it, but--you know--I wouldn't be disappointed if you decided to do something else with your life. CHET You wouldn't? DEL No. Chet nods, begins to play again, considering the possibilities. Del is making an effort and he doesn't have much practice-- DEL How's your room shaping up? CHET Fine. I'm pretty much moved in. DEL Good. An awkward silence-- CHET (Tentative) Are we going to ever see your father? DEL My father. CHET Yeah. He lives here, right? DEL He does. Del pulls some food out, watching Chet as he draws-- DEL Maybe we'll clean that thing out back up, have a barbecue next weekend. We could invite him and his wife over. CHET Cool. Chet flips the page of his sketchbook-- CHET He makes his own sauce. EXT. PARKING LOT, BIG O'S -- NIGHT The neon's off, but there are a couple cars in the lot and a light within. Sam pulls into the lot, steps out, approaches the door-- INT. CLUB The door opens. The place is empty now except for Otis, standing behind the bar, deep in conversation with Hollis, sitting on a stool. Both swivel to look around guiltily as they hear Sam step in-- REVERSE Sam walks in slowly, crossing the floor to bring us back to the two men-- SAM Fellas. HOLLIS Hey, Sam. SAM Open late. OTIS I'm not open. We were just talking. SAM Hollis probably told you we found Charley Wade. OTIS Yeah. How about that? People start digging holes in this county, there's no telling what'll come up. He sits a few stools away from Hollis-- SAM You two saw it, didn't you? You two saw it when Buddy killed him. Hollis and 0tis look at each other-- SAM Imonna find out one way or the other. HOLLIS Your father had the finest sense of justice of any man I ever met-- SAM Yeah, and my mother was a saint. For fifteen years the whole damn town knew he had another woman on the side. Stole ten thousand dollars to set her up in business. But hell, what's that? You got a problem? Buddy'll fix it. Facing some time in jail? Buddy'll knock half of it off-- if you do what he says, when he says. You got some business that's not exactly legal? Talk to Buddy-- HOLLIS Buddy Deeds-- SAM Buddy Deeds was a murderer. He looks at the two older men for a long moment-- SAM That night in the cafe--he didn't stay long after you left, did he, Hollis? Maybe he decided he'd gone too far with Wade, maybe he figured he better not wait for the Sheriff to get behind him. So he stepped out to see if he could catch up--and you were here at the club that night, weren't you, O? Otis sighs, begins to speak softly-- OTIS I was here. CU OTIS He turns to look toward the door as he reminisces, and we PAN away with his gaze-- OTIS (O.S.) I'd been running a game on the side after hours craps, draw poker on the weekends. Roderick didn't know about it. More important, Charley Wade didn't know about it, 'cause I didn't want to cut him in. I suppose I'd been drinking some, and I was pretty full of myself in those days--but hell, I just didn't expect the man so early-- Sheriff Wade and Young Hollis step in the door and we are back in 1957. BLUES HARMONICA FADES UP, wailing from the jukebox. They stop and look at the place-- THEIR POV -- CLUB MUSIC CONTINUES. The club is empty, dark. A LIGHT shines from the back room. INT. BACK ROOM MUSIC CONTINUES. Smoke fills the air and Young Otis sits back laughing, a large pile of money on the table in front of him. The other four BLACK MEN at the table aren't doing so well. One by one they all look up past the camera to the door-- CU OTIS MUSIC CONTINUES. Young Otis doesn't see at first, engaged in dealing the cards. Finally, he senses the presence, looks up-- WADE AND HOLLIS -- YOUNG O'S POV MUSIC CONTINUES. Wade stands over the table in the f.g., Young Hollis hanging back in the doorway. Wade is smiling his cold smile, cursing-- CU YOUNG OTIS MUSIC CONTINUES. Trying to look unimpressed-- EXTREME CU WADE'S EYES Cold and unblinking. MUSIC CONTINUES-- EXTREME CU WADE'S MOUTH Twisted in a snarl as he curses. MUSIC CONTINUES-- MEN, TABLE MUSIC CONTINUES. We shoot past Wade's body as the other men step away from the table, grab their hats, and hurry out the side door. Young Otis is left sitting at the table. Wade starts walking toward him-- CU YOUNG OTIS MUSIC CONTINUES. His eyes following as Wade comes to stand over him-- WADE, YOUNG OTIS MUSIC CONTINUES. Wade grabs the table and violently jerks it over onto Young Otis, cards and money flying-- YOUNG HOLLIS MUSIC CONTINUES. Watching squeamishly as Wade goes to work on young Otis, the overhead light swinging wildly-- INT. BARROOM MUSIC CONTINUES. Young Otis is hurled out of the back room, face bruised and bleeding. Wade follows, then Young Hollis-- CLOSER MUSIC CONTINUES. CLOSER Wade puts his gun next to Young Otis's ear, cursing at him. Young Otis gets to his feet, goes behind the bar-- BAR COUNTER MUSIC CONTINUES. Young Otis slaps an envelope full of cash onto the counter-- WADE MUSIC CONTINUES. He waves his pistol, indicating something behind Otis-- INT. BAR MUSIC CONTINUES. We shoot past Wade at the counter as Otis turns and reaches for a cigar box on the shelf behind-- CIGAR BOX MUSIC CONTINUES. Lying open, an old pistol inside of it. Young Otis reaches-- CU YOUNG HOLLIS MUSIC CONTINUES. Frowning as he senses something wrong-- WADE MUSIC CONTINUES. Wade levels his gun at Young Otis's back, then turns to wink at Hollis like he did before he shot Eladio-- WADE'S HAND MUSIC CONTINUES. Finger closing around the trigger of the .45-- HOLLIS MUSIC CONTINUES. Mouth open in horror-- WADE MUSIC CONTINUES. Eyes burning as he aims-- BUDDY MUSIC CONTINUES. Stepping in the door, seeing, CALLS OUT-- YOUNG OTIS MUSIC CONTINUES. Turning to see Buddy-- WADE BLAM! THWAP! A bullet plows through his neck, knocking him back against the bar. MUSIC CONTINUES. His gun falls from his hand-- YOUNG OTIS Horrified, splattered with the Sheriff's blood. MUSIC CONTINUES-- BAR COUNTER MUSIC CONTINUES. Twenty-dollar bills have spilled out of the envelope and are soaking up blood-- CU BUDDY Calm and hard-eyed. MUSIC CONTINUES. As he steps forward, we see his pistol is still in its holster. He reaches out and takes the .45 from Young Hollis's shaking hand, looks him in the eye till Hollis looks back, then looks toward Young Otis-- We PAN with his gaze to a CLOSE-UP of Otis, back in the PRESENT. The MUSIC FADES-- OTIS Sheriff Charley had some real big friends in politics then, and if the truth come out it wasn't going to go easy on Hollis. (He shrugs) I don't know why I trusted Buddy with it--don't know why he trusted me. The first time I ever talked with him was right there, and then with a dead white man leakin' blood on the floor between us. He could charm the scales off a rattler, Buddy Deeds. WIDER This isn't what Sam was expecting. Hollis watches his face-- HOLLIS The three of us cleaned up and took him to the post and put him under. Can't say I was much help. SAM And the ten thousand? HOLLIS Widow's benefits. He figured it would make the disappearance look better, and that Mexican gal was just scrapin' by after Charley killed her man. They didn't get hooked up till late-- OTIS Time went on, people liked the story that we told better than anything the truth might have been. Sam swivels around on his seat to took at the spot where Charley fell. He has a lot of information to deal with-- HOLLIS What's the call, Sam? Sam rolls it over in his mind before answering-- SAM Don't think the Rangers are likely to find out any more than they already have. HOLLIS Word gets out who that body was, people are gonna think Buddy done it. Sam gets up-- SAM Buddy's a goddamn legend. He can handle it. He heads for the door-- SAM 'Night, fellas. Hollis and Otis watch him go-- FADE OUT: EXT. DRIVE-IN, WIDE SHOT -- MORNING We see Sam sitting on the hood of his car parked in the deserted drive-in lot, staring up at the ruined screen. Pilar's car rolls in, parks beside him-- CLOSER Pilar gets out, kisses Sam, sits by him on the hood-- PILAR When's the picture start? Sam looks at her for a moment-- SAM You gonna tell your mother we been seeing each other? PILAR She'll figure it out sooner or later. I don't have to ask permission anymore, if that's what you mean. SAM You have any idea when your father died? Eladio? PILAR (Shrugs) Couple months before I was born-- SAM Try a year and a half. He bands her an old snapshot. PILAR looks at it-- CU PHOTO Buddy and Young Mercedes on the lake. Buddy with his shirt off on one end of a sailboat, Mercedes in a bathing suit, both smiling for the camera-- SAM AND PILAR Pilar hands the photo back to him, tries to be calm-- PILAR I've never seen my mother in a bathing suit before. Didn't know she owned one. SAM Buddy bought the cafe for her with money he took from the county. Pilar looks away, struggling not to cry-- PILAR They can't pull this on me. It isn't fair--I don't believe this-- SAM He paid the hospital bill when you were born. Your mom always calls you "our beautiful daughter" in the letters she wrote to him. PILAR From the first time I saw you at school--all those years we were married to other people I always felt like we were connected. SAM I remember thinking you were the one part of my life Buddy didn't have a piece of-- A silence, both of them wondering what the next move should be-- PILAR So that's it? You're not going to want to be with me anymore? Sam knows what he feels but doesn't have the words-- PILAR I'm not having any more children. After Amado, I had some complications-- I can't get pregnant again, if that's what the rule is about-- SAM If I met you for the first time today, I'd still want to be with you. It is what Pilar needed to hear-- PILAR We start from scratch-- SAM Yeah-- PILAR Everything that went before, all that stuff, that history--the hell with it, right? PILAR takes Sam's hand, kisses him-- PILAR Forget the Alamo. WIDE SHOT, DRIVE-IN Sam and Pilar sit by each other holding hands, looking at the empty screen-- MUSIC, ROLL CREDITS THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Long Kiss Goodnight, The.txt b/unformated_scripts/Script_Long Kiss Goodnight, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..94b966c3fa604f7858e3da7ae1da7a51a858d5a0 --- /dev/null +++ b/unformated_scripts/Script_Long Kiss Goodnight, The.txt @@ -0,0 +1 @@ + "THE LONG KISS GOODNIGHT" by Shane Black REVISED DRAFT February 24, 1995 A WINDOWPANE Assaulted from without by SNOWFLAKES. Wind tossed. INSIDE, a bed, dappled with moon shadow. A LITTLE GIRL, fast asleep. The wind whistles and sighs outside. She DREAMS... Eyelids closed, eyes roving beneath... then suddenly they SNAP open. A stifled cry. She thrashes for her STUFFED BEAR, as a soft voice says: VOICE Shhhhh. And there's MOM, kneeling beside her. Vague shape in the dimness. The full moon throws light across one sparkling eye. LITTLE GIRL Mommy, the men on the mountain...! MOM Shhhh. Gone, all gone now. (strokes her hair) I'm here. Mommy's always here and no one can ever hurt you. Safe now... safe and warm... snug as a bug in a rug. (beat) I'll sit with you, think you can sleep? LITTLE GIRL Turn on the nightlight. The mother nods. Passes her left hand gently over the girl's forehead. MOM Close your eyes now. I love you. The child subsides, breathing steady. Eyes closed. The mother rises. Regards her through the dimness. Slowly turns, heads for the door. Flicks on a Winnie the Pooh NIGHTLIGHT -- Her entire right forearm is slicked with blood. More blood on her Czech-made MP-5 machine gun. She staggers just a little... barely noticeable. Passes out on the light. Into darkness. Sits beside her daughter's bed. The child sleeps peacefully. Outside snow slithers at the glass. FADE OUT. Pause. Blackness. FADE IN: It's snowing in southwestern Ohio. Before us, nestled in the rolling hills: a postcard slice of suburbia. SUPER the legend: UPPER SANDUSKY, OHIO. Three Weeks Earlier. Peaceful. Serene. It's the town in the glass bubble, the one God shakes to watch it snow... EXT. SUBURBAN STREET - DAY CHILDREN, dozens of them, bursting from houses. Slapping of screen doors. A HORSE-DRIVEN SLEIGH is rattling down Main Street. Flanked by kids. Christmas carols, droning from loudspeakers. HAPPY, LAUGHING SANTA waves howdy, chortling his "Ho's" in groups of three, meanwhile he's really a grizzled old fire marshall named EARL, freezing his nuts off. Beside him sits MRS. CLAUS, about whom we notice two things: First, she's the June in this June/December pair -- and second, she's to kill for, an effortlessly beautiful woman. For the record, meet SAMANTHA CAINE. SAMANTHA How you holdin' up? EARL Freezing my nuts off. Santa produces a bottle of Seagrams. Starts to open it. SAMANTHA *Put that away*. Earl complies, grumbling. Some teenage burnouts howl from a street corner: BURNOUT Ow! Mrs. Claus is HOT! Samantha squirms in her seat, scowling. SAMANTHA I can't take it, Earl, this dumb costume is giving me a wedgie. Driving me crazy, but there's these *kids* here -- EARL Right, you don't wanna be rootin' -- SAMANTHA In front of little Billy, age four, yeah. "Look, Mommy, Mrs. Claus chooses to go butt-mining." EARL This is little Billy talking? SAMANTHA Age four, kid's unbelievable. (sighs) I'm too old for this, Earl. EARL Yeah, yeah. Spare me, I got a prostate the size of a melon. Samantha stares at him. EARL Seriously, half my life's a doctor's hand up my ass, I should marry the fucker. SAMANTHA Say that a little louder, there's a kid in back didn't catch it. EARL It's not that fucking little Billy again, is it? SERIES OF SHOTS: Throughout the following NARRATION, we watch Sam: 1) Rallying the varsity CHEERLEADERS; 2) Showing off a GERBIL to her seventh graders; 3) Kneeling in church with her HUSBAND, blessing herself; 4) Absently fingering a silver KEY which she wears round her neck; and finally 5) Probing at a tiny ridged SCAR under her hairline. SAMANTHA (V.O.) Eight years. I keep hiring detectives, but they never find anything. (beat) I was born 3000 days ago on the beach in New Jersey. I entered the world fully grown, wearing clothes I don't remember buying. Nothing in the pockets but a single key, filed smooth. (beat) I'm married now. Nice guy, early forties. I stand naked in the mirror and try to guess my age. Thirty-five, maybe. I have lots of scars. EXT. SNOWY SUBURBAN STREET - AFTERNOON Samantha walks with her husband HAL. Late thirties. Balding. Coming out of St. Paul's Episcopal Church. SAMANTHA Hal, I gotta tell you, of all the Christmas pageants I've seen, this was by far the most recent. HAL Aw, honey, I had teenage girls playing the wise men, what'd you expect? SAMANTHA Teenage boys? HAL Well, I thought they did fine. SAMANTHA Just fine? Come on, it was ground breaking stuff. The first Nativity where Joseph stares at the wise men's tits all night. She hugs him good-naturedly. As they near their house, an eight year-old GIRL drops from a TREEHOUSE and comes running, leaps into Mommy's arms -- SAMANTHA Hey, you! The kid leaps into her arms, as we HEAR: SAMANTHA (V.O.) Her name is Caitlin. She's my daughter and when I woke up on that long-ago day, she was two months grown in my belly. I don't know who put her there. I may never. I just know she's mine, and she's about to turn eight. The family troops up the driveway to their SUBURBAN HOME. Chipper little A-frame. Christmas lights abound. Behind the house, a vast frozen POND. It is idyllic. INT. ELEMENTARY SCHOOL - NIGHT PARTY in progress. Laughter. Mingling. In the corner, CAITLIN puts pipe cleaner antlers on the gerbil. Samantha shepherds her home room class past the punchbowl. She is radiant. EARL surreptitiously nips from a silver flask. SAMANTHA (V.O.) 3000 days. I teach now, fifth grade. I have the key, I wear it around my neck for luck. Except for that, and my name, all traces of my prior life are lost. (beat) Was I in love ever...? Did someone look in my eyes, did I say, "Darling, I'll never forget you...?" (beat) Because fuck me, darling, I managed. ACROSS THE ROOM -- Her daughter CAITLIN hangs with two young girls. Shows off a plush TEDDY BEAR, says: CAITLIN His name is Mr. Perkins, my Mom named him for me. GIRL #1 points, whispers excitedly: GIRL #1 That's her? Caitlin nods. Kid #2: GIRL #2 That's who? GIRL #1 (excitedly) Her Mom, she's got amnesia. GIRL #2 Swear? CAITLIN Swear. GIRL #2 Too weird. A voice interrupts their reverie: SAMANTHA Excuse me. The girls whirl around, startled -- Samantha is leaning on the desk behind them. Busted. She smiles amiably: SAMANTHA Hello, girls. Caitlin, I'm going to help Dad with the refreshments. (leans in, whispers) Which one's Dad? I forget. The girls look at her like she's grown a tail. SAMANTHA *Kidding*. CUT TO: A DOOR KICKED OPEN, WHAM-! Splintered. Lock shattered. INT. MOTEL ROOM - AKRON, OHIO - NIGHT A NUDE COUPLE on the bed. They look up, startled -- as three men burst through the door. The LEADER: a haggard-looking man sporting a soup-stain on his tie, whoops, that's the design, sorry. MITCH HENESSEY, private investigator and con man extraordinaire. He flashes a phony badge: YOUNG MAN POLICE. DON'T MOVE. MAN ON BED What the hell is this...?!! YOUNG MAN Don't give me an attitude, sir. You're assuming I won't shoot your sorry ass, and everyone knows when you make an assumption, you make an ass out of u and mption. I'm Sergeant Madigan, Vice, and if you cop a 'tude, jerkoff, I will see to it you spend the next ten years in prison getting ass-fucked, and if the case is thrown out because my arrest is too violent, then I will personally HIRE men to ass-fuck you for ten years. So if you're an ass-fucking fan, go ahead and mouth off, but meanwhile you're under arrest for the crime of prostitution, now shut the fuck up before I cut out your kneecaps and use 'em as ashtrays. (beat) Officer Donleavy, read him his rights. Donleavy looks pale, pasty. He stutters a few words. Loses interest. Wanders away across the room. MAN ON BED (a trifle confused) Please, this is my first, I... I've never done this before, I'll do anything...! YOUNG MAN Sir, listen to me. I understand you're not a wealthy man, but in light of the damage this arrest will cause you, we might be able to make an arrangement -- Donleavy plops in a chair. Belches. Grins foolishly. The man in bed points to him: MAN IN BED Is he all right...? THE REMAINING COP is swaying on his feet. Like a tree in a hurricane. Donleavy pukes all over the floor. We CUT TO: INT. BARREN GREY OFFICE - NIGHT THERE'S THE GIRL. The one in bed moments ago. She and Henessey are dividing a wad of bills. GIRL We gotta stop using bums. MITCH (lights a smoke) Forget it. They looked like cops. We pulled it off, didn't we? GIRL It was embarrassing. MITCH You want I should hire actors, for Chrissake? These guys are cheap, they work for food. GIRL Uh-huh. So, when they puke all over you is that, like, a refund? MITCH Trin, I'm pissin' myself over here, you're so funny. What's this? He indicates an envelope earmarked for him. Labeled in magic marker: SAMANTHA CAINE. TRIN New case, honest to God chick with amnesia. You want the job? Henessey opens the envelope. Extracts a black and white HEAD SHOT of Samantha, says immediately: HENESSEY Yep. Yep, yep, yep. Stares, mesmerized. Trin peers over his shoulder: TRIN Wasn't there a lady on TV named Samantha? Had a magic nose or something. HENESSEY 'Bewitched', yeah. Good show. Chick lived with a faggy guy, then in the last season it was a different faggy guy. Okay. Here's what we do; get on the horn to amnesia chick, tell her yes. Then tell her in 1967 she promised to give me a blow job. Worth a try, right? EXT. ELEMENTARY SCHOOL - NIGHT SAMANTHA and HAL bid goodnight to their friends and neighbors. Hal steers her away from a middle-aged teacher. HAL Christ, guy's all over you like a cheap suit. SAMANTHA That's funny, there's a cheap suit all over him like a cheap suit. She notices EARL sitting in the bushes by the side of the building. He is speaking intently to the gerbil. HAL Oh, boy. Someone's gotta take my father home. I'm plowed. Samantha takes the keys from him. Breathes deeply of the chill night air. Smiling. Surveys the scene... their friends. The neighborhood. Sighs: SAMANTHA This is all I ever wanted. At which point, young Caitlin says: CAITLIN How would you know? ESTABLISHING SHOT - STATE PRISON - OHIO - NIGHTTIME Switch gears: A grim, grey building. Guarded. Patrolled. INT. PRISON - TELEVISION VIEWING ROOM - EVENING A tired TV set drones to an audience of one. Let's call him ONE-EYED JACK. In fact, let's give him one eye, the other replaced by a PATCH. He smokes cigarettes, stubs them out on the chair's armrest. Throws offhand glances at the TV screen. NEWS ANCHOR (ON T.V.) ...So much for the flame-swallowing Santa of Boone County. Meanwhile, KTVA news journeyed to Upper Sandusky, where Santa's own *Mrs*. Kringle turned out to celebrate her hubby's worldwide tour. After one look at her, I'm thinking Santa got what he wanted this Christmas. The happy news chatter continues. Jack isn't listening. Jack isn't talking or breathing either. He's simply STARING at the TV screen, jaw slack... ONE-EYED JACK Gotta be fuckin' kidding. No. No way. SHIIIT!! He SCREAMS as we CUT TO: EXT. WOODLANDS - WITH SAMANTHA - DRIVING If you had to pick a night to die horribly, you'd be hard pressed to find a nicer one. A country highway. Bathed in moonlight. Crusted with snow. Pontiac Sunbird, wending its way through the wooded slopes. INT. SUNBIRD - SAME TIME SAMANTHA drives while Earl (the SANTA we saw earlier) reclines, still drunk. EARL You're married what now, five years...? He makes a thumb circle. Jabs his finger in and out of it: EARL You and Hal, how often you two...? SAMANTHA Stick our fingers in out hands and pull them out again? Every chance we get. Shut your piehole. EARL Don't get all snippy... SAMANTHA Earl, do me a favor. Every few words say "hic" and have bubbles come out your mouth, okay? EARL Goddamnit, I'm not drunk. Would a drunk man have this much raw talent? He starts playing the Hawaiian nose harp. In Sam's ear, she can't help it, snorts laughter -- THE ADULT DEER appears perfectly framed in the Sunbird's headlights. Dead ahead. Sam looks up, face etched in sudden TERROR. *No time to think*. SWERVES, no dice...! BROADSIDES the animal -- And it comes THROUGH THE WINDSHIELD. All two hundred and fifteen pounds of it. Fucks up their night altogether. Actually, it only makes it *halfway* through -- But the damn thing is ALIVE. More than alive. KICKING. Thrashing. Squawling with pain and rage. A FLAILING HOOF takes out Earl. Kills him in less than a second. Collapses his skull. Sam rides the wheel, screaming. An antler gouges her chest. Rips. Draws blood. She SWERVES, madly -- Hits the tree doing 50. ANOTHER ANGLE Sam goes airborne. Explodes through the windshield, outward bound. Shower of glass, spritz of blood... And then she's flying. Slow motion, end over end... We lose all SOUND. Silence as she tumbles. Below and behind her, the Sunbird noiselessly ERUPTS. Fireball, sky high -- Sam floating. Describes a lazy arc in mid-air... Whoomph-! Disappears into the snow. Swallows her, leaves a silhouette. Around her, trees catch fire. Burn. She lies in her impromptu sarcophagus. Out of sight. THE FLAMING DEER totters from the wreck, thrashing. Scene from a nightmare. Nightmare part two: from the snow, from the human-shaped divot -- arises a woman of blood. She stumbles from the drift. Toward the wreck. And though it's clearly Sam Caine under all that crimson, there's something wrong about her *eyes*. En route to the car, she kneels beside the suffering deer, its flesh scorched and torn -- and KILLS it. Puts it away with a sharp CRACK-!ing blow to the head. Stands, eyes squirming with madness... The car's an inferno. Earl is dead. She turns away, wiping blood from her eyes -- Comes face to face with a SNOWMAN. A jolly white fellow. Charcoal briquettes for eyes. She watches, fascinated, as he MELTS in the blast furnace heat -- With warning, she *screams*. Crumples to the ground. The snowman's eyes fall out. He melts away and away... DISSOLVE TO: EXT. SUBURBAN HOUSE - AKRON, OHIO - TWILIGHT Elsewhere. Tract housing, late-model cars. MITCH HENESSEY delivers a Christmas gift to his nine year-old son TODD: not just any gift, the *Midtown Saturn Orbiting Precinct*, with action figures. Henessey points to the box, engrossed: HENESSEY ...and here's the jail here, see...? Escape chute for the Borian, he's a dinosaur guy, Moves quick, don't take no shit neither. See, you can make him shoot the guard -- ah, hell, look, I played with it a little myself, I'm sorry. VOICE interrupts them: VOICE (O.S.) TODD, TIME FOR DINNER. NOW. An awkward pause. Henessey scowls. HENESSEY Hey, you go ahead, um... hope you like the present. TODD It's awesome, Dad. Mom, though, she... (sighs) She gets weird. On my birthday, when you gave me the Schwinn... she called bicycle stores to see if there'd been any robberies. Henessey manages to control his face. Says tightly: HENESSEY Tell her I don't steal them locally. He watches, forlorn, as his son vanishes inside the house. Christmas lights, blinking feebly. We HEAR, supered: HENESSEY (V.O.) Dear Ma: Filled out the child support stuff last week. Office got pissed, under ex-spouse I put "Spawn of Satan, Dweller in Eternal Dark." Just being honest, Ma, lady wants me to die. As he reaches his car, his BEEPER goes off. EXT. PHONE BOOTH - MINUTES LATER Henessey on the phone. Dials. Waits. We HEAR: HENESSEY (V.O.) I'd go without a ripple, that's the truth. Ex-con. Ex-husband. Expired. Thanks, Ma, for hiding the truth from me for so long. Or maybe you believed in me. I miss you. I hope you believed, even for a day. No one did, Ma. No one at all. It's cold here. I'm sorry you're dead. Your son, Mitch. The phone picks up. He says: HENESSEY Me. What's up? TRIN (O.S.) Mitch, we got a bite on amnesia chick's photo. Found a guy remembers seeing her, fall of '87. He wants cash, should I grease him? HENESSEY Hell, no! Use your head, girl. Let the fucker squeeze the Charmin. TRIN You kidding? Guy's hideous. I'll do it, but we're talking time and a half. Plus a night on the town when I get back, and *no cockfights this time*. INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER Samantha, having survived. Laid up now in an austere hospital room. Listening to silence. Stares out the window at a sunlit tree. Head bandaged. Frowns: SAMANTHA I want a cigarette, why do I want a cigarette...? Outside, snow slithers... Her eyelids, slowly closing. Slides off the edge of consciousness... IN THE DREAM: She stands on a windswept cliff, before an incongruous FULL-LENGTH MIRROR. Staring at her reflection -- it's bleeding from a scalp wound. She probes her head... frowns. Nothing. Nothing but the tiny RIDGED SCAR she's had for as long as she can remember. SAMANTHA What... what do you want...? The reflection eyes her grimly. Haggard. Tired. REFLECTION I want a cigarette. SAMANTHA I don't smoke. REFLECTION (chuckles) You used to. Samantha is suddenly holding a cigarette. She raises it to her lips. Her reflection MIRRORS her precisely. Except Samantha COUGHS, chokes on the smoke -- While her bloody reflection takes a long, satisfying drag. REFLECTION Relax, you can drop the act. Nice and smooth, take another hit. There you go. See how easy it comes back? They are now in perfect synchronicity. Sam inhales easily. REFLECTION *I'm* coming back. You know that, don't you? Name's Charly, by the way. You're gonna love me. The reflection grins. There's blood on its TEETH. INT. SAMANTHA'S HOME - DAY Back at home, business as usual, pre-Christmas. A COMMOTION has arisen: Gingerly, bones still aching, Samantha moves toward the KITCHEN. HAL and CAITLIN trail behind. HAL Honey, you can't cook, I'm not wrong about this. SAMANTHA I'm *remembering*, Hal. Things are coming back. Trust me, I'm a chef, I know it. CAITLIN Daddy, make her stop! SAMANTHA Hush. Go to the garage and get me something, anything. A veggie, go, man, go! I'm hot to trot. INT. KITCHEN/GARAGE - SAME Hal worriedly exits to the garage. Plucks a tomato from the fridge, tosses it to Caitlin, who stands in the door. HAL Tomato. Caitlin turns, tosses it to Sam -- CAITLIN Tomato. Who catches it, plops it on the cutting board and proceeds to DICE it to SIMTHEREENS. Razor-thin slices. Knife a blur. Missing her fingers by millimeters, never faltering, like a mad mumblety-pegger -- HAL Onion, flying in. Sam catches it. Knife flurries. Pieces, flying up. SAMANTHA More. Faster. And it becomes a bucket brigade. Hal heaves veggies to Caitlin who spins and relays to Mom who slices, dices, purees, and even makes curly fries. Veggies, incoming. HAL starts to lose it, starts lobbing them at Caitlin, one after another, she giggles, starts throwing them overhand -- CAITLIN Tomato. Tomato. Tomato. And now it's a food fight, PELTING Mom, and the floor is COVERED with food as Hal stumbles in laughing, scoops up Caitlin -- Samantha shakes her head, grinning, dices to pieces a last, lovely radish. Ends with a flourish, TA-DAH-! Doesn't think: Flips the knife point up on ONE FINGER. Tips it for balance. Lobs a tomato. Slings the knife without looking, pins it to the wall, KA-CHUK--! Everyone goes silent. The knife, quivering. Caitlin and Hal turn as one, gaping at her. She shrugs numbly. Blinks. SAMANTHA Uh... chefs do that. INT. BOILER ROOM - DAY OR NIGHT, IMPOSSIBLE TO TELL Underground. Water GURGLES through overhead pipes. Furnaces hum and tick in the sweaty gloom. A SHIRTLESS MAN is tied to a chair. Weeping. Before him, what looks like a young GQ model. Blonde. Gorgeous. Impeccably attired. For the record, TIMOTHY. He looks his captive in the eye as the guy blubbers: MAN Please, man... I don't know why you gotta kill me... But use the gun, not the knife. Please. As a fucking favor, I'm begging you... TIMOTHY It'll be over soon. MAN Jesus, man... I... I'm scared of the knife... Shit, I can't handle getting shots at the doctors, man, PLEASE...! TIMOTHY Last chance. What do you know about a town called Santa Claus? MAN What is this, *what the fuck is this*?? I'm FBI, for Chrissake, you can't do this to me. I don't know ANYTHING. Timothy stares him full in the face, eyes narrowed... as though seeing into his brain. He nods, satisfied. TIMOTHY No. You don't. (beat) I can always tell, you know... If someone's lying to me. A little skill of mine, something to trot out at parties. He slams home the knife. We don't see it, but we FEEL the impact. The FBI man's face contorts in SHOCK. Twisted. Inches away from Timothy, their eyes lock... A CELLULAR PHONE BEEPS. Timothy reacts, annoyed. Plucks it from his belt and flips it open: TIMOTHY Timothy. VOICE (O.S.) Message from Mr. Daedalus. TIMOTHY I'm listening. He shrugs at his captive. Rolls his eyes. The guy's still dying, still on the KNIFE. VOICE (O.S.) He says he's sorry, but he needs you right away. Something's come up. TIMOTHY Nix. I'm just finishing up here. Then I'm going bunjee jumping. VOICE (O.S.) He's aware of your weekend plans, and he apologizes. TIMOTHY All right, what's so fucking important? VOICE (O.S.) Your old colleague, One-Eyed Jack...? Recently escaped from a high-security prison, as you're aware. But listen to this: prior to his escape, seems he saw something on TV that disturbed him. So much he had to be sedated. TIMOTHY I saw it, too. It's called "Empty Nest." How the fuck is it my business? VOICE (O.S.) The man was overheard talking to himself under sedation. (beat) He said Charly Baltimore's alive, sir. Timothy is silent. SUIT I know it's incredible, sir, but... if she were alive, I'm thinking she might be in contact with the old man in Pennsylvania. Should I -- TIMOTHY Tap his phone, yes. And tell Daedalus I'm on my way. Timothy out. He clicks off, face troubled. Withdraws the knife. Checks his clothing. Not one speck of blood. INT. SUPERMARKET - CHECKOUT STAND - AFTERNOON A CARTON OF MARLBORO REDS hits the stack of groceries. HAL looks at his wife, bewildered. SAMANTHA They were on sale. At the next register over, a duo of Canadians throw looks her way. Confer in rapid-fire French, subtitled for us: CANADIAN #1 Ooh, j'aimerais la baiser. (Subtitle: I'd like to fuck her.) The checker looks up, smiles: CHECKER Don't you love hearing people speak French? CANADIAN #2 Oui, j'veux etirer celle-la autour d'une chaise. Comme je le vois, une femme c'est comme Gumby avec des seins. (Subtitle: I'll stretch her over a chair, women are merely Gumbys with tits.) HAL Beautiful language. He turns to Samantha -- except Sam isn't there. Her arm shoots out-! CLAMPS on one of the men. By the throat. Catches him like a fucking VICE. Her voice a sibilant hiss: SAMANTHA *Allez, Gumby etiriait le cou, fils de pute*. Subtitle: "Gumby's gonna stretch your neck, motherfucker." Accent flawless. Eyes like steel. The man will go on to start a profitable construction business with the bricks he shits. SLAM CUT TO: SAMANTHA - ON THE PHONE TO HER SHRINK - INTERCUT Jubilant, can't contain herself: SAMANTHA I speak French. PSYCHIATRIST You do. SAMANTHA You bet your life, fluent French, whatever the fuck that means. (chortles) Quand j'Ètais a l'ecole, Jai eu un professeur qui s'est fabriquÈ du dentifrice! PSYCHIATRIST You just said when you were in school, your teacher was made of toothpaste. SAMANTHA Right, he was, you got a problem with that? Pasty Joe, we called him. Look, the accent's perfect, so piss off. I'M A FRENCH CHEF, YA-HOO. EXT. SUBURBAN STREET - DAY Samantha and daughter CAITLIN sing a hearty chorus of "Frere Jaques." Sam giggles , Caitlin looks nervous; astride her new two-wheeler BICYCLE while Sam finishes removing the training wheels. Caitlin points to her stuffed TEDDY BEAR. CAITLIN Put Perkins in the basket. He's luck. SAMANTHA Mr. Perkins, going in the basket. CAITLIN Are the training wheels off? SAMANTHA Just pretend they're still there. Piece of cake. You can do it. CAITLIN Wait...! I'm scared. SAMANTHA Shhh. Nothing to be scared of. Pretend you're one of the X-men, you're tough. Let's go, now. Three, two, one... CAITLIN Mom, I can't do it, swear -- Samantha sets her sailing. Laughs excitedly. The bike weaves, side to side... hits the curb and topples with a CRASH. Spills Caitlin to the pavement. Now's she's CRYING. CAITLIN Ouch--! I can't do it, it HURTS-! Samantha walks over briskly. Face set in determined lines. SAMANTHA Nonsense. You can do it. You don't want to, but you can. CAITLIN My arm hurts, please take me home...! SAMANTHA You can go home, Caitlin. You can ride there. An unpleasant note is edging into her voice. The louder the kid cries, the more Samantha starts to SIMMER. CAITLIN Mom, no...! SAMANTHA Look, I know you're afraid, that's the whole *point*, can you see that? Now stop being a little baby and get on the damn bike. She hoists her onto the seat. Caitlin cries and hollers. SAMANTHA You gonna be afraid of things all your life? Huh? That what you want? CAITLIN My wrist hurts...! *Snap*. Something lets go. Suddenly Samantha's right in her face: SAMANTHA Life is pain. Get used to it. See, you *will* ride this bike home, princess. You will ride it and you will not fall again, *is that understood*...? Eyes cold and lifeless. She is not herself. CUT TO: INT. SAMANTHA'S HOUSE - TWILIGHT CAITLIN huddles on the steps, itching at her brand new WRIST CAST. Eavesdropping on her parents. In the kitchen a counter- top TV is on, the Three Stooges. Samantha is on the phone, saying: SAMANTHA Yes, I'm three blocks past the gas station... Right. Thank you Mr. Henessey, I'll see you shortly. She hangs up as HAL ENTERS behind her... She doesn't turn around. Samples the topping of a cream pie. Stares at the linoleum floor. He regards her with angry, vindictive eyes: HAL She rode all the way home. She didn't fall, not once. She didn't cry. (beat) You're good. You should work with kids, you know that? SAMANTHA She said her wrist hurt. I didn't know it was broken, God. I can't even remember what I said to her...! Hal takes a breath, composes himself. HAL We can still make six o'clock mass, you coming? Sam surveys her perfect kitchen. Runs her hand over a hanging pot. Looks sadly at her husband. Whispers: SAMANTHA A private detective's coming by, he... he's found something. (beat) I may have to go away. For a bit. Now please leave me alone. HAL Go away. With a detective. Jesus, it's the holidays, Sam -- SAMANTHA Are you deaf? I said leave me alone. Go to church. Drink blood. Drink some for me. They stand in tableau. An electric silence... Broken quite suddenly by the sound of SINGING. CHRISTMAS CAROLERS. Outside the front door. The sweet strains of "God Rest Ye Merry, Gentlemen" wafts in through the window. Except the sweet strains ain't so sweet. These carolers are TERRIBLE. Missing by a country octave. Sam and Hal look at each other, what the hell...? EXT. THE FRONT PORCH - JUST OUTSIDE THE DOOR - NIGHT THE CAROLERS continue their interesting rendition. Snowflakes fall. All is quiet. All is bright. Especially bright is the SHOTGUN BARREL pressed to the throat of the lead soprano. HE- 109. Over and under combo. Shotgun on top. HE cannon on bottom. You'd sing shitty too. INT. HOUSE - SAME Samantha hurries to the door. Carrying a bowl of festive M&M's. Just as she gets to the door, the singing STOPS. Footfalls running away, that's odd... She opens the door. Carolers, gone. She's eye to eye with ONE-EYED JACK. ONE-EYED JACK Evening Charly. Long time. He swings the big GUN. Slams the barrel into her. Glass shatters, M&M's everywhere. She gapes at him, dumbstruck, unable to THINK... Hurry it up, lady, we need a decision, live or *die* -- SHE GRABS THE GUN BARREL. Wrenches the gun...! On the steps CAITLIN howls, eyes like saucers -- CAITLIN Mommy...! SAMANTHA GET OUUTTTTT!!!! Sam's cry is a veritable shriek. HAL LAUNCHES himself from the kitchen doorway. Pounces on Jack, snarling -- brave, useless. For his trouble, gets three broken ribs and a trip to the fireplace, airborne. Comes down. Catches fire. ROLLS, over and over on broken ribs -- JACK kicks Samantha in the gut. She collapses onto the stairs. Splinters the banister. That's when he sees CAITLIN. Top of the stairs, paralyzed. SAMANTHA NO!!!! Jack is already moving forward. SPIN-COCKS the shotgun, draws a bead -- Promptly slips on festive M&M's. Goes down. Gun goes off, WHAM-! A flat concussion. The banister EXPLODES. A storm of wood chips, as SAMANTHA surges up the stairs, toward her daughter -- JACK. On the ground. Fires, *wham*--! The wall DISAPPEARS three inches from Caitlin's head. Blown to shreds, you can see outdoors. Samantha doesn't miss a beat. Grabs her daughter -- flings her OUTSIDE. Through the hole in the wall. Takes her by the belt and fucking HURLS her out into space...! EXT. SIDE OF HOUSE - SAME TIME Two stories up. The kid is ejected, flailing. Floats in SLOW MOTION. Across a ten foot gap -- INTO THE TREEHOUSE. Sails head over heels into the place. Hits with a CRASH. Alive and unhurt. BACK INSIDE THE HOUSE Samantha didn't even look. Didn't need to. Here comes JACK. Up the staircase. Reloading. Samantha launches herself down the stairs. COLLIDES, head on -- Down they go. Jack, rolls to his feet. Propels her into the KITCHEN. INT. KITCHEN - SAME TIME She hits, spray of cat food. SKIDS. Across the linoleum, slams to a stop. Hard. Cupboard pops open, out comes the IRONING BOARD. Falls into place, SNAP--! A GUN BLAST disintegrates it. Reveals Sam, cowering behind. ONE-EYED JACK I want my eye back, bitch. Samantha struggles to her feet. Dazed. Jack abandons the shotgun. Takes the IRON down from its spot on the shelf -- Slams it against her head. ONE-EYED JACK Goddamn you. Fight me. What's wrong with you, *fight* me! CLOSE ON TV: Stooge Joe Besser mugs wildly, takes a pie in the face. Jack raises his arm for the killing stroke -- Samantha takes Hal's cream pie from the counter and shatters every bone in his face. Comes from nowhere. Back foot planted, body twisting, entire organism focused into the outstretched arm, WHACK-! We have never seen anyone move this fast. Samantha RECOILS. Startled by what she's done -- The glass dish is SPLINTERED into his head. It STICKS there. He topples. Hits the linoleum. She straddles him, breathing hard. Winded. The barking dog "Jingle Bells" plays inanely in the background. Samantha stares. Trembling. Pokes the body. Nothing. Pokes it again. Still nothing. She leans forward. Grips the neck and wrenches, CRACK-! Just making sure. She out of it. In shock. Glaring at her own hands as if demanding an excuse for their behavior. There is pie filling on her fingers. She kneels beside the corpse, catatonic. Stares. Absent-mindedly licks the bloodied cream. HAL is standing in the doorway. Wide-eyed. He has seen Samantha break the man's neck. She looks at him, frowns. SAMANTHA It took me three seconds. That's... that's good, huh...? He stares, dumbstruck. She blinks. *Snaps out of it*. SAMANTHA Caitlin. We gotta find Caitlin. She gets up. We RUN with her to the front door -- she flings it open and collides with MITCHELL HENESSEY. Private dick. Runs right into him. HENESSEY Hey--! Slow down. The kid's okay, she's in my car, what the hell is going on? Henessey spins, as FOUR POLICE CRUISERS pull up. Vomit up a bevy of COPS, swarming toward the house. He spins back to Samantha -- As she collapses to the floor. FADE OUT: Pause. FADE IN. Super the legend: ONE WEEK LATER. ESTABLISHING - SAMANTHA'S HOUSE - MORNING Early morning quiet. HENESSEY and SAMANTHA are throwing suitcases into the back of his battered Chrysler. INT. HOUSE - LATER - EVERYTHING'S PACKED Sam's looked better. Kneels beside Caitlin, says softly: SAMANTHA That man who tried to hurt us...? If I stay here... other people will come. I have to leave. Just for a little while. Caitlin looks at the floor. Doesn't respond. Samantha reaches in a cupboard. Produces a box of CANDLES. Lights a match, touches flame to one of them. SAMANTHA I want you to light a candle and keep it in the kitchen window. And never, *ever* let it go out, because as long as it burns...? It means you're thinking of me. And if I'm alone... if it's dark and I'm lost... It's how I'll find my way home. She touches Caitlin's wrist cast. Pain in her features. She grabs a marker pen and writes a TELEPHONE NUMBER on it. SAMANTHA That's for a portable phone. I keep it with me, you call me anytime, you don't worry about the bill. And last but not least -- She reaches behind her head. Unhooks the KEY, the one she wears around her neck. SAMANTHA For luck. Slips it over her daughter's head. Looks up at HAL, eyes brimming. He whispers: HAL No matter what you find, I'm not scared. Not of you. Not ever... SERIES OF SHOTS: EXT. SUBURBAN TOWN As it fades behind Henessey's Chrysler. Leaving behind porch- bound elders, dimestore clerks. Grinning children, hair like spun straw. All fading... DISSOLVE TO: INT. HENESSEY'S PLYMOUTH - THE OPEN ROAD - DAY Henessey sings with the radio. Loudly. He's got the lyrics wrong: "I'm not talking 'bout the linen... And I don't wanna change your life..." Samantha endures as much as she can. Speaks up: SAMANTHA "Movin' in." HENESSEY Hah? SAMANTHA It's not linen. The song's not about linen. HENESSEY Whatever. You cold? SAMANTHA (shivers) I'm freezing. HENESSEY Turn on the heater. It doesn't work, but it makes a very annoying noise which distracts from the cold. SAMANTHA I'll pass. (clears her throat) So, you're a former cop. Atlanta, was it...? Stop me if I'm out of line, but I'm curious. How did you... well, succeed? I mean, where six other detectives failed? HENESSEY You kidding? Pure luck. Plus my secretary used her feminine wiles. She's got two, one wile per side. Huge. No kidding, you can see 'em coming around a corner, you got time to comb your hair. Nice kid, you'd dig her. (beat) Ah. Here we are. EXT. STORAGE RENTAL PLACE - DAY As they clamber from the car, Henessey shoves his sunglasses into his sportcoat. SINGS: HENESSEY Putting my glasses in my cooooat..." Samantha looks at him like he's sprouted wings. HENESSEY I sing what I do so I'll remember it. "Turning off the downstairs liiiight..." You know? Samantha smiles thinly. The man's a lunatic. INT. STORAGE FACILITY - DAY An old, walrus-mustached IRISHMAN ushers them down a concrete hallway. The old man hangs back with Henessey. Whispers: WALRUS MAN The elder Trelawney rented to her in '87, aye. Ne'er could bring himself to dispose of her things. I'faith, she's welcome to whatsoe'er she wishes, for ne'er has trod these walls a lass so easy on the eye, divil take me if I'm lyin'. Henessey lights a cigarette, says: HENESSEY Do me a favor. Say, "Always after me Lucky Charms." ANGUS "Always after me Lucky Charms." HENESSEY Thanks. Just needed to hear that. INT. STORAGE ROOM - MOMENTS LATER Drab, musty. Filled with disused tables, lamps, farm implements... Jimmy Hoffa watches TV in the corner. HENESSEY See anything you recognize? SAMANTHA Yeah, this dirt used to be outside my window, shut up and let me look. (sighs) I'm sorry, Mr. Henessey, I'm a little on edge. She pauses. Surveys the musty compartment, faraway look in her eye... says softly: SAMANTHA I can feel her. Like a ghost. (beat) We could walk away, you know. There's still time, we could just... leave her dead. She hefts a SUITCASE onto a bench. OPENS it -- Draws a sharp breath: SAMANTHA Ay-i-yi! Clothes to kill for. Smooth velvet. Creamy silk. The finest, the best. The sexiest. Sam peeks at the tags: SAMANTHA Size four, no way. You know how long it's been since I could wear a size four? (beat) Can't be mine. Can they...? She checks the case for INITIALS -- C.E.B. Who...? Henessey grunts. In his book, well dressed is clean underwear. Holds up a small manila envelope. HENESSEY Unmailed envelope. Addressed to a guy. SAMANTHA What's in it? HENESSEY Another guy's address. Two addresses, is basically what I'm saying. Meanwhile, her hands, still pawing through the suitcase... A SHAPE. She feels it. At the bottom of the case. Lifts up the mound of fabric -- HKM-40 sniper rifle. Disassembled. Sam looks like she just took a stomach punch. Up until now, it could've been adrenaline. She could still be just a schoolteacher. A rifle, that changes everything. She plunks the clothing back in place. Hides it. HENESSEY Anything else in there? SAMANTHA Hmm...? Uh, no. Just... more clothes. HENESSEY Yeah, well take a look at this. He holds up the envelope: addresses to one *Nathan Windeman*. Fishes in his coat, brings out Samantha's CHECK. Written to him, earlier that day... identical handwriting. CUT TO: INT. COLONIAL STYLE HOME - LATE AFTERNOON NATHAN WINDEMAN is in a bad mood. A frail-looking man, mid- seventies. Tiredly spooning a bowl of soup. His sister ALICE watches TV nearby. In her lap, a Pomeranian cleans itself. Windeman scowls: NATHAN Alice, please...? Alice stares at him. Uncomprehending. NATHAN Your dog, Alice. It and my appetite are mutually exclusive. ALICE What's wrong with the dog? NATHAN It's simple. He's been licking his asshole for three straight hours. I submit to you that there's nothing there worth more than an hour's attention, and I should think whatever he's attempting to dislodge is either gone for good or there to stay. *Wouldn't you agree*? Theatrical? Nah. The old bat scoops up her pooch and beats feet for the door. THE PHONE RINGS. Nathan snatches it up: NATHAN Hello? The voice is soft. Controlled: SAMANTHA (O.S.) Hello, Mr. Windeman, I got this number from a realtor in Pennsylvania. I'd like to speak with you. NATHAN Who... who is this? SAMANTHA You tell me, Mr. Windeman. Nathan pales. Blinks once. Twice. Manages: NATHAN ...Charly...? SAMANTHA (O.S.) My full name, please. NATHAN God, it really is you...!? Chapter, they think you're dead, *everyone* thinks -- SAMANTHA *My full name*. Please...! A pause. Then: NATHAN You don't know your name. He chews his lower lip, mind racing. Jesus, no joke, this is *her*... He fights to control his voice: NATHAN Your full name... is Charlene Elizabeth Baltimore. INT. SURVEILLANCE VAN - SAME TIME A MAN in shirtsleeves flips a switch. Speaks into a headset: MAN Signal Daedalus. We just got her, she made contact. Initiating phone trace. INT. HOUSE - BACK WITH NATHAN NATHAN Charly, don't talk, just listen: We have to meet, understand? We have to meet *right away*. SAMANTHA (O.S.) Meet me off I-79. Highmile exit, Salt & Pepper Lounge. Eleven a.m. She hangs up. Nathan stares, trembling. Turns to ALICE, standing in the doorway. Swallows hard, says: NATHAN A former student... is in trouble. INT. RESTAURANT BATHROOM - WITH CHARLY She hangs up the telephone in the ladies' room. Stands, alone in the stillness. Hands to her head, mind churning... Turns, checks to make sure the door is locked. Props her SUITCASE on the sink and opens it. Flips back the mound of clothing -- And there it is. The pieces, disassembled, of an M-40 sniper rifle. Her trembling hands find the parts, seemingly of their own volition... Hefting them. Gauging their feel. And then, slowly... terrifyingly... Knowing how they go together. She SNAPS the barrel in place, *click*-! The sound breaks her reverie. She drops the thing like it's alive. Looks down, trembling... ALSO in the case: a wicked looking HUNTING KNIFE. She picks it up gingerly. Shiny, brand new. Turns it over in her hand, fascinated by the play of light off the blade... Looks up. Her REFLECTION, in the mirror. Staring back. She frowns -- It frowns. She turns away -- THE REFLECTION DOESN'T. It stays right fucking put, except now it's *smiling*. Malignant. Deadly. Sam feels something wrong. Spins back toward the mirror -- Her reflected arm comes through the looking glass. Reaches into Sam's world and SLICES FOR HER THROAT. EXT. COUNTRY ROAD - DRIVING - LATE AFTERNOON Samantha JERKS, comes awake in the passenger seat of Henessey's Plymouth. Bad dream. Looks over to see if he noticed -- he's honking his horn at a TRAFFIC JAM. Sea of taillights, dead ahead. SAMANTHA What's this? What the hell is this...? We don't have time for this, of all the cocksucking bullshit -- HENESSEY Whoa. Ms. Class, drive a little truck on the side, do you? SAMANTHA What are you, a Mormon? HENESSEY No, ma'am, it's just that... well, when we met you're all, "Oh, fooey, I burned the darn cupcakes." Now, you go into a bar, ten minutes later sailors come running out, they can't take it. Just then, THREE POLICE CRUISERS blow by, sirens screaming. Henessey frowns, puzzled. HENESSEY What the hell...? Lemme check the scanner. He switches on a police band radio. Listens, hears: VOICE (O.S.) ...without endangering the hostages, over... ...Roger that two-niner. PCP confirmed, he's on a fuse, please provide backup, over... ...Conneaut, I'm waiting on Special Weapons, sorry, over... EXT. ROADSIDE DINER - CONNEAUT LAKE, PA. - SAME POLICE FLASHERS, spinning. Cop cars, incoming. SLAMMING to a halt. Disgorging uniformed cops. THE DINER is rapidly surrounded. Its a cheery decor, the giant roofbound Santa, all in stark contrast -- To the SCREAMING we hear, dimly, from within. INT. DINER - SAME Hostage drama, unfolding. The perp's a big ugly meatloaf with his mitts on a waitress. She's sixteen, she's a baby. She's sucking the barrel of his shotgun. His finger on the trigger. From outside, we hear the COPS: COP VOICE (O.S.) GIVE YOURSELF UP AT ONCE. LEAVE THE BUILDING, HANDS ON HEAD. DROP THE WEAPON, REPEAT, DROP THE WEAPON. Mr. Shotgun snorts laughter. Does a little dance, yells: MR. SHOTGUN I'm the man! I'm the man! I elicit the explicit! EXT. DINER - SAME TIME The police are just starting to re-route traffic. A highway cop signals to HENESSEY, "Turn around, go back." INT. CAR - SAME TIME Henessey swears. Swings wide, when suddenly a HAND clutches his arm. He looks over and suppresses a shiver -- Samantha's eyes have gone dead and cold. She lights a cigarette, shakes out the match and says: SAMANTHA Go up this hill. HENESSEY Why? SAMANTHA *Drive up the fucking hill*. Now Henessey shivers. Cranks the wheel as we CUT TO: EXT. HILLTOP - OVERLOOKING TOWN - NIGHT SAMANTHA flops on the frozen ground in a stand of pine trees. HENESSEY Where the shit did you get that? No answer. She deftly assembles the SNIPER RIFLE. Rests the rifle barrel on a dead branch. Flicks on the starlight scope. HENESSEY Sam, Goddammit, you're gonna kill someone! Hey! She ignores him. Focuses through the scope. POV SAMANTHA: Framed in spectral GREEN, the diner's interior. Hostages. Crying mothers. Children, catatonic. Through a tiny window -- a limited view of the KITCHEN. He's in there. Girl, eating both barrels. Samantha's jaw tightens. HENESSEY The diner...? That's half a mile away, are you fucking crazy? SAMANTHA HK M-40 assault rifle. At three hundred yards, vertical drop six inches. Mr. Shotgun leans in. WHISPERS something to the waitress. SAMANTHA Shit. He's gonna do the girl. HENESSEY How the fuck can you tell? She steadies the rifle. Takes aim. SAMANTHA I read lips. She fires. Splintered CRACK-! INT. DINER Mr. Shotgun dies on his feet. Outgoing matter. Flung. Spattered on the grill where it sizzles along with burnt hamburger. He drops. Screams. Pandemonium. EXT. HILLTOP - MOMENTS LATER Samantha slams the trunk of the Chrysler. Gets in the passenger side without a word. Henessey pulls away. INT. CAR - DRIVING - SAME Samantha stares straight ahead. Gives a high, brittle laugh. SAMANTHA See? Took care of it. Knew I could. She laughs again. Henessey favors her with a look reserved for people with major deformities. Suddenly she says: SAMANTHA Pull over. He stops the car. She gets out. Stumbles across the shoulder. Kneels. Throws up. Henessey watches. Lights a smoke with trembling hands. SAMANTHA Had to, he... he would've killed her... Had to... Oh God I took him, such a good shot... I felt proud of it, such a shot, Jesus, *how could I be proud*...? (sobs) I'm scared... I want to go home... Henessey kneels beside her awkwardly. She clutches his shoulder. Presses her head to his chest. Cries. EXT. THE WHITE HOUSE - ESTABLISHING - NIGHT Yes, it certainly is. CUT TO: INT. SITUATION BRIEFING ROOM - SAME TIME Three stories below the White House proper. THE PRESIDENT is seated in his robe and slippers. Before him sits a panel of three: National Security Adviser; Deputy Director of the CIA; and ANOTHER MAN in his sixties, sporting a distinguished mane of silver hair. The President addresses him: PRESIDENT *Mister Perkins*. (frowns) Please, say it again, I'm a little slow. Better yet, I'll try it. You lost an operative, a trained counterassassin, and you just saw her on TV in a Christmas parade. The silver-haired man appears unperturbed. And no, by the way, it didn't escape us that he shares his surname with Caitlin's TEDDY BEAR, the one Mom named -- He nods, says: SILVER-HAIRED MAN On TV, that's correct. It's two weeks old, intelligence just caught it. PRESIDENT You recruited this woman in the late seventies? SILVER-HAIRED MAN For Chapter, yes. I was a friend of her father's, you see, and... I took her in. PRESIDENT Well, it looks like she returned the favor, now doesn't it? (throws up his hands) Unbelievable. You people, you dump this on me, then next week you're screaming, "Where's our funding?" Shit. I'll tell you where it is, can you say health care? The head of the CIA pipes up: CIA DIRECTOR Mr. President, please calm down. The CIA bears no responsibility for this problem. PRESIDENT Thanks for sharing, Kent. How many double agents you got on the payroll, last count...? CIA DIRECTOR Sir! That controversy has been thoroughly dealt with, and if there still exists a leak, perhaps this... woman agent of his -- SILVER-HAIRED MAN If I may, sir, Colonel Baltimore hasn't had classified access since 1987. (beat) But thank you, Kent, for trying to fuck me in the ass. He directs his baleful gaze at the President. Lights a pipe. SILVER-HAIRED MAN I'm afraid rooting out double agents may have to wait. The primary threat is the woman. Her specialty is counterassassination, a horseshit turn of phrase which implies the other fellow shot first, but in point of fact she's a takeout artist of the first order. Nearly disposed of our friend the Beard down in Cuba a few years back. Specializes in long rifles, accurate to a mile and a half. Presumed dead; now, after eight years, back in the field, agenda unknown. She knows enough to hurt us. I'm frightened. Understand? PRESIDENT Yes, yes. I believe you. Just one question: (beat) *What in pluperfect hell is she doing in a Christmas parade*??? INT. ROADSIDE GAS STATION - NIGHTTIME Henessey is on the phone to his ex-wife. Glowering. HENESSEY Aw, cut me a break, Fran. I been out eight months, I'm back doing skip traces, now you got me stealing fuckin' bicycles? EX-WIFE (O.S.) I don't want you around Todd, hear me? Shrink told me what those men did to you in prison. This is a Christian household, my son's not gonna develop any... tendencies. Understand? For a moment her ignorance is so stunning he's speechless. Then he slams down the phone. Cracks it. Returns to the pumps, where SAMANTHA leans against his car, still dazed. Looks up at him, says: SAMANTHA I still can't believe it. You're saying my hands didn't even shake...? Henessey doesn't look at her. Puts the nozzle back in the pump. Crosses to the driver side without a word. SAMANTHA What's the matter with you? HENESSEY You. You're the matter. Look, you wanna keep going, good luck. I'm driving back to Ohio. You're free to come with me. SAMANTHA What... what are you telling me? He gets into the car. Starts the engine. Samantha reacts, distraught. Leans in, kills the ignition. Pulls him out of the car. HENESSEY Goddammit, lady, I'm taking you *home*. She slaps him. HARD. He falls back, stunned. SAMANTHA I'll spell it out for you, ready? I have no future, *I can't go home*. Until I know what's happening, I'm in *prison*, you know how that feels...? HENESSEY Yeah, matter of fact. Four years inside. Marion, Illinois, real shithole. Get in the car. SAMANTHA I'm sorry. (clears her throat) Um... what did you...? HENESSEY Seven years ago, Atlanta PD. Me and my partner, we handled a lot of impounded shit. Fucker hated me, boy. One weekend, when he was conveniently gone...? Some bearer bonds disappeared from his office. And lo and behold, when the police responded to an anonymous tip, you'll never guess what just happened to be sitting in my closet. SAMANTHA The bonds. Your partner put them there? HENESSEY (laughs) Hell no, I did, I stole the fucking things. He serious. Samantha frowns, a little thrown -- Then she snorts, loses it. They both lean against his Chrysler. HENESSEY Now every dollar I hand my kid, he asks his mother did I steal it. He smiles ruefully. Spits. A pause, then: HENESSEY No more killing. Samantha's voice is cool and level: SAMANTHA No more killing. She blows her nose. SAMANTHA It was a helluva shot, wasn't it..." DISSOLVES TO: ESTABLISHING - SALT & PEPPER LOUNGE - MORNING A gunmetal grey sky looms overhead. The aforementioned LOUNGE is a faded old roadhouse, gravel parking lot strewn with mud- covered trucks. The kind that get a man laid in these parts. HENESSEY'S PLYMOUTH pulls into the lot, rolls to a halt. He'll never get any. INT. SALT & PEPPER LOUNGE - DAY Honky-tonk. SAMANTHA and HENESSEY enter, blinking in the dimness. Around them, drunk mid-day cowboys. Stringy-haired girls in their ample laps. SAMANTHA consults her watch: SAMANTHA Quarter til. Any time now. They sit at the counter. Henessey flags the bartender. Signals for a beer. Lights a cigarette, blows smoke: HENESSEY Nice crowd. SAMANTHA You're just jealous of their girlfriends. HENESSEY Who wouldn't be? Corner booth, there's a beaut. While you're doing her doggie- style you can pop the zits on her back. Samantha shoots him a look. ON A TV above the bar, a British- sounding CNN announcer is saying: CNN COMMENTATOR (V.O.) Violence in Northern Ireland continues today, despite a plea by British prime minister John Major -- Samantha sits up straight. Draws a sharp breath. He shoots her a questioning look -- SAMANTHA I just... got a flash of something, I... (blinks) I hurt my father. HENESSEY Whoa. You remember your father? SAMANTHA No... that's what's strange. (shakes her head) If I saw him on the street, I... I wouldn't... oh. She rubs her eyes. Her voice breaks. She's utterly miserable. Henessey leans in, says softly: HENESSEY Ms. Caine, last week at a party I ran into a girl I knew from college and we chatted for a few minutes. And it wasn't til I was driving home on the freeway that I remembered that I'd screwed her in the back of a car once. (beat) Everyone forgets. He pats her arm. Smiles reassuringly. A pause. She stares. SAMANTHA That's it? That's your helpful story? Jesus Christ! HENESSEY No, see, all's I'm saying is you're not alone. SAMANTHA Oh, shut up. HENESSEY Fine. I gotta use the head. He stands, heads off. Samantha nervously lights a cigarette. The bartender suddenly puts a BEER in front of her. She reaches for her purse. He waves it away, points beside her. She turns... The assassin called TIMOTHY sits down two stools away. TIMOTHY For you. Another in a long line of bad investments. SAMANTHA Excuse me? TIMOTHY Just saw the ring on your finger. He reveals a surprisingly WINNING smile, says: TIMOTHY Do I know you from somewhere...? Grimaces: TIMOTHY Whoa. Back up. Total pickup line, let's forget I said that. Still staring in her eyes. Noting absolutely NO RECOGNITION on her features. She gives him a cursory smile. SAMANTHA Thanks for the drink. But no. I don't know you. Timothy nods slowly. TIMOTHY No, you don't, do you...? I'd know if you did. I can tell if someone's lying. (smiles) Sorry to bother you. He takes his own drink and crosses to a back booth. Sits, a very puzzled look on his face. Adjusts his coat collar, whispers into a concealed transmitter: TIMOTHY Okay, people, I got what I needed. Wait until she comes out. Then do them both. (beat) Walk soft, we got local law. He sits back as TWO SHERIFF'S DEPUTIES suddenly enter, doffing their stetsons. Cross to the bar. HENESSEY, coming out of the bathroom. Sees the deputies. Grabs SAMANTHA by the elbow. Tosses down a fin, steers her toward the door. SAMANTHA (sotto) What are you doing? HENESSEY Pork. On your nine. SAMANTHA So? HENESSEY So you shot a guy in the head yesterday. We wait outside. SAMANTHA It's freezing. HENESSEY Too bad. People shouldn't shoot other people in the head. Just themselves. During that show with the little girl who's a robot. EXT. SALT & PEPPER LOUNGE - SAME TIME They emerge into the chill air. Breath pluming from their mouths. Samantha surveys the parking lot. Grabs Henessey, points -- A LATE-MODEL CAR pulls into the gravel lot. Stops. SAMANTHA Bingo. That's an old guy's car. HENESSEY How do you know? SAMANTHA Because there's an old guy in it. Come on. They cross toward the car. She frowns, points to his coat. SAMANTHA Gun bulge. HENESSEY You think I'm gonna shove it down my pants? Shoot my damn dick off. SAMANTHA So now you're a sharpshooter? HENESSEY Ho, ho. As they approach the other car, the engine stops. The door opens and a middle aged man emerges -- IT AIN'T NATHAN. He pauses, lighting a cigarette. SAMANTHA Mr. Windeman...? She strides right up, Henessey in tow. Flashes a dazzling smile -- *Slow motion*. The guy DROPS HIS LIGHTER, darts a hand inside his coat with practiced ease... Pulls out a SILENCED PISTOL. SAMANTHA Oh, SHIT! *Slow motion*. Samantha tackles Henessey. Hurls them both to the ground... During their fall, STUFF HAPPENS: She clutches his sportcoat -- Grips his .38 special THROUGH THE FABRIC and squeezes... A sharp report, BAM-! Another, BAM-! The jacket, shredded. HITMAN just caught two in the chest. He goes over backwards, gun spitting -- Sam and Henessey hit the ground. *Back to regular speed*. Henessey rolls over, stunned. Samantha's staring at her hand, wondering how in the hell it just did that. HENESSEY *Jesus wept*...! They scamper to their feet. Running hellbent for leather toward the Plymouth... They never make it. ANOTHER HITMAN steps calmly from the trees. Stands at the shoulder of the highway, full view of the parking lot... Adopts a two-fisted stance. Draws a bead, locks on target -- Leaves his feet. Takes to the air as a BLACK LE SABRE swerves off the highway with no advance warning and DEMOLISHES the bastard, wham--! The car roars across the lot, NATHAN WINDEMAN at the wheel. INT. BARROOM - SAME TIME The snapped-in-two hitman announces Nathan's arrival by FLYING THROUGH THE WINDOW in an explosion of glass. Caroms off a table and bounces head over heels. Hits, dead. TIMOTHY swears. Leaps up and bolts for the door, right behind the SHERIFF'S DEPUTIES, as EXT. BUILDING - SAME TIME The black Le Sabre SLEWS to a stop, showering gravel -- NATHAN shouts at Sam and Henessey: NATHAN Get in! Both of you, NOW! They pile into the backseat. Nathan floors it. PEELS OUT, bouncing onto the highway -- and meanwhile here comes TIMOTHY. On the run. Barks into his transmitter: TIMOTHY East, they're going east. *Head them off*. He begins to run: we have never seen anyone run this fast. INT. NATHAN'S CAR - DRIVING NATHAN kicks in the afterburners. Squinting, can't see... WIPERS, squeaking to and fro. Erasing the hitman's blood. Henessey is trembling; Samantha comatose. Nathan steals a look in the rear view mirror. Gets his first good view of Samantha. Reacts, stunned: NATHAN Charly. Jesus Christ, I don't believe what I'm seeing, you're so *fat*. This is not what she expected to hear. SAMANTHA I'm... um, I mean... what? NATHAN What in God's hell have you been *eating*, you look positively bovine! Hang on. 50 yards down the highway. Beside a parked car, a guy with an ELEPHANT GUN. SAMANTHA Oh, God, no more--! The big rifle BUCKS concussively. The car window SPLINTERS...! Does not break. NATHAN Bulletproof. Put it in myself. Almost as an afterthought, he swerves slightly. CRUNCHES the gunman against the parked car. Shatters him. His SCREAMING VISAGE goes by an inch from Samantha, he coughs blood onto her window... EXT. FROZEN WOODSCAPE - SAME TIME Timothy, on the move. RUNS, breakneck through the woods. Jumps fallen logs. Ducking, swerving. In and out through the trees, as INT. NATHAN'S CAR - DRIVING Scenery whips past. In the backseat, Henessey is trembling; Samantha comatose. Nathan snaps his fingers sharply: NATHAN Charlene, darling -- SAMANTHA My name is Caine. Samantha Caine. NATHAN (exasperated) Yes, yes, you said that on the phone. *Must* I point out to you that the letters in the name SAM CAINE, when rearranged, spell out AMNESIAC? Your mind was missing a name, so it simple invented one that was an anagram of your current condition. Samantha reacts, floored. NATHAN Dammit, Charly. The schoolteacher, that was your cover! Your memory was gone, you got confused and you BOUGHT YOUR OWN COVER. This ridiculous Ohio housewife business, it's a fantasy, you *wrote* the bloody thing! SAMANTHA It's not a fantasy, *I'm in the fucking PTA*. NATHAN Then quit. You're an assassin for the United States government. (beat) I ought to know, I trained you. Henessey is so shocked he's LAUGHING: HENESSEY Beautiful. Fuckin' beautiful. EXT. SHEER EMBANKMENT - OVERLOOKING HIGHWAY - SAME TIME A forty foot embankment, damn near vertical. Plunging to the road below. Topped by a chain-link FENCE. Timothy hits the fence at a dead run. Up and over. Pitches head over heels down the embankment, BOUNCING. Hits bottom in a shower of dirt, rolls, comes up... .357 AMP in a two- fisted grip, and *there's Nathan's car*. Blows by, doing 90. Timothy swivels calmly, BLASTS AN ENTIRE CLIP at the retreating car. Shot after shot, like a machine -- INT. NATHAN'S CAR - SAME TIME Sam SCREAMS as the side windows COLLAPSE INWARD. Nathan rides the wheel, swerving. HENESSEY *What happened to bulletproof*? NATHAN *The side windows were next, I swear*. BACK WITH TIMOTHY Watching them go. Oh, well. He tried, right...? Did his best, tomorrow's another day -- Without missing a beat, Timothy walks out in the middle of the road. ANOTHER CAR, coming. Sports car. He snaps in a fresh clip. Raises his fist and PUMPS ONE through the fast- approaching windshield. Kills the driver. The car throws a skid. Slewing SIDEWAYS at him. Onrushing juggernaut, immense...! He vaults the hood without breaking stride. Catches the drive- side doorhandle, jerks -- then he's in, and out comes the corpse and the car *never stops moving*. Completes an out-of-control 360, showering muddy water... and then he's stomping the gas. Utterly relentless. Leaving behind a wet and very surprised-looking corpse. INT. STOLEN CAR Timothy GUNS IT, eyes locked dead ahead on the Le Sabre -- Hears a SCREECH. Whips his eyes to the rearview mirror: POLICE CRUISER. Fishtailing onto the road behind him. Falls in behind, SIREN wailing. One of the deputies from the bar. INT. NATHAN'S CAR - DRIVING - SAME TIME Nathan fishes a gun from his coat. Hands it to Samantha. NATHAN Here, you might as well have one too. SAMANTHA My God. How many do you carry? NATHAN Three. One shoulder, one hip, and one right next to Mr. Wally -- (pats his groin) Where most patdowns never reveal it, as an agent is often reluctant to feel up another man's groin. Henessey looks out the back windshield, says: HENESSEY Got a tail. Nathan looks, SWEARS. The chase car's gaining on them. NATHAN Lucky bastard found the only cool car in the fucking midwest. He accelerates into a curve. Rockets past a connecting road, as, without warning -- ANOTHER COP CAR skids out of the side road, after him. The other deputy... TIMOTHY, boxed. Going too fast, swerves...! PLOWS into the deputy headlong. BROADSIDES him. Glass flies. The cop car's TIRES blow out as it's SPUN 180 degrees... Timothy's car careens into a GULLEY -- BAM-! Hits a dead stop. Hood shears off, goes flying. Back end sticking up, tires spinning... The horn blares continuously. UP ABOVE: The other cop arrives, brakes to a halt -- Door opens and out he comes. Helps Deputy #2 clamber from his crippled black-and-white. Together they leap down into the gulley, guns drawn. Cringing as the long HOOOOOOOONNNNNK continues unabated. Approaching the crashed car. Walking up, guns at their sides... TWO SHOTS. They jitter and twitch. Topple over dead, slide to the bottom of the gulley. INSIDE THE CAR, we see that a very annoyed Timothy is also very conscious. Splayed against the driver's side door. Holding one hand down on the horn, HOOOOOOOONNK... He releases it. Horn stops. On the radio Conway Twitty is singing. He puts a shot through the radio. Silences it. Climbs from the car and stares off down the road. Of Nathan and his companions, there is neither whisper nor breath... EXT. ROADSIDE - LATE AFTERNOON Nathan has pulled over in a grove of pine trees. The car is covered with branches. He watches through a gap as two police cars go by on the distant highway. NATHAN Your father was in the British SIS, assigned to the Irish situation. After he was murdered in 1971, his friend Perkins recruited you for Chapter, a black bag operation working out of the U.S. State Department. Charly is overloaded. Trying to keep up, not wanting to: NATHAN Fall, 1987: Presidential orders come down. You're to flush out a terrorist by the name of Daedalus. You never complete the mission, electing instead to die, of all things, despite clear orders to the contrary. And dead you remain until, without preamble, you re-emerge, eight years later and fifteen pounds heavier. SAMANTHA Would you lay off the weight? NATHAN I think we can safely assume Daedalus is aware of your resurrection and is attempting to reverse it. *Damn*, I can't drive around in this thing. (beat) Any idea where we can go to stash this car? IN SAMANTHA'S LAP Her fingers unconsciously fiddle with something. Damp, crumpled. The ENVELOPE. One address left. SAMANTHA This address...? I... I recognize it now. I think it belongs to a friend. Henessey stares at her. As Nathan reaches for the envelope, his coat falls open and Samantha GASPS; his left side is soaked with blood. NATHAN Perhaps you'd best drive. EXT. HOUSE IN THE COUNTRY - DAY The house is actually an old converted MILL. Beyond it, frozen landscape stretches to the lakeshore. In the BARNYARD, a scruffy looking COWBOY TYPE is splitting logs on a tree stump. Drops the axe. Scoops up an armload of firewood. Comes around the corner -- Drops the logs, startled. AN UNLIKELY TRIO approaches. NATHAN, sweating. Pasty. Levels a revolver. Samantha says: SAMANTHA Don't be afraid, we don't want to hurt you. (beat) I just want to know who you are. Seeing her, his eyes go wide -- He locks her in a whooping BEAR HUG, shouts: MAN CHARLY, BABY!! Picks her up, SPINS HER around, laughing... Henessey and Nathan stare. Befuddled. TIME CUT - MINUTES LATER The strange man (let's call him LUKE) stands awkwardly in the dooryard. Shifting from foot to foot. NATHAN watches him dispassionately from the tree stump. Gun on his knee. LUKE (sighs) Look, is this America's Funniest Practical Videos or something? The DOOR bangs open and Samantha comes out of the house. Carrying bandages. Alcohol. Crosses to the tree stump, kneels before Nathan. His voice is a harsh rasp: NATHAN Let me do it. He bats her away, administers his own first aid. LUKE pipes up, exasperated: LUKE I can't believe you don't remember dating me. Charly, please, you pursued me for months. SAMANTHA Yeah, well. I caught you and forgot you. Sorry. LUKE It's December, you'll remember. Right...? He chuckles. Looks at her face. Stops chuckling, takes a sudden interest in the ground. Sam crosses to HENESSEY, standing nearby. Takes him aside, whispers: SAMANTHA (sotto) This is ridiculous. What do we do with this guy? HENESSEY Don't ask me, I just work here. Did you bump pelvises with him or not? SAMANTHA It's possible. HENESSEY And you kid, Cathead -- SAMANTHA Caitlin. HENESSEY Yeah, whatever. Um, could he be the...? SAMANTHA I don't know. (beat) It's coming back, though. All these... little details about him. She studies Luke. Frowning. Concentrating. SAMANTHA I know he's got a pin in his leg, car accident. I know he cuts his own hair... thinks Rush Limbaugh's an ass. I know he sits down when he pees. I know -- HENESSEY Enough. You're giving me a stiffy. Just then NATHAN is hit with a dreadful-sounding cough. It wracks him. Doubles him up. LUKE blurts out: LUKE Goddammit, he's *dying*. Let me call the poor bastard an ambulance! Nathan grits his teeth: NATHAN *No ambulance*. The car I ordered will be here soon. SAMANTHA Mr. Windeman, please let him help you. I know this man, I... I'm pretty sure I slept with him. Nathan presses a bandage to his side. NATHAN I'm about to faint... And if you call an ambulance, I will fucking kill you. He pitches forward into Henessey's arms. EXT. SHADED PORCH - MID-AFTERNOON Beside the lakeshore LUKE AND SAMANTHA walk side by side. RACK FOCUS to the porch: NATHAN is laid out on a chaise lounge. Henessey beside him, applying cold compresses. The older man stirs, coming awake... Tries to sit up, Henessey nudges him flat again. NATHAN Where's Charly...? HENESSEY Relax. She's with Luke. That's his name, Luke. NATHAN Goddammit, I told you -- HENESSEY Yeah, yeah, we weren't real big on what you told us. I had him call you an ambulance, so shoot me. Should be here within fifteen minutes. Nathan groans. Henessey presses a cloth to the man's head. HENESSEY The guy's story checks out. Sam knows things about him. Stuff only a lover would know. NATHAN Sod that... just watch them. HENESSEY Don't worry about it. Chick signs my checks, I'm gonna watch her get aced? Lie back down. Nathan swallows. Grimaces. Lies back down. NATHAN Checks. You're not fooling anyone, dear boy. (bemused) You'd wash her feet and drink the water... wouldn't you? HENESSEY Cut me a break, nimrod. She's married with a kid. Busted. Nathan coughs. Speaks, eyes faraway: NATHAN My star pupil... (smiles thinly) That man in Pennsylvania yesterday... The one at the diner, that was hers, wasn't it...? HENESSEY How'd you know? NATHAN (nods) I saw the news report, they found a shell casing a thousand yards away, helluva shot. HENESSEY Tell me about Daedalus, what's his story? NATHAN Arms broker, man without a face. Veteran of Baader-Meinhoff and the Red Brigades. He's rumored to be based in the U.S. Doesn't travel much, they say. Too afraid of metal detectors, the poor sod's got a foot- long piece of steel in his leg. At which point, Henessey stops. Frowns. HENESSEY Come again? NATHAN A pin, Mr. Henessey. A surgical pin. He scuffs his shoe in the porch dust. Eyes narrowed: HENESSEY Where the hell...? I know I just heard that somewhere, something about a... His eyes widen: HENESSEY Oh, fuck. Points to the lake: HENESSEY Nathan, that son of a bitch has one in *his* leg. Nathan freezes, thoughts racing... swears violently: NATHAN You blithering idiot, the son of a bitch wasn't her lover, he was her target, he's Daedalus! HENESSEY Oh, Jesus...! That's how she knew all that shit, not from *dating* him -- she *studied* the fucker to take him out! He takes off for the lake at a dead run. Behind him, the bloodied Nathan DRAGS himself to his feet and lurches off the porch, stumbling. Weaving. Refusing to go down. AT THE LAKESIDE -- Luke walks behind Samantha. Talking softly in her ear, smiling... She hears something. A RATCHETING noise, drawing closer, hmmm...? Looks up. Wishes she hadn't -- A BELL RANGER HELICOPTER is descending over the lake. Inside, TIMOTHY shoulders a bolt action rifle, coolly professional. FIRES, kicks up dirt at Henessey's feet. Stops the fucker cold. On the shore, LUKE smiles at Samantha, says: LUKE Sure don't look like an ambulance, does it? SLUGS HER IN THE FACE. Drops her to the ice like a broken doll. CUT TO BLACK: Black indeed. Deep. Empty. Out of the darkness, we hear a NEWS COMMENTATOR. Voice scratchy. Indistinct. Far away or long ago... A TELEVISION IMAGE fills the screen. Black and white. Grainy. The legend: BELFAST, NORTHERN IRELAND, over footage of a sidewalk bombing. We're back in time, the year 1971. A crisp- looking BRIGADIER is speaking to the off-camera reporter: BRIGADIER ...the bombing has been linked to the Ulster Volunteer Force, which, as you know, is the counterpart of the provisional IRA and the most violent of the Protestant Paramilitary groups. An ANNOUNCER's face replaces him: ANNOUNCER Despite threats of reprisals, Brigadier Baltimore repeats that he will seek to cut UVF supply lines, especially from Tripoli, Lybia. U.S. President Nixon concurs that... PULL BACK TO REVEAL A battered TV, volume turned low. Snoozing in a chair, a rumpled older man -- It's the BRIGADIER, the one we just saw speaking on TV. A CALENDAR on the table identifies the date as June 23, 1971. IN THE NEXT ROOM Girlish decor. Pinups of rock stars. A YOUNG GIRL is awake, dressed and currently stuffing two pillows under a blanket. She inspects her handiwork. Human-looking lump. Turns, satisfied. One last look at the WOODEN JESUS on the wall -- Creeps from the room. Past the sleeping Brigadier. To the front door. She checks over her shoulder, nervous. Taps out five digits. Shuts off the alarm. Unlocks the door and slips out. EXT. STREET - BELFAST - NIGHT The boy's name is GREGORY. Sixteen, with a quick, easy grin. Huddled beneath a tree with him, the girl is gelatin. GREGORY You've never made it with a boy, then? GIRL There's nothing odd about it. I'm only sixteen. GREGORY Rubbish. GIRL What? GREGORY You're fourteen and not a day more. Here now, I'm right, you're blushing. GIRL Look, what if I'm ignorant? It's my father, we never stay in one place, I never meet bloody anyone. GREGORY Saw him on the telly. Think he'd kill me? I'm a nasty one, I am. He slides a hand under her sweater. She stiffens, terrified and exhilarated, as he gently strokes her nipple with a thumb. GREGORY You know what, I'll bet you've never even kissed a boy... now, have you? (beat) Aye, but you want to... He leans in. She leans forward. A jerky, tentative duckling on the road to swan-dom. Their lips touch. Across the road, THE WINDOWS BLOW OUT in her father's flat. She spins, scream caught in her throat -- as ARMED MEN rush from the house. Through the door, the one she left unlocked. Stutter of SMALL ARMS FIRE. She whirls on Gregory, realizes only then that the guy is LAUGHING. GREGORY Thanks for shutting off the alarm, you bloody Papist bitch. He slaps her full across the face. GREGORY Tell the press the Ulster Force claims full credit. He spins and flees. INT. BRIGADIER'S FLAT - MOMENTS LATER Girl, moving. Walls racing past, shot to PIECES, run run run into her bedroom and LURCHES to a stop, screaming: GIRL *DA*! Propped against the wall. By the bed. He's still alive. Incredibly. The man has DRAGGED himself in here. He refused to die, simply couldn't, you see... Not until he reached his daughter. ANGLE ON BED Two pillows, jammed beneath a blanket. The Brigadier just stares at them. His face slack. White and gastly. Shifts his gaze to his daughter. Tears running from his dulled eyes. BRIGADIER How much... He raises the pistol to his head. BRIGADIER ...did they pay you...? He fires. On a young girl's dissolve into insanity we FADE OUT... Sound, echoing away. Blackness, total. FADE IN: INT. BASEMENT OF OLD MILL - NIGHT Waking is slow. Samantha opens her eyes. Blinks. Hazy, out of focus. Tries to rub her eyes, can't. Hands. Something's wrong, what the hell'd she do with her hands...? Ah. They're stretched over her head. BOUND WITH CORD. Suddenly she's very awake. ANOTHER ANGLE The basement of the old converted mill. A drafty, windswept place full of old, broken timbers. A river runs through it. A stream, at any rate. The waters are still and frozen now. Above the stream -- A GREAT WOODEN WHEEL. Smaller corollary of the wheel outside. Mounted on the same axis. SAMANTHA is tied to that wheel. Lashed to its SIDE, affixed to it like a goddess to a Greek sailing ship. Now the bad news, the ice has been chopped away so the wheel can TURN... And it will plunge Samantha UNDER THE FREEZING WATER. Beneath the ice. Bound hand and foot. Strapped to the wheel, wearing only a nightgown, she is utterly helpless. THE MAN KNOWN AS DAEDALUS (AKA Luke) stands before her, giving instructions to the ubiquitous TIMOTHY. He looks up at Samantha. Seeing her eyelids flutter, he tosses her a cherry wave. Gone is the gee-whiz country boy schtick; in its place, a frightening arrogance. He tosses her his cheeriest wave: DAEDALUS Well, good afternoon. If it isn't the forgetful spy. How you feeling? SAMANTHA Not-so fresh. Samantha struggles against her bonds. No dice. Subsides. Takes a look around at her predicament. TIMOTHY stands at the edge of the ice. Watching her intently. Smiles thinly: SAMANTHA You... you're... the man from the bar...? TIMOTHY Look at her. She's not faking it, she doesn't know me from Adam. Daedalus shakes his head, frowning: DAEDALUS It's not that I don't trust my compatriot, Colonel Baltimore. In fact, I had every confidence that your amnesia was genuine -- until you showed up *here*. You follow? (beat) Meanwhile, I just got around to reading the papers, there's the small matter of an incident upstate. Long range rifle shot, blew a man out of his socks. (coldly) You can see where I'm coming from. I'm trying to pull of the biggest job of my career. I have to know. How much you really remember... and who you've told. SAMANTHA I didn't tell a soul, I swear. DAEDALUS We'll soon know. He crosses toward a large RED BUTTON. Set into a wooden beam. Samantha thrashes at the bindings. Looks down at the water where it intercepts the mammoth wheel. Fighting panic: SAMANTHA Is... is this a torture thing...? DAEDALUS Torture, yes. The torturing of beautiful women, albeit politically incorrect, is an addiction with me. (beat) A woman never looks quite so beautiful as when her face is distended in pain. Witness the beauty of childbirth. SAMANTHA Please, I'm getting all misty. Look, untie me, I'll make any face you want. DAEDALUS Let's not, and say we did. Do you smoke? SAMANTHA Smoke...? Um, no. Not... not really. DAEDALUS Good. You'll last longer. Now hush yourself, and take a deep breath. We're gonna do the torture thing. He hits the button. An electric WHINE -- THE BIG WHEEL TURNS. Feet first into the water. Struggling. Arms stretched above her head. She plunges below the surface. A new dimension in PAIN. Frozen, mind-numbing. She WRITHES against the wheel. It's like a crushing VICE is ripping her limb from limb. She opens her eyes, briefly. Discovers she's not alone -- A mere foot from her face, THE BLOATED CORPSE of the drowned NATHAN. Staring away and away. Blue with cyanosis. Meanwhile, back ON THE SURFACE: Daedalus turns to his right- hand man, who says: TIMOTHY We're running on schedule, I just secured the tanker. We're borrowing it from Carbide in South Carolina. Cargo listed as fire retardant. DAEDALUS (nods) Juice up the bird, we head out soon as I'm done here. He turns. Hits the red button again. THE WHEEL reverses itself. Creaks and moans, turning -- SAMANTHA BREAKS THE SURFACE. Gasping for air. Wheezing. Choking. The FREEZING WIND plasters the nightgown to her. DAEDALUS Take all the air you can, that's right. If you need to vomit, do it now. Samantha, face twisted. Coughs. Wheezes. TIMOTHY looks her in the eye... shakes his head: TIMOTHY You don't remember *at all*...? The greatest night of your life, shit, drown this ungrateful wench. He exits. Daedalus, alone with his captive. On her features, unbridled HATRED. He chuckles: DAEDALUS Talk to me Colonel. Is my identity safe...? The truth, and I'll shoot you in the head. Nice and quick. Otherwise, you're in for a long night. *Who did you talk to*? SAMANTHA ...Nobody... fuck you... He shakes his head, makes a "tsk tsk" gesture. Smiles grimly as he turns his attention to the red switch. DAEDALUS Hate to see you like this, Charly. I heard you were a helluva spy once. Without warning, her head snaps upward -- Eyes cold. Voice, not her own: SAMANTHA Watch your back. I'm not done yet. DAEDALUS That's a very funny joke. You're an entertaining woman. Good night. He hits the button. She plunges beneath the surface. Daedalus walks over to one corner. Sits down. Takes out a pipe. Lights it. Picks up a book. Reads. And reads. UNDERWATER -- Sam THRASHES and jerks, to and fro. Dead Nathan, mocking her. There, under the water, the memories come... In a flood. Stark and vivid. MEMORY FLASH - THE YEAR THE TRUNK OF A CAR opens, revealing a patch of night sky. Mostly obscured by two familiar individuals -- There's ONE-EYED JACK, remember him? Few years younger. One eyeball heavier. The other man is TIMOTHY. He looks in the trunk. Nods. TIMOTHY Okay, I'll signal Daedalus. Your money will be waiting, and Jack...? Do yourself a favor, do her and dump her, I'm serious. Don't get cute, try to play doctor first. I made that mistake. The lid SLAMS SHUT. BACK UNDER THE WATER The world of rushing MADNESS, memories unspooling now, faster and faster -- MEMORY FLASH: A CLIFF overlooking the ocean. Darkness. Sheeting rain. Our heroine (for it is unquestionably SAMANTHA) is lying unconscious atop a rocky bluff. Drenched. ONE-EYED JACK produces a SYRINGE from a leather case. Rolls up her sleeve. Starts to administer the injection. Stops. He can't resist... Can't help LOOSENING the buttons on her shirt. Her eyes snap open. And before it even registers, she's grabbed the hypodermic and plunged it deep INTO HIS EYE -- Then she's up and running. Along the cliff, toward the car... Jack, HOWLING in pain, stumbling... Draws his gun and shoots her. In the head. She pitches backward. Tumbles from the cliff...! Rushes headlong toward the waters below, getting smaller -- INT. BASEMENT OF OLD MILL - THE PRESENT Here. Now. She breaks the surface. Gasping for breath. SHRIEKS, a sound ripped from her by the PAIN, the COLD -- By her ruptured sanity. She hangs there. Drenched. Half frozen. DAEDALUS can't help it. A chill dances up his spine, watching... She is not afraid. She is not whimpering. She is looking directly AT HIM. With a sick smile. CHARLY Daedalus... Make you a deal... Let me go now...? I'll leave you the use of your legs... Bargain, trust me... Daedalus struggles to recover his poise. DAEDALUS How did you find me? Who knows about this place, WHO HAVE YOU TOLD? Charly's eyes bore into his: CHARLY I let you touch me, cowboy... I think I need a bath. Daedalus stabs the red button. THE BIG WHEEL TURNS... Into the water goes Charly. Going down for the third time. UNDER THE WATER - HELL - SAME Here we are again, in the world of silence and blinding PAIN. Despair and madness but now there's something else -- Now there's RAGE. It takes losing most of the FLESH from her right wrist... But she frees the hand. WRENCHES it loose. The water turns soupy red around it. GROPES, blindly. Fingers NUMB, so fucking cold -- Breath, running out. No air. NO TIME. She darts her right hand forward. Toward the obscenely bobbing CORPSE of Nathan. Does something grotesque, jams her hand DOWN THE CORPSE'S PANTS -- Hideaway gun, it's right where he said, right beside Mr. Wally. PSP-25. Semi-auto, steel jackets. She waits. Rage inside her. Death in her hands. MEANWHILE, BACK ON THE SURFACE The wheel CREAKS. Groans. The terrorist in the western boots watches her emerge, face first -- She comes up firing. The first slug takes him in the knee. Blows it to scraps. He collapses, howling. She shifts aim. THE RED BUTTON. No hesitation. BLAM-! Hits it DEAD ON. Stops the wheel. Incredible. Doesn't blink. Unties her captive hand. BLOWS TO SPLINTERS the wood surrounding her feet. Leaps to solid ground, as ANOTHER ANGLE Daedalus looks up from his prone position. In agony. A vision from Hell approaches: A fiendish blue-skinned woman in a sodden nightgown. Blood leaking from one wrist. She has risen, REBORN, from the icy waters. DAEDALUS Samantha... Please...! CHARLY Who's Samantha? She shoots him in the other knee. He HOWLS. Gun, empty. She tosses it aside. In a nearby crate: ASSAULT RIFLES. Snatches up a Kalashnikov and clip. Kneels and says: CHARLY You see in the movies, badguy says, "Talk to me and I'll let you live." We're gonna run a variation, it goes like this: Talk to me...? I'll let you die. She fires again. CHARLY Where's Henessey...? INT. ROOT CELLAR - WITH HENESSEY The detective lies naked, bound hand and foot. Beaten. FREEZING. A single ray of LIGHT through a tiny crack. He hears a SPLINTERING noise, as if a door's been ripped from its hinges. Pause -- A FUSILLADE of gunfire. Shouts, cries. A heavy weight SLAMS to the floorboards above him. Through a crack comes a tiny stream of BLOOD, dribbling onto him, as -- EXT. OLD MILL - SAME TIME TIMOTHY bolts from the house, clutching a bleeding hand. Running hellbent for leather. Reaches a parked car. Leaps in and kicks over the engine as, behind him -- MORE MEN come piling out of the house, shouting. Running for their cars -- never make it. CUT DOWN IN THEIR TRACKS. Wracked by gunfire, bodies twitching... And as Timothy PEELS OUT, spraying mud, we pull UP, UP, AND AWAY... Into the sky, moving ever higher, gunfire fading... Until now we're WAY UP, we can see Timothy's car... the OLD MILL, ever so tiny below us... It blows to pieces. Sends flaming boards flying STRAIGHT UP AT US. INT. VICTORIAN BUILDING - CHAPTER HQ - NIGHTTIME The door bursts open as PERKINS stalks in, shedding his coat. His aide -- let's call him HARRY -- looks up nervously. PERKINS This can't happen, Harry. The President's already up at night, prowling his sock drawer for double agents, and now we've got a fucking rogue on our hands. HARRY Sir, there's someone in the conference room to see you. PERKINS Oh, for the love of Christ, who can be so fucking important? He throws open a door off the passage: THERE'S TIMOTHY. Perched on the edge of a conference table, tamping a pack of smokes. Perkins reacts, stunned. TIMOTHY It's me, your poor black cousin. The one you can't be seen with. PERKINS *You*...! Are you crazy, coming here?? TIMOTHY (Lights a cigarette) My boss is dead. PERKINS What...? TIMOTHY Your rogue bitch just took him out. Probably went shopping in his weapons storage too. He blows smoke. Trains his eyes on the older man. Piercing. TIMOTHY We're still on, Perkins. I've got the tanker, the chemist, all ready to go... but you gotta contain her, man. We gotta step on her hard and fast. An agent on the SWITCHBOARD calls out: SWITCHBOARD You have a call on line three, sir. PERKINS Who is it? SWITCHBOARD Charly Baltimore, sir. Perkins stops dead. Lunges for the phone, nearly drops it: PERKINS Perkins. INTERCUT - OUR HEROINE AT PAY PHONE We only see her mouth. Set in hard, grim lines. She says: CHARLY It's cold, I want to come in. PERKINS Charly...? Oh, my God, what the hell are you *doing*? Listen to me, I'm going to direct you to a safe house, get you on a plane -- CHARLY Can the bullshit, I'm not telling you where I am. I'll come in for a full debriefing, but we do it my way. PERKINS Charly, you're being paranoid. It's not like it used to be, you're eight years out of date. CHARLY Do tell. PERKINS Congress won't authorize a dime, Charly. Chapter's on the way out, we've been reduced to a records- keeping agency, we *don't have enough money to kill you*, understand...? CHARLY Fuck you, Perkins. If you want me dead, you'll pass a hat in the typing pool to buy bullets. We do things my way. PERKINS Your way, I see. And if I say go to hell? CHARLY From where I stand, it ain't much of a commute. You'll hear from me. She clicks off. Perkins darts a look at the techie -- guy shakes his head, no go on the trace. Perkins swears. PERKINS She mustn't threaten our success. Contain her, whatever it takes. But be *careful*. If it gets out you're working for me... we'll both be grabbing our ankles on the White House lawn. ESTABLISHING SHOT - ATLANTIC CITY, NEW JERSEY - NIGHT There. Thank you, New Jersey, that'll be all. You can go now. Um, please. INT. HOTEL SUITE - ATLANTIC CITY - NIGHT Waking is slow for Mitch Henessey. He swallows dryly. Eyes creak open, struggle to focus... Hears WATER running. A shower. Squints at his watch. He's not wearing a watch, he knew that... In BED, naked. Chest swathed in bandages, what the hell...? He pokes them. Jerks his head, hissing in pain. EXT. LIVING ROOM OF SUITE - WITH HENESSEY - NIGHT Henessey lights a smoke at the bar. Flicks the match in a trashcan. Starts to go, stops... Reaches into the can. Plucks out a tiny scrap: PHOTOGRAPH, ripped in two. A photo of Hal and Caitlin. He pockets it, disturbed. Crosses to the bathroom door. The shower has stopped. Raises a tentative hand, starts to knock... It OPENS. There, in a thin silk robe, is a WOMAN, swabbing at her hair. She breezes out of the bathroom all chipper, like nothing's unusual. Notices Henessey cursorily. Raises a finger: "one sec." Lowers her head and shakes it like a terrier, spraying him. He cannot stop staring. It's Samantha, it *has* to be... Now she's BLONDE, though. Hair clipped short. Bobbed. Blood- red fingernails. Red cotton shift, legs for days. Then, she *smiles* at him -- and it's not her, not Samantha. Amnesia's over, folks, because we're clearly looking at a changed woman: This one's name is CHARLY BALTIMORE, and she hasn't seen the light of day in eight years. CHARLY Hey, Mitch. Glad you're awake. Uh- oh, you're seeping. She grabs a washcloth. Frowns, says: CHARLY Here, look at this. With that, she opens her robe and exposes her breasts. Henessey perks up considerably -- then SCREAMS as she RIPS the gauze from his chest. She clinchs the robe again. HENESSEY Ah, that hurt like shit!! CHARLY That's why I distracted you first. (dabs at his wounds) Same principle as breaking in virgins. HENESSEY Same as -- virgins, *what*...? CHARLY Saw it in a Harold Robbins book. Guy bites her on the ear as he goes in. Distracts from the pain. You ever try that? HENESSEY No, I slug 'em in the jaw and yell "pop goes the weasel," what the fuck are you talking about? Who are you?? CHARLY Name's Charly. The spy. Nice to meet'cha. Drink? INT. CASINO BAR - EVENING Henessey watches, fascinated. All the little mannerisms, the differences. Shaking out a match, running a hand through her hair... And never missing a thing, eyes constantly roving, scanning. Guard never down. She plucks a drink from a nearby table, steals it outright. CHARLY See? Sit next to the dance floor, every drink's free. People finish dancing, they think the waiter lifted 'em. Henessey grimaces. Clears his throat, says: HENESSEY I'm confused. Gimme a minute. CHARLY Take two, they're small. She knocks back her drink. No hesitation. Henessey shifts uncomfortably, lights a smoke. HENESSEY Okay. Let's say I buy it. You're actually a trained killer, Jesus, I can't even say it with a straight face. (frowns) So then... Samantha, she... CHARLY Never really existed. Like Nathan said, she was a total fabrication, I made her up. HENESSEY Fabrication. And now she's just... gone? Forever and ever? CHARLY Thank God. Look at my inordinately large ass, look what she did to me. Henessey squirms, this one's gonna take some time to digest. HENESSEY Pretty convincing act. CHARLY Guess so. HENESSEY I mean, her personality, it had to come from *somewhere* -- CHARLY Change the subject. Better yet, steal me another drink. Henessey sighs. Next to him a couple get up to dance. He reaches over and lifts their beers. HENESSEY Drink up. What's next? CHARLY I called Chapter. I'm trying to bring us in from the field alive... HENESSEY Chapter. Can you trust them? CHARLY Not sure. Until I know, you might wanna stay away from curbs. He looks at her, confused: CHARLY They like to push people in front of buses. Didn't need to know that. A DANCING SANTA goes by: SANTA CLAUS (bad Caribbean accent) Hey, lady, Santa want to dance the lambada wit'choo. *Come this way, everybody*! He shimmies away. Charly grins at Henessey: CHARLY If I could come that way I wouldn't need to dance the lambada. Follow me, I need you to do something. EXT. DANCE CLUB - PAY PHONE - NIGHTTIME Henessey hunches forward, speaks rapidly into the phone: HENESSEY ...The lady's whacked, Trin, she's lost it and I want fucking out, now *call the Feds*. She's moving us tonight, I'll sneak out to this phone, call you back at midnight with the details. He hangs up quickly. Turns -- reveal CHARLY, lounging a foot away, watching him. HENESSEY All right, Charly. What did that accomplish? CHARLY I'm testing our boy Perkins. I figure he's gotta be tapping your office. Got a light...? HENESSEY (pause, then:) Oh, no. He just traced that call? She swipes matches from his pocket. Nods. CHARLY Come midnight, you hang by the phone. Nobody shows, we think about trusting him. He tries to kidnap and torture you, well, there it is. HENESSEY Whoa, time out. CHARLY Oh, don't be such a baby. (lights her cigarette) Ten o'clock, we got two hours to kill. I'm a woman, feed me. EXT. ATLANTIC CITY BOARDWALK - NIGHTTIME CARNIVAL RIDES, dead for the winter. Henessey and Charly stroll beneath them. He smokes. She eats Chinese. CHARLY Ugh. God I'm full, I'm gonna have a food baby. He takes a good long look at her, still can't fathom it. HENESSEY "Charly." fucking unbelievable. (beat) Shame about the fat ass. I bet you were really attractive once. CHARLY Oh, I was. Check this out. One time? A guy said he'd fuck me. HENESSEY No. CHARLY Swear to God. HENESSEY Did he make good? CHARLY Absolutely. Oh, and afterwards? Oh my God, afterwards I said the most funny thing, you know what I said...? (beat) I said, "Go back to your room. Dad..." She laughs through a swig of beer. MEMORY FLASH: Charly's bedroom as DAD puts the gun to his head and fires, CRACK... CHARLY It's why he thought I had him killed. Henessey huddles, watching her closely. HENESSEY Your father was murdered. She nods, gazes out over the icy waters. Speaks, her voice faraway and gone: CHARLY When Da died, I went to his funeral. 12 years old, today I wouldn't. And I overheard a woman, she was praying... She was thanking God -- sounded so happy -- thanking Him it hadn't been *her* father who was killed. See... she didn't really care that God had let someone die... just so long as it missed *her*. (beat) ...and she bought her cross at the same store as mine, see, that's what we do, we all pray to the same cross on a hundred different walls, and sit back and wait to see who gets hit and who gets missed. Anger flares in her eye. Like a stirring of mud at the bottom of a deep, deep, pond. CHARLY Fuck the waiting. Fuck being afraid. I determine who gets hit, and how hard. And I thank no one. It's pathetic to thank someone who spares you -- when they're just taking someone else. (beat) Walk me upstairs? INT. HOTEL SUITE - BEDROOM - NIGHTTIME They enter the suite. She drops her purse, sways toward him. Presses him against the wall, framed there in the doorway. CHARLY This is my first date in eight years, Mitch. Is this a fun date...? Quite suddenly, Charly leans over and kisses him on the lips. He reacts, startled. Stares at her. HENESSEY Okay, what's going on? CHARLY True love, shut the fuck up. HENESSEY You kidding me? I'm an ex-con, lady. I wear a shiny suit, my tie's crooked, and the last time I got blown candy bars cost a nickel. Plus I'm ugly, so what's up? CHARLY Chemistry. Be quiet. She nibbles his ear. Pulls back, smiling -- and Henessey's holding the picture of HAL and CAITLIN. The one he found torn in two. He looks her full in the face: HENESSEY Chemistry my ass. Know what I think? I think this is why you'd fuck me. (beat) To kill a schoolteacher. Bury any trace of her. He pushes her away. HENESSEY Sorry, I liked the schoolteacher. When she comes back, give me a call. Charly jerks backward. Angry. Henessey heads for the bathroom. HENESSEY Oh, and call your fuckin' kid, will ya'? It's two days to Christmas, and she's under the mistaken impression that Mommy gives a shit. Charly snatches up her purse, eyes burning: CHARLY I didn't ask for the kid, Mitch. Samantha had the kid, not me, NOBODY ASKED ME. She storms out. CUT TO: EXT. CITY STREET - NIGHTTIME Charly stalks the city streets. A quartet sings, "God Rest Ye Merry," ostensibly about joy, oddly the most depressing tune ever written. On a crowded street, she is alone. Total misfit. Searches her own haggard features in a shop window. Swallows hard, whispers: CHARLY Easy, baby. She ain't coming back, no way. Bitch is dead. She bustles down a sidestreet, hands jammed in her pockets. That's when a tall BEARDED MAN crosses the street and falls in alongside. BEARDED MAN Good evening. CHARLY Fuck off. BEARDED MAN I see me a good-looking lady, all upset, I wonder if she doesn't need some male company. CHARLY Forget it. I'm saving myself 'til I get raped. His hand edges out of his windbreaker with a snubnosed .38. BEARDED MAN Step into the alley, honey. I ain't asking, I'm telling. Charly stops walking. Regards him the way you or I might look at a telephone cord. Groans: CHARLY Oh, don't tell me. You're early, Goddammit, you're supposed to be at the pay phone. Go away and come back at midnight. I'm not ready yet. Got a light? The guy stares, mouth working. BEARDED MAN Lady, I have a gun! Which is precisely when a much larger Smith and Wesson COCKS next to his ear: VOICE (V.O.) This ain't no ham on rye, pal. HENESSEY holds the gun rock steady in his big fist. Charly spins on him, eyes flashing: CHARLY What the hell are you doing here? HENESSEY Saving your life. Woulda got here sooner but I was thinking up the sandwich line. CHARLY You think I couldn't take him? *Idiot*, you probably scared the other guy away -- HENESSEY What other guy -- ? CHARLY Headhunters, nimrod, they go in pairs, were you always this stupid or did you take lessons? HENESSEY I TOOK LESSONS. The hitman watches, bewildered. Considers waving to get their attention. Finally he can't stand it. Blurts out: BEARDED MAN Hey! Charly snaps her head toward him: CHARLY *What*? BEARDED MAN I still got this fucking gun! She smiles sweetly. CHARLY No, you don't. Takes it off him. Just like that. He stares dumbly at his empty hand. Half of his trigger finger is missing. BEARDED MAN SHIIIIT!! Charly flips the gun into the air. Launches a SPIN KICK. Shatters his jaw. Catapults him backwards. Completes her spin, catlike -- Catches the .38 on its way down. DOESN'T STOP THERE. Arm out, gun cocked -- FIRES. Straight at Henessey, what...? He dives aside -- BEHIND HIM, a second HITMAN. Blown to tatters. The KNIFE meant for Henessey arcs through the air... Imbeds itself in the ground an inch from the prone detective. He stares at it with shocked eyes. The killer hits, dead. Twitches. CHARLY. Lowers her arm slowly. Gun barrel smoking. CHARLY Fuck you. Just fuck all of you. EXT. ATLANTIC CITY STREET - NIGHTTIME A BRONCO ROARS UP out of a parking garage. Swerves and plunges into the maze of streets that inspired the world's most popular board game. INT. BRONCO - SAME Charly drives, possessed. Henessey drinks. Hands shaking. CHARLY Dammit. I knew I couldn't trust that prick. She throws a shrieking skid. Henessey clutches for the dashboard, swearing. CHARLY Easy, Spike. I got myself out of Beirut once, I think I can get us out of New Jersey. HENESSEY Don't be so sure, others have tried. The entire population, in fact. (beat) Look, about me...? I mean, what's up, you're this hot survival chick, I'm getting the feeling you don't need me anymore. Charly reaches over. Yanks the doorhandle. CHARLY Good point. She kicks him out of the moving car. EXT. HIGHWAY - SAME TIME He bounces off the highway. Rolls. Over and over, shudders to a stop. Pause... The wind blows. He groans. Looks up, spits gravel. Stands. Dusts himself off. Watches the Bronco go far away. TIME CUT - EXT. HIGHWAY - NIGHT As Henessey trudges wearily down the highway we HEAR: HENESSEY (V.O.) Dear Mom: I was tortured, now I'm in Atlantic City. The girl of my dreams just threw me out of a speeding car. Now more people will come an shoot me in the head. On the plus side, I won two bucks at video poker. A SCREECH of tires, he turns, startled -- here comes the Bronco. Skids onto the highway and races back toward him. Pulls up alongside. CHARLY throws open the door, says: CHARLY Get in. He does. Without a word. Closes the door, they drive off. He lights a cigarette like nothing happened. Shakes out the match, speaks without looking at her: HENESSEY Found a use for me. CHARLY Yep. (beat) I gotta vanish, Mitch. I need money, a whole bunch. HENESSEY Why didn't you say so? Gimme a second while I pull it out of my ass. She turns to him, a gleam in her eye. Speaks softly: CHARLY The key, Mitch. The one I keep around my neck. HENESSEY What about it? CHARLY What if I told you it's the key to Box 406 at Pittsburgh International Airport? HENESSEY How would you know? Someone filed off the numbers. CHARLY Not someone. Me. I filed them off. (beat) There's a briefcase in Box 406, Mitch. HENESSEY What's in it? CHARLY $200,000. Henessey does a spit-take, sprays whiskey. CHARLY Payment for my last assignment. I need you to retrieve it for me. HENESSEY Why me? CHARLY Don't be stupid, they might have the place covered. I don't want to get shot to pieces. HENESSEY Shoulda known. (sighs) Gimme the key. CHARLY I'd love to. I left it with Caitlin back in Ohio. EXT. COUNTRYSIDE - NIGHT The BRONCO races on into the night... INT. BRONCO - SAME TIME Late, very late now. Henessey, driving. Beside him, Charly reclines, lost in reverie. Features bathed in passing roadlights. Henessey grinds out a butt: HENESSEY Humor me: you're a paid assassin, then you fall off a cliff. Sink under the ocean, and when you come out you're a fucking schoolmarm, wanna tell me what happened? CHARLY I fell into a school of fish, they elected me principal. Shut the fuck up. HENESSEY Mmmm. Personally...? I'm thinking maybe Samantha Caine wasn't an act. Maybe you forgot to hate yourself for eight years, ever think of that...? CHARLY Shut. The. Fuck. Up. Hmmm... Nope, seems clear enough to me. Hate myself, Christ almighty. What are you, my shrink? HENESSEY No, just some loser thought he could maybe understand, fuck it. I been there, you know. I'd kill for fucking amnesia. I'm with my boy and all I can think is I got reamed in the ass by three guys. Merry Christmas, son, here's a ball glove, did you know Daddy screamed when they carved the name in his back...? Mary, by the way. I pushed for Cindy, but hell. God, I'm tired. (beat) I never did one thing right, you know it, not one fucking thing. Not even accidental, that takes skill. He looks over. She's asleep, hasn't heard a word. Face slack, lips slightly parted. The toughness banished from her features. In its place, a lingering sadness. CUT TO: EXT. SUBURBAN STREET - DAWN BREAKING The Bronco glides along. Charly in the passenger seat, eyes roving like a hawk's. THE CAINE HOUSE is peaceful and quiet. Christmas lights, still burning dimly. CHARLY Drive past, don't slow down. (points) Park under those trees, honk if there's trouble. HENESSEY (bad Rochester) Yas, massah, I be slowin' de caw down fo' you. She stuffs a .45 automatic in her waistband. Cradles an MP-5 beneath her coat. Rolls out of the still-moving truck. Makes her way through back yards. Silent as a cat. She went to cookouts here. Bridge parties. Now she prowls, a grim assassin. Leaps a fence, drops behind a woodpile -- Comes face to face with RAYMOND, a fifth grade student we saw earlier. Secreted behind the woodpile, SMOKING. His eyes pop as he spies good ol' Ms. Caine, sporting blonde hair and an assault weapon. Charly doesn't miss a beat: CHARLY Good morning, Raymond. RAYMOND Um... morning, Ms. Caine. CHARLY What did we learn about the dangers of smoking...? Give it here. A wet stain appears at his crotch. He hands her the cigarette with nerveless fingers. Charly accepts it. Takes a long, satisfying drag. Passes it back. CHARLY Thanks. Tell anyone you saw me I'll blow your fucking head off. Moves off through the bushes. Out of sight. EXT. CAINE BACK YARD - MOMENTS LATER Charly kicks aside a pair of abandoned ice skates. Crouches, face pressed to the glass door. Looking in. The house is silent and empty. Nobody home. The Christmas tree winks off and on. The tree she helped decorate. She opens the door and slips inside. CUT TO: INT. GOVERNMENT ISSUE SEDAN - DRIVING - SAME TIME Three GOVERNMENT AGENTS. Faces drawn, haggard. Pit-stained shirts, day old sandwiches. Carrying photographs of Charly and Henessey. Agent #1 sighs, examining her figure. AGENT #1 Man, I'd eat a mile of her shit just to follow it back to the ass it came from. AGENT #2 Christ, I'm trying to have breakfast. A RADIO MIC on the dash squawks, a voice says: VOICE (O.S.) Unit 2 to Red Dog, give us one more pass, let's make sure the house is secure. EXT. CAITLIN'S BEDROOM - SAME TIME Charly enters. All business. Begins to systematically rifle the drawers. Her daughter's precious things. Sweeps everything onto the floor. Utter disregard, it's a bit startling. Crosses to the bed, throws back the covers -- MR. PERKINS (the stuffed bear) has the chain around his neck. We hear it, then. Ghosting on the still air, barely audible, the sound of SINGING... Children's voices waft across the frozen pond from St. Paul's Episcopal CHURCH. Charly frowns. Crosses to the window, lifts the sash. Pause. Charly chews her lip. Unlimbers the MP-5. Hefts the wicked-looking thing. Not to fire it... but to use the SCOPE. Adjusts focus. Practiced movements. Deft. Sure. Sights down the weapon. Scans though the gunsights... POV CHARLY: Hal's CHRISTMAS PAGEANT. There's Hal. Cast in spectral GREEN. Laughing and serving breakfast. On the church lawn, a NATIVITY scene. Teenage girls as the wise men. Choir of children, singing... CAITLIN among them. Charly is sweating. She lowers the scope. Squeezes her eyes shut. Something in her, threatening to WRENCH LOOSE... EXT. FRONT OF CAINE HOUSE - SAME TIME Henessey, slouched behind the wheel. Starts to light a cigarette. Stops, the match halfway to his face. Eyes riveted on the rearview mirror as a GOVERNMENT SEDAN turns the corner behind him... BACK WITH CHARLY - INSIDE Watching her family, far away. Fighting emotion. That's when she hears A HORN HONKING. Her head whips around, toward the front of the house. The honk is followed by three GUNSHOTS in rapid succession. She's up and moving. All else forgotten. EXT. FRONT OF CAINE HOUSE - SAME TIME Henessey PEELS OUT, tires smoking. Careens forward, government SEDAN close behind -- The upstairs window EXPLODES outward. Charly, hurtles through. Freefalls to the porch roof. Glass, showering down. Hits, rolls. Surfaces in a combat crouch, FIRES. Government sedan, KILLS THE PASSENGER. Collapses him over the doorframe. Gun clatters to the street, car speeds off -- INT. GOVERNMENT SEDAN - DRIVING The driver looks over, incredulous. DRIVER He's dead. Goddammit, how did that happen?? BACKSEAT *Go bulletproof, now*! The driver hits a button and up go the windows. All, that is, except the passenger side window -- Because the dead guy's bald HEAD blocks it. Becomes WEDGED there. Bald pate exposed to the world. BACK WITH CHARLY - FRONT OF HOUSE Charly watches the two vehicles rocketing away down the street. Out of range. Lowers the smoking .45. SWEARS. Takes off around the house at a dead run. INT. ST. PAUL'S - SAME TIME Switch scenery: the Christmas Pageant, CAITLIN and fellow angels traipse into the church vestibule... Caitlin looks up just in time to see TIMOTHY apply the chloroform. Two seconds, she's out like a light. Next case. Up and moving, child tucked neatly under his arm. A NEARBY MOTHER OF THREE has seen it happen. Opens her mouth to scream -- He palms a KNIFE. Puts it to her youngest son's kidney: TIMOTHY Wanna be a statistic, lady? You're about to have 2.4 children. Freezes her. Petrified. TIMOTHY I know where you live. Close your mouth, you look like a fish. Merry Christmas. He exits into the vestibule. Quick. Professional. MEANWHILE, BACK AT THE RANCH: High speed chase, in progress. The driver dogs Henessey, jockeys for position. Barks into a radio mic: DRIVER Target two, acquired! Red Dog in pursuit, backup requested. (over his shoulder) You got him? BACKSEAT I got him. The backseat agent hefts an AK-47 assault rifle. WITH HENESSEY - DRIVING Henessey checks the rear view mirror -- just in time to see a circular portion of glass POP from the chase car's window. Out comes a gun muzzle. HENESSEY Jesus wept. The guy opens up on full auto. Rakes the Bronco, STRAFES it. Henessey swerves madly -- no go. Death run. He's not coming home, not this time. EXT. FROZEN POND - SAME TIME CHARLY BALTIMORE hurtles forward, SPEED SKATING across the frozen pond toward the chase vehicles. Long, coltish legs, to die for. CHARLY This is gross, this is gonna be so Goddamn gross... She goes SIDESLIPPING at superhuman speed. Tacks alongside the government sedan. Targets the bald guy's head. Raises the .45 and FIRES. Not to be graphic, but the car's driver receives the bulk of the mess. SPRAYED. Across the eyes. He loses control, SKIDS OUT. Catapults off the road, onto the ice. Slides right toward Charly, *still doing fifty*... She doesn't miss a beat. LAUNCHES herself, twisting in midair... Up OVER THE HOOD of the sedan, it blows by underneath her as ANOTHER ANGLE The incredible part. In slow motion, she does a DOUBLE AXEL PIRHOUETTE. Above the hood. Mid-spin, she blows THREE SHOTS through the windshield. Kills everyone. Keeps going. The car spins twice around. PLOWS to a halt -- Charly hits a picture perfect landing. On the shore, HENESSEY watches, thunderstruck. Charly skates by the icebound sedan. Flashes a grin at the dying driver: DRIVER Shit... it really... *is* you... CHARLY Phil...? Phil Krauss? I don't believe it, they moved you from cyphers. Long time, man, I figured you were dead by now. She delivers a blow to the neck. Kills him. CUT TO: EXT. HIGHWAY - DRIVING - DAYTIME Henessey and Charly, driving a new vehicle: late model Cadillac. Charly driver. Henessey rifles the glove compartment. CHARLY So, Mitch. Still think I'm warm and fuzzy? HENESSEY Sure. It's not your fault the gun accidentally went off in mid-air as you tripped and flew over the car. CHARLY Exactly. What's in the glove box? HENESSEY Phone bill, Christmas card... Five buck, swell. You didn't have to kill him, you know. CHARLY Back off, man. Do I tell you how to snap photos of extramarital blowjobs? No. There is a short, CHIRPING sound. Seemingly from nowhere. They exchange puzzled looks, what the hell...? Charly abruptly realizes it's coming from her purse. She reaches in, scoops up the CELLULAR PHONE, the one she told Caitlin to call. Thumbs the button. Says cautiously: CHARLY Hello? A voice, then... Clipped tones, TIMOTHY'S voice: TIMOTHY (O.S.) It's me, I got your kid. Give your location, we gotta lose the cellular. Charly. Hand gripped tight on the phone. Pause, then: CHARLY State Road 80, 15 minutes west of Harrison. TIMOTHY Okay, here's how we do it. Drive to Harrison, find their main bus stop. Pay phone, fifteen minutes. Better drive fast, after five rings I hang up. Click. HENESSEY What the hell was that? CHARLY He's got the kid. Doesn't want to talk on the airwaves, he's routing me to a land line. A pay phone. HENESSEY Which phone? Where? The detective's mind, racing... suddenly it hits him: HENESSEY Shit. Service centers...! They list 'em on the back of phone bills, right? CHARLY Excuse me? HENESSEY Shut up and find me a gun. HK, MP-5. As he rips open the bill we CUT TO: A neutral background, as Charly's HEAD enters frame, we're very tight on her FACE... Tense, thin-lipped. A PHONE RINGS, deafening. Click -- Charly speaks tersely: CHARLY Verify you have her. TIMOTHY (O.S.) I got your cellular number off a cast on her right wrist. Right below Mommy loves you... Picture of a panda. Dog, panda, it's got funky ears. CLOSE ON CHARLY: Dead still. Made of glass. TIMOTHY (O.S.) I want money, Charly. I know you've got numbered accounts, we all do. I'll let you know where and when. Fuck with me...? I'll blind the kid and shoot out her knees. CHARLY You're dead, motherfucker. We don't involve families. It's not the way it's done, *we don't take families*. TIMOTHY I'll be in touch. He hangs up. Dead silence. HOLD on Charly's face... until slowly, ever so slowly, the camera pulls back to REVEAL: The .45 automatic -- Pointed at the head of an AT&T operator. THE PHONE COMPANY, they've taken it over. Employees CRINGE on the floor. Henessey, MP-5 slung on his shoulder, leveled. Charly points to the switchboard: CHARLY Give me an ANI trace. Do it. EXT. PINE-COVERED MOUNTIANS - UPSTATE NEW YORK - MORNING Set back from the mountain road, a lonely MOTEL. A neon sign: *Deer Lick Motel*, No vacancies. The sign sits atop a rusty pole. Blinks forlornly. INT. MOTEL ROOM - SAME TIME TIMOTHY hangs up and turns to MR. PERKINS, seated across the room: TIMOTHY It's done, she hooked. All I gotta do is set the ransom meet. PERKINS She mustn't suspect a trap. TIMOTHY No way. She thinks I'm acting alone, remember? Say the word, I'll hand her to you on a plate. Perkins crosses to the bed. Rubs tired eyes. Gazes down at Caitlin. Asleep, a syringe on the nightstand beside her. Next to a brown paper bag. PERKINS God. We're monsters, aren't we...? (pause, then:) Forget Charly. Talk to me about tonight. TIMOTHY The tanker's on its way from Charleston, ETA 1:00 a.m. One terrorist on ice, waiting to play patsy. (points) What's in the sack? Perkins follows his gaze: the brown paper bag. Smiles thinly. PERKINS That...? Something to prove that I'm not a complete ogre. He reaches into the paper bag and brings out a BABY DOLL. Sweet, innocent. Frilly with lace. A bright red bow. PERKINS See? The young one will have a doll to play with on Christmas. Very popular item. It... well, it pees. You put water in it and... oh, fuck you. INT. ROADSIDE RESTAURANT - NEW YORK STATE - TWILIGHT Charly and Henessey, eating at HARDEE'S. Seated across from each other at an orange plastic table, scarfing Christmas burgers. Outside, a billboard reads: WELCOME TO SANTA CLAUS! *Where it's Christmas all year long*! HENESSEY Almost dark now. CHARLY Another ten minutes. You want my Crazy Meal action figure? HENESSEY Pass. Listen, you sure we're doing the right thing? We've got money, we could negotiate... CHARLY *I'll get the damn kid*, okay? God, I hope he doesn't shoot her up. Kid's dead weight if she's sedated. HENESSEY Not so emotional, I'm getting embarrassed with these outbursts here. CHARLY Oh, balls. Want me to cry on cue? I can. This is an extraction, nimrod, and she's the target, that's how to play it, the only way to beat this guy. HENESSEY Yeah? How come you know so much about this fucking guy? CHARLY Don't go there, Mitch, you don't want to know. HENESSEY I'm here. Suppose you tell me. CHARLY Fine, you asked. I bumped pelvises with this guy. In Paris, back in 1987. She knows she's shocking him, rubs it in: CHARLY I'd been assigned to kill his boss, remember...? Needed him out of the way. So I let him seduce me. Had a steel needle under the pillow, figured to stick him *en flagrante*, that means while we were screwing. But he was too slick. Bashed me in the head, finished, then threw me in the trunk of a car. Still think I'm a girl scout, Mitch...? The look in her eyes is feral. CHARLY It's almost dark. Let's get it done. EXT. MOUNTAIN ROAD - NIGHTTIME Full dark now, the fun begins... A TANKER TRUCK rumbles up the mountain road. Pulls up before the Deer Lick Motel. MEN IN SUITS wield flashlights, motioning the truck forward into a cavernous GARAGE. Inside, men in BLUE JUMPSUITS operate cranes, maneuver a FILL TANK into place above the truck. EXT. SURROUNDING MOUNTAINSIDE - SAME TIME In the distance, as the tanker enters the garage -- CHARLY BALTIMORE drops into frame. Lands and rolls, cat-quick. Comes up behind a scrawny pine. Scans through a pair of Zeiss Nightvision binoculars. Welcome to the extraction. No more fun and games, tonight it's a survival-zero operation. HENESSEY appears at her elbow. Lugging the ordnance bag. He sees Charly lower the binoculars, head in hands. HENESSEY What's the matter? CHARLY They're here. HENESSEY Who? CHARLY Fucking Chapter, that's who. Timothy acting alone, Caitlin had a chance. Now...? She's dead meat. INT. BUNKER - SAME TIME As the tanker snorts to a halt, TIMOTHY pulls up, driving a bright red Jaguar. Gets out as a blue-suit trots up: BLUE-SUIT 1800 hours. We're still trying to clean the tanker -- TIMOTHY (scowls annoyance) Fuck the cleaning, just drain it and reload. Chop-chop, I'm going bunjee jumping after this. EXT. MOUNTAINSIDE - SAME TIME Charly and Henessey. Kneeling. He speaks tersely: HENESSEY Let me go in. CHARLY Negative. You stomp around like a forties drunk and you're a lousy shot. HENESSEY I get by. CHARLY You couldn't hit a lake if you were standing on the bottom, now shut the fuck up. Charly studies the encampment. Armed men. Impossible odds. Draws a long ragged breath and flops on the ground. Props her back against a tree. Staring. Lights a cigarette: CHARLY I saw a little girl. HENESSEY (frowns) Come again? CHARLY That's what happened under the water. That night, eight years ago. She looks up at the sky. Face troubled. CHARLY At the end... there she was, this pretty little girl at the bottom of the ocean, smiling at me. Three years old, didn't know Daddies hid in closets, not yet. Stared up at me in the strangest way... saying how'd it come to this, we were so pretty and perfect, now look at us, sinking with our head all open... Said when she grew up she was gonna teach school. She couldn't wait. She heaves a sigh. Threads a silencer on a baretta. CHARLY Guards are on 27-1 megahertz, meet me at 26-9, you need to talk. As soon as you spot me with the kid, start blowing the charges. Henessey nods. Pause -- she does something unexpected. Leans over and kisses him hard on the lips. He reacts, startled. She pulls back, the oddest look on her face. CHARLY They're gonna blow my head off, you know. (softly:) This is the last time I'll ever be pretty. She kisses him again. Softly. Tenderly. Pulls back, turns without a word. CHARLY Time now. What I do next, they tell me it... looks like a machine or something. You don't like it, don't look. She moves off toward the trees. Henessey shifts from foot to foot, awkwardly. Opens his mouth -- CHARLY Don't say it. HENESSEY I was gonna say enjoy life, eat out more often. CHARLY Gotta go. (beat) If she's alive, she's coming out of there, Mitch. If she's not... they'll know we stopped by. She's gone, like a wraith. CUT TO: SERIES OF SHOTS: Charly, on the prowl. In and out of the trees... BURYING C-4 CHARGES. In bushes. In snowdrifts. She crawls to woods' edge, peers out -- The motel stands solemn and bedraggled. Draws a sharp breath -- ! There's a LIT CANDLE in the window of 17. CUT TO: EXT. MOTEL GROUNDS - SAME TIME A gray-suited SENTRY. Poised on a wooded slope. He puts a walkie-talkie to his lips and says: SENTRY All clear. CHARLY, out of nowhere. Lightning fast. Hand, clamped on mouth. In goes the knife. Deep. He burbles blood. Drops. Before he hits, Charly's already switched from knife to gun and moved on. EXT. UNIT 17 - SAME TIME Charly appears from the shadows. Ghosts up to the window of #17 and peers in. Scans. Misses nothing. Crosses to the door, taps lightly. Watches the PEEPHOLE, a tiny pinprick of light. Abruptly darkened by a human eye -- She presses the silenced Beretta to the hole and fires. Sputs of splinters. From behind the door, a muffled thud. She goes to work on the lock. BACK WITH HENESSEY - MINUTES HAVE PASSED Henessey lies prone, binoculars trained on the motel. HENESSEY Christ, lady, what are you doing in there, playing fucking mah-jongg? *Move*. Behind him, a tiny, sharp click--! TIMOTHY has a Skorpion machine pistol aimed at his head. The killer speaks into a radio unit, a single word -- TIMOTHY Bogey. POP-! go the Kleig lights. BRILLIANCE, blinding -- CATCHES CHARLY coming out of 17. Pins her dead to rights. Unconscious DAUGHTER cradled in her arms. Tiny DOLL cradled in the kid's. Charly runs, as the ground around her erupts like a SHELLBURST. TIMOTHY, MEANWHILE, shouting into his walkie-talkie, saying: TIMOTHY Take her alive, Perkins wants her! Henessey watches, helpless and PANICKED, as Charly tumbles BACKWARD. Crashes through a CELLAR ACCESS, it splinters beneath her...! Plunges into blackness. INT. CELLAR - PITCH BLACK She hits, cushions the kid. Grunt of PAIN... THE DARKNESS EXPLODES into kaleidoscopic FLASHES OF GUNFIRE, Charly strafe it all. Blows through the clip, hits the lights: She's killed household items. BRICK WALLS, blasted. Rusty tools, faded signs -- THREE TEN-GALLON GAS CANS which she's managed to PERFORATE, good one, Charly... The gas comes bubbling out on burps and splatters, drenching the floor. Charly casts about for an escape route. Set into the brick wall, a huge steel DOOR. She flings it open -- MEAT LOCKER. Nothing there, no help. Eyes darting. Possessed. A GRAVELY VOICE wafts down from above, then. Deadly serious: VOICE (O.S.) I smell gasoline, you have a little accident...? I got plenty of matches up here. Bad way for a kid to go. Thirty seconds, think it over. CHARLY stands in place, mind racing... Caitlin's DOLL. Regards her dully. Plastic smile like it knows a secret. CUT TO: INT. MOTEL - 2ND FLOOR - NIGHTTIME A MATCH FLARES as it descends into the bowl of a pipe... MR. PERKINS puffs mightily. Turns and favors CHARLY and HENESSEY with a thoughtful gaze, they're handcuffed to radiator... TIMOTHY straddles a nearby chair. Smiles and says: TIMOTHY Good to have you back again, Chuck. PERKINS You know, Colonel, you ought really to have stayed dead. You don't know the rules of the game anymore. CHARLY No shit. Eight years ago, you send me to kill Daedalus and this clown. Now you're working *with* him. He crosses to the fireplace, flips the match inside. PERKINS Budget cuts, remember? Congress blinded us in Eastern Europe, Central America. Across the board, an intelligence blackout. We had to recruit any eyes and ears we could find, even if it meant going to former targets. Pause. Suddenly Charly's eyes go wide. She whispers: CHARLY Budget cuts... oh, God. Is *that* what this is about...? The foot soldiers, the tanker truck... Fuck me, you're running a fundraiser!! Comprehension, dawning. She looks up in disbelief. CHARLY You'll get all the money you want at the next budget hearing, won't you...? All you need is a major terrorist incident. PERKINS Interesting theory. CHARLY Theory, my ass. I think some terrorists were planning a strike. Bought supplies from Daedalus, that's how you knew they were coming... (eyes widening) No way. Don't tell me you're gonna sit there and let them go through with it, *just to get a budget increase*. Perkins shrugs philosophically. PERKINS It's not without precedent. 1993, remember the World Trade Center bombing...? The CIA had advance knowledge, don't think they didn't. Worse, the diplomat who issued the terrorist's visa was CIA, they *facilitated* the bombing. Purely to justify a budget increase. Of course, they'd no way of knowing the terrorists would botch the job. CHARLY That's not gonna happen this time...? PERKINS No. This time, the terrorist event will come off precisely as planned. This time the terrorists can't muck it up... because we've killed them and taken over. Charly and Henessey react, startled... EXT. MOTEL GROUNDS - NIGHTTIME On the move. Our two heroes, shepherded across the compound. Timothy's casualness is belied by the presence of two dyspeptic GUARDS, each keeping a safe distance. A POCK-FACED AGENT approaches briskly, RIFLE across his shoulder. Holds out his hand: POCK Found these buried around the perimeter. Timothy studies it: C-4 CHARGE with remote detonation unit. TIMOTHY Make sure you get all of them. The agent rushes off. Timothy looks at Charly reproachfully: TIMOTHY Chuck, you give me the fuck of my life then try to stick me, come back from the dead, whack my boss... No sense lyin', I'm miffed. Moves like lightning. WHACK-! Kidney shot. Charly stumbles, vision going black. Fights for balance. Henessey starts to react but a GUN MUZZLE stops him. Charly straightens. Grits her teeth, says: CHARLY So what's the plan? What's going out in the tanker? Timothy and the guards exchange looks. Cracking up, they can't believe it -- Charly's not laughing. Looks at Timothy with hooded, lifeless eyes: CHARLY What's the plan? I'm gonna die, I wanna know. Timothy lights a cigarette. Studies Charly. TIMOTHY You wanna know the plan? He casually points to the neighboring valley, where Christmas lights twinkle. TIMOTHY Santa Claus -- small town U.S.A. personified. We drive the chemical tanker in tonight, park it. Add a catalyst, chain reaction, it goes hot. We evacuate. The mix heats overnight, goes critical at 312 degrees Celsius. 8:00 Christmas morning... Main Street looks like a meteor strike. HENESSEY Are you fucking insane? You're talking about 10,000 people!! CHARLY Easy, Mitch. (to Timothy) How you gonna blame it on terrorists? TIMOTHY Those roads are treacherous this time of year. When we dump a car to the bottom of a ravine, with the corpse of Imn Al Rahman in it... get the picture? Pause. Charly summons herself. Her voice a dull rasp: CHARLY Listen to me, Timothy. Please. Let my kid go. TIMOTHY Why? For old times' sake...? She shakes her head: CHARLY Goddamn you, *look at her eyes*... TIMOTHY And why exactly should I do that...? CHARLY (spits blood) Because they're yours, motherfucker. She stares Timothy full in the face. CHARLY That night in Paris, I got pregnant. The little girl's your daughter. Dead silence. A pause... Then Timothy brays LAUGHTER. TIMOTHY Priceless. Can't believe it... Hooting out loud. Tears, streaming... He manages to bring himself under control. Stops, gestures to the CELLAR ACCESS, the dark awaits... TIMOTHY Kid's down there. What it is, Charly, they're gonna find you both frozen to death in the woods. Suicide pact. Charly fights to contain herself. CHARLY She's no risk, Timothy, *let her go*. TIMOTHY The freezer's downstairs, Charly. Let's get it done. Charly and Henessey are separated at gunpoint. A look passes between them. Henessey swallows hard. HENESSEY I'll wait for you to rescue me. CHARLY Be just a minute. Charly goes through the opening. INT. CELLAR - SAME TIME The same CELLAR she occupied earlier. Timothy behind her, he wrinkles his nose in distaste. TIMOTHY Shit, this place is loaded with fumes, nobody light a fucking match. You check her for flammables? GUN GUARD (shrugs) Checked her for colon cancer. Caitlin is sitting in a chair. Bundled in flannel, clutching her baby doll, the one Perkins bought for her. She looks up at Charly dully. Sucking her thumb. CAITLIN Mommy... Charly composes herself. CHARLY Shhhhh. Mommy's here, it's okay. Safe and snug... what comes next, huh...? What's the next part? CAITLIN ...bug in a rug... man with white hair... says the same thing you say... Charly licks her lips. Easy, Charly, keep cool, she mustn't die afraid... CHARLY We're going to take a nap together, Cate. You can have your dolly, and Mommy will be next to you, how's that? It'll be like bears in winter. When they get cold, see, they fall deep, deep asleep... TIMOTHY Bears, yeah, yeah. Enough. He points to the STEEL DOOR of the meat freezer. The guard opens it onto a gleaming silver CHAMBER. Timothy calmly adjusts the thermostat. Sub zero. The guard reaches for Caitlin's doll... Charly snatches it back. Face etched in disgust. CHARLY You're murdering us both, cocksucker, let the kid have her fucking dolly. He subsides, unable to meet her gaze. At which point, Timothy tosses her the WOODEN BOX. TIMOTHY Chuck, I'm not a total creep. I'll make you a deal, okay? There's a knife in that box. Now, you and the kid, you're going to freeze, *but* -- if you kill the kid *by your own hand*...? I won't kill your husband. Serious. We're gonna open that door and you'll both be frozen solid, but I wanna know that you've cut your own child's throat. You don't want to ever be on the receiving end of the LOOK she gives him... Steps into the freezer, holding Caitlin. As the door starts to swing shut, she says: CHARLY It ain't over, motherfucker. You're gonna die screaming and I'm gonna watch. Am I telling the truth...? She flashes him her most DAZZLING smile -- The whole room lights up. She can do that. As the door erases her from view, a chill dances up Timothy's spine... because there was nothing resembling doubt on her face. INT. CELLAR MEAT LOCKER - SAME TIME CHARLY crosses with Caitlin to the far corner. CAITLIN Mom, it's cold in here-! CHARLY Shhh. Just for a little bit. Polar bear, remember? Moves. Quick. Methodical. Breaks open the BOX: Sure enough, a hunting knife. Without missing a beat, she crosses to the STEEL DOOR. Kneels and begins DIGGING at the bottom edge. CARVING into the brick, what the hell...? INT. UPSTAIRS INTERROGATION ROOM - SAME TIME Henessey, by the window. Tied to a chair. Timothy paces before him, carrying three razor-keen SCALPELS. Pegs one into the wall with deadly accuracy. TIMOTHY Tell me where Charly keeps her money. She must have mentioned it. HENESSEY Get fucked, you dumb bastard. Charly called Washington, by morning this whole place'll be crawling with Feds. TIMOTHY We'll be gone by then, Mitch. HENESSEY Yeah, well, that's what I'm saying, there's a couple Feds, they couldn't sleep, said they might come early. Fuck you, someone'll screw up. Just watch. TIMOTHY Already did, Mitch, someone already did. Perkins got stuck with a double agent, someone trusted, highly placed. HENESSEY Who? TIMOTHY Me. (chuckles) Chinks are paying me to bring down Chapter. Henessey reacts, startled. Timothy chuckles: TIMOTHY Truck goes, hundreds dead -- rescue teams within minutes, guess what they find...? HENESSEY The patsy. TIMOTHY Uh-uh. They find Chapter, caught with their pants down. See, Mitch, I dumped in a much faster chemical catalyst... (beat) The tanker's gonna blow *tonight*. In the center of town, thirty-five minutes from now. INT. CELLAR MEAT LOCKER - SAME TIME CHARLY, sweating at sub zero. Brushes hair from her eyes. Blinks. Still jabbing with the knife, *why the hell is she digging*? Gonna crawl under the damn door? She's gone loopy. Lying flat, she appraises her work -- A TINY NOTCH. Poked through to the other side. The actual penetration to daylight: millimeters. Then, she does two seemingly nonsensical things: Crosses to Caitlin -- gently takes the doll from her, then: CHARLY Open. Reaches in her mouth. Takes out her RETAINER. Must be the temperature. Crosses to the door again. Kneels down. Calmly, with infinite care, takes the retainer... Inverts it, now it's *trough*-shaped. Holds it flush against the tiny NOTCH she carved. BABY DOLL, now. Holds it directly above the retainer. Depresses the KNOB in its back: It pees gasoline. Gas, trickling down the retainer, through the brick -- into the other ROOM. Not much. Enough. She stands. DRAWS A TRAIL with the doll. Crosses, dribbling, over to Caitlin. Hands the doll back to her. What next..? She grabs the hunting knife, that's what. RAISES IT HIGH -- One terrifying moment, is she gonna put it in the kid...? Hardly. Brings it down on the floor. Slams it down. CHARLY Gimme a spark... show me, show me... Tries again. And again. STRIKING, over and over. Floor RINGS with the effort -- CHARLY Come on, come on... do it...! But in the end, it's just not gonna happen. *Won't work*. Lets go a GROAN of despair: CHARLY All this, just one fucking match, *Goddamit*...! She collapses forward. Cradles her head in frustration. There's a tiny tap in her shoulder. CAITLIN Mommy...? Charly looks up, face haggard and depleted... Caitlin's eyes, alive again. No longer dulled. Kid reaches inside her CAST and brings out a pack of matches. CAITLIN Don't cry. I keep these here. (beat) For lighting your candle. Charly stares, dumbstruck, at the tiny gift. The bitterness, the self-hatred, all of it. Under innocent eyes on Christmas Eve DETONATES, blown sky-high, and she sweeps up her daughter and cradles her, tears streaming... CHARLY I love you, Caitlin, oh God, do you know how much I love you...? Caitlin pulls back, looks flush in her mother's face. CAITLIN Am I gonna die...? From a dark and cold place, Caitlin has led her home. Charly's eyes, like steel. A harsh whisper: CHARLY No, baby, you're not gonna die. They are. She strikes a match. INT. SECOND STORY INTERROGATION ROOM - SAME TIME Henessey, straining against his bonds. Sweating. TIMOTHY Charly's stash. What's the number of the locker, Mitch...? HENESSEY Fuck you. TIMOTHY across the room, a good forty feet. TIMOTHY Left nut, five bucks I make it. Smiling, he raises a scalpel. Eyes dead like a rat's. INT. CELLAR MEAT LOCKER - SAME TIME The flame hovers above the gasoline trail. CHARLY When I tell you, scream as loud as you can, or else your ears'll get hurt. A tiny nod. Charly calmly touches fire to the fuel. Cradles Caitlin to her chest, gently strokes her hair... CHARLY Hey, should we buy a dog...? The flame races across the room. Hits the steel door. And zip! Vanishes through the NOTCH. A pause... THE BASEMENT BLOWS SKY-HIGH. Wooden walls, obliterated. Boards sheared. Atomized. THE MEAT LOCKER DOOR blows inward like a cannon shot. Holds to its hinges, buckled like JIFFY POP. INT. UPSTAIRS INTERROGATION ROOM TIMOTHY'S THROW is off target, sticks in Henessey's chair. Between his legs. Inches. Then the assassin LEAVES HIS FEET, look of comic surprise -- as the walls behind him disintegrate in FLAME. Henessey cries out, blinded as EXT. MOTEL BUILDING He's blown backward OUT THE WINDOW. Chair and all, lofting across the middle distance... blasts through the MOTEL SIGN. Blows it to SPLINTERS. Tumbles, and over end... lands, WHAM. Atop the garage's CORRUGATED ROOF. Chair flies to sticks. A BLUE SUIT spins, startled. Gun comes up -- Henessey doesn't miss a beat. Reaches between his legs. Plucks the KNIFE from the wood and slings it...! Guy takes it in the head, drops. Some days you get lucky. He looks up in disbelief. FIREBALL, raging to Heaven. HENESSEY You foxy bitch. EXT. BLAST SITE - SAME TIME TIMOTHY staggers from the smoke. Nicked and bloodied -- ALIVE. Rushes into the cavernous GARAGE, where blue-suits scuttle like ants. Points to the tanker, face crazed: TIMOTHY Move it out of here, now! EXT. MOTEL GROUNDS - TRAVELING WITH CHARLY - SAME TIME Caitlin in tow, SMOKE everywhere. Running flat out across the compound. Eyes ticking back and forth, missing nothing... Sees a gun on the ground, scoops it up: promptly DROPS IT, the fucking thing's red hot. That's when the POCK-FACED KILLER lurches out of the smoke, blade arcing for her throat. CHARLY *Run, Catey*. She goes under the blade. SLAMS him. Down they go, hit the dirt -- CAITLIN beats feet, vanishes into the smoke. Charly, fighting for her life. Manages to KICK FREE. He rears up. Poised to hurl the KNIFE. Charly, dives, rolls -- scoops up the gun and SCREAMS as her flesh sizzles and it spurts three times and blows him down. Doesn't stop. Rips the AUTOMATIC RIFLE from his shoulder. Rummages in his coat -- Cube of C-4. Even better. Casts about, searching the smoke... No sign of her daughter. EXT. WOODS - NIGHTTIME CAITLIN darts in and out of the trees. Frightened. In the background, men rush back and forth. The MOTEL burns merrily. Then, above the shouts, A RUMBLING noise, she darts a look -- as THE TANKER comes trundling out of the garage. POV CAITLIN: Attached to the rear of the truck bed, a bright yellow UTILITY BOX, roughly three by three. As the driver idles, waiting for the road to clear -- Caitlin BREAKS COVER. Runs and climbs inside the box, and meanwhile BACK WITH CHARLY - SAME TIME Her mother. Crouched behind Timothy's RED JAGUAR. Scans through the rifle's Starlight Scope. Sweating. Intense. We see the landscape, cast in ghostly GREEN. CHARLY Where'd you go, baby... show Mommy... *There*. Bingo. Charly watches through the scope as a TINY GREEN CAITLIN climbs into the box and shuts the lid. Unfortunately, a nearby blue-suit has WITNESSED this. He looks around, stabbing a finger at the box: NOSY BLUE-SUIT Hey. Hey, you see that? A little kid -- A bullet slams him backward in a cut-string sprawl. WITH CHARLY She lowers the rifle. Nods grimly: CHARLY Smart girl, honey. Stay still. Don't make a sound. Snug as a bug in a rug... MEANWHILE, ELSEWHERE ON THE GROUNDS HENESSEY, on the move. Crouched low. Choking on woodsmoke, eyes streaming. Up ahead, a splayed CORPSE -- He hunkers over the poor schmuck, guy's good for a radio. Snatches up the portable unit. Fumbles with the dial, searching for 26.9 megahertz... EXT. CLIFFSIDE - HIGH ABOVE MOTEL - SAME TIME CHARLY slews to a stop in the red Jag. Leaps out. Darts along the cliff, throws herself flat. Peering down at the grounds, sniper rifle positioned -- Babysitting the tanker. HEARS HENESSEY... Calling to her on the radio. HENESSEY (V.O.) Charly, you there? Hello, Charly. Grabs the unit from her belt: CHARLY Mitch! I don't believe it. Listen, if you say, "Are we having fun yet" I'll rip your nuts off. Where are you? HENESSEY Behind the big garage. Is Caitlin with you? CHARLY No, but she's safe for the moment, she stowed away on the tanker truck. Henessey draws a sharp breath. Swallows, says: HENESSEY Charly, Timothy rigged the tanker to go off early. We got fifteen minutes. No more. On her reaction we CUT TO: EXT. MOUNTAIN ROADSIDE - WITH TANKER AND EN TOURAGE Beside the tanker, A PANEL TRUCK sits, engine idling. Phony logo on its side -- *Little Debbie* snack cakes. A RAMP is lowered, and a CAR begins backing up into the truckbed, facing outwards. INSIDE THE TRUCKBED, harried blue-suits hurriedly unwrap the frost-covered corpse of IMN AL RAHMAN -- and place him behind the wheel. MEANWHILE, AT THE BACK OF THE TANKER A blue-suit puts a PADLOCK on the utility box as he passes. SNAPS IT SHUT. BACK WITH HENESSEY - SAME TIME He hears two flat CRACK-!s on the still air. HENESSEY Hello...! Charly...? Even over the receiver, her desperation's apparent: CHARLY Tires won't pop, Mitch. Bastard just locked her in, she's stuck in there and they're leaving, *Goddammit*! Henessey rubs his eyes. Takes several deeps breaths, mind turning it over. He looks up. Tired. Haunted. HENESSEY All right, I'll go in and get her, you watch my back. CHARLY No chance. I make it twelve, Mitch, automatic weapons. HENESSEY So kill 'em for me, bitch, Christ, what are you good for? He stuffs a fresh clip in the gun. Wipes away sweat. HENESSEY (to himself) C'mon, buddy. Do one thing right, just this once... please... Closes his eyes. Gathers himself. Long pause... HENESSEY Piece of cake. He leaps from the roof and makes a death run. Gun in one hand, radio in the other. Swerving and dodging like a broken-field runner, CHARLY in his ear screaming: CHARLY (V.O.) *Your nine, on your nine*! He spins, BLASTS AWAY, dead guy, pitching forward -- SMOKE, billowing, making him COUGH... CHARLY (V.O.) *30 degrees left, Mitch. Left*. (beat) *Your other left*. Stumbling, catching himself. Barreling forward. CHARLY (V.O.) *Nix, nix, I can't see in there, don't do it, break right...*! He breaks right. CHARLY (V.O.) *Fuck me, I was wrong, get outta threre*! He staggers out of the smoke: TWO MEN, MP-5 machine guns. Trained on his chest. He struggles to aim, oh, shit -- Two distant CRACKS. The bad men go away, catapulted backwards. Henessey shouts into the radio: HENESSEY Gracias. CHARLY (V.O.) *De nada*. UP ABOVE, ON THE HILL CHARLY fires shot after shot. Every time she squeezes the trigger, someone dies. No such thing as wounded, we're talking St. Peter looks up from a magazine and says holy shit, it's the lunch rush at Kate Mantilini's. BACK DOWN BELOW The smoke clears and Mitch sees the tanker. Right there, thirty yards away. Yellow UTILITY BOX. No one in the way. CHARLY (V.O.) *End run, Mitch, go wide*! He breaks for the truck. CHARLY (V.O.) *No, Goddamn you, they got you flanked...*! Everybody fires a gun. MITCH GETS HIT Takes one high in the chest, SPINS him...! UP ON THE HILL CHARLY SPRAYS on full auto, DICES TO TATTERS the combat zone, extinguishing the gunmen, too little too late because MITCH IS IN DEEP BAM--! bullet takes out his right arm, fuck *you*, buddy, doesn't miss a beat, simply tosses the gun over to the other hand and KEEPS SHOOTING, blows that fucker down and now he's staggering into the trees, and collapses, and HITS... And lies very still and bleeds. As ECHOES of gunfire die slowly, we HEAR: HENESSEY (V.O.) Dear Ma: I'm looking at the ants, they're pretty great. Some really funny ants here, Ma. All these funny ants, think I'll stay and watch 'em awhile... UP ON THE HILL Aftermath... Charly's out of ammo. Flings aside the rifle, snarling in a helpless rage -- Something else, then. SOUND, nearby. Building in pitch, reaching a crescendo -- A SCREAMING CHOPPER RISES BEHIND HER. Crests the cliff and hovers like the SWORD OF DAMOCLES. INT. CHOPPER - SAME TIME MARKSMAN, riding shotgun. Scans the cliff below: Thick evergreens. Charly, somewhere among them. He sights down his rifle, takes careful aim -- BLOWS OUT TIRES on the Jaguar. Cripples it. The chopper BANKS, heading away. BACK WITH CHARLY - SAME TIME In big trouble. MANY HEADLIGHTS, bouncing uphill toward her. Cut off, they've cut her off -- The other direction ain't much better: A 200 FOOT DROP. Straight down. Evergreen trees, far below. Power lines. Highway. She hears the PHONE RINGING, then... inside the Jag. Crosses slowly. Reaches in, lifts the receiver. It's TIMOTHY. TIMOTHY (V.O.) I tried to give you a pretty death, baby. Did my best. Now you're fucked, now it's ground beef time. CHARLY The truck. How long til it blows? TIMOTHY (incredulous) Sweet Loretta, you're another animal entirely. Let's see, 312 degrees... Make it ten minutes, give or take. CHARLY Then I better hurry. TIMOTHY Oh, spare me. You made a big noise and bought five more minutes on the planet. Give up. Die. I'll spit in what's left of your face. He clicks off. Charly drops the receiver. Turns, looks behind: They're coming for her. Woods filled with headlights. Backlit FIGURES. Ducking in and out of the trees, getting closer... The wind blows. Bitter cold out here in the dark night of the soul. Nothing left. No hope. No reason. Caitlin, dead. The rage explodes in the form of a kick which SHATTERS the lock on the trunk. *Dammit*, she needs a fucking miracle. At that moment, the trunk lid slowly rises, CREAKING... Revealing all of Timothy's BUNJEE JUMPING EQUIPMENT. EXT. MOUNTAIN ROAD - SAME TIME The TANKER is rolling. Out onto the road, snorting and belching. Preceded by the Little Debbie PANEL TRUCK. INT. UTILITY BOX - ON TANKER - SAME TIME Poor little Caitlin huddles in the dark. All alone. ROARING in her ears. Sort of like being underwater. EXT. TANKER TRUCK - CLOSE ON UNDERBELLY A silver device attached to the skin of the tank. WITH TIMOTHY - CROSSING THE SMOKE-FILLED GROUNDS He consults a tiny, liquid crystal display on his watch. Red numerals. *178 degrees*. EXT. CLIFF'S EDGE - WITH CHARLY She won't quit. Busy now, deftly sticking the wad of C-4 EXPLOSIVE to the bottom of the Jaguar. Straightens. Turns around -- Stands dead calm as they all come out of the TREES, guns drawn... Raises her hands, see, boys...? No bang-bang. Like backlit monsters, they approach, hulking. Matter of yards, now... She flashes a naughty little smile -- Goes backward off the cliff and rockets earthward. 200 feet of open air, THE BUNJEE Cord pays out, fast...! Whipsaws out the door of the Jaguar, hooked by carabiner to the STEERING COLUMN and meanwhile THE CHAPTER AGENTS Rush forward, incredulous. Peer OVER THE EDGE: Below them, a swan diver, BLACKNESS all around. She drops like a stone. Vanishes into the fog, beautiful as a poem. INSIDE THE JAGUAR: The cord goes taut -- Now it starts to stretch outward. DECELERATION kicking in, Charly can FEEL it, still whistling through space... Hits a dead stop. This is it. Cord, stretched as far as it goes. She's still sixty feet above the highway. No hesitation whatsoever. She thumbs the DETONATOR in her right fist -- Blows the car. UP ABOVE - CLIFF'S EDGE The Jaguar goes up with a solid CRUMP--! Blown off the edge of the cliff. Along with a half dozen screaming AGENTS. BACK WITH CHARLY - FALLING Lifeline cut. 60 feet above the road, no problem. She does thirty feet in freefall. Raises her left hand -- Slaps a carabiner on a passing POWER LINE. Hurtles downward until suddenly, KA-CHUK--! She LURCHES to a stop. Doesn't miss a beat: Grips a rope and GLIDES the last thirty feet, touches down lightly. Unhooks herself, turns as AN ONCOMING CAR throws a fishtail SKID, just misses her. Driver SWEARS. She raises her gun. Fires without blinking. Puts a hole in the passenger side windshield and the DRIVER ain't sticking around, he's out the door and gone as CHARLY THE EXTERMINATOR Crosses to the car, face a stone mask. Behind her the FLAMING JAGUAR SMASHES to the ground, raining fragments -- Followed by BURNING CORPSES, smacking the pavement one after another. She doesn't even look. Gets behind the wheel. Leaves most of her tires on the road behind her. EXT. MAIN STREET - TOWN OF SANTA CLAUS - CHRISTMAS EVE Milling crowds. Music and laughter. SANTA heads up a TEEMING PARADE down Main Street, atop a horse-drawn sleigh... Replay of the film's opening, as EXT. STREET - SAME TIME The gleaming TANKER roars down a sidestreet. Riding point: the innocuous PANEL TRUCK. The temperature gauge continues to RISE: *203 degrees*. EXT. MAIN STREET - EDGE OF TOWN - SAME TIME Charly runs a roadblock, doing fifty -- Someone put a PARADE in front of her. Hits the BRAKES...! Fishtales into a mailbox. Sends it flying through a plate glass window. Out of the car, gun held low, and meanwhile -- INT. CAR - DRIVING TIMOTHY barks orders into a mic: TIMOTHY All units converge. Divert local law, this is a government matter. Brook no interference, I want the Baltimore woman eliminated. *Where's the fucking chopper*? Racing toward the edge of town and meanwhile ON THE PARADE ROUTE SANTA CLAUS himself perches atop his sleigh, feeling like a rock star and wishing his groupies were legal... when suddenly he's got company. CHARLY I'm the Missus. Drive. The rogue colonel FIRES A SHOT in the air -- THE HORSES bolt. Plunging off the parade route amid SCREAMS as INT. PLUSH LIMO - SAME TIME MR. PERKINS hunkers forward, face slack, as a tinny VOICE issues from his headset mic: VOICE (O.S.) ...yes, she's with Santa Claus, correct, er, excuse me, the individual *playing* Santa, er... they're pursuing the tanker truck, sir. Perkins stares straight ahead, speechless. EXT. HIGHWAY - HEADING OUT OF TOWN SIDE BY SIDE WITH THE TANKER. Horses at full gallop, hooves in pounding frenzy. Charly tries to JUMP from one to the other -- no go, the tanker pulls away, widening the distance, and meanwhile TWO GOVERNMENT SEDANS Come whipping out of ALLEYS, fall in behind them. CRACK--! Gunshots, shattering the stillness. EXT. TRUCK CHASSIS - SAME TIME A RICOCHET whines off a hydraulic cable. Spurt of fluid as the BRAKES start to go, and meanwhile BACK ON THE SLEIGH CHARLY throws herself flat next to Santa. CHARLY Sorry, man. Government agents, high level conspiracy. SANTA Fuckin' government. The SEDANS jockey for position, try to pull ABREAST -- Charly swerves the sleigh back and forth, won't let them through. She hands the reigns to Santa. CHARLY Veer left. SANTA Away from the truck? CHARLY Do it. In five seconds I'm gonna own that fucking truck. Santa complies. PEELS OFF to the left -- Opens a TWELVE FOOT chasm between sleigh and tanker. Sure enough, one of the government cars spurts forward to fill the gap, comes ABREAST of them. It's what she wanted. *FIVE SECONDS*: Charly Baltimore LEAPS from the sleigh, lands atop the government car. Skips lightly across it, casually BLOWS TWO SHOTS through the ROOF. Down through the metal. Drilling into their heads. Driver and passenger, killed instantly -- As Charly hops nimbly from her 50 mile-an-hour STEPPING STONE. Over to the tanker. Dump-stuffs a new clip, as THE CORPSE CAR Fades from the race, driverless. Whipping out of control. FISHTAILS away behind them -- Takes out the SECOND CHASE CAR, spray of metal. Three seconds, and Charly's taken out two pursuers. INT. CAB OF TANKER TRUCK - SAME TIME The door files open and the DRIVER sees CHARLY. Bloody. Demonic. Wisely leaps out, BOUNCES from view -- Charly snags his hat as he goes by, plops it on her head. SWINGS UP into the drivers' seat, double-clutches -- pours on the steam. Five seconds. She owns the tanker. BLASTS forward into the lead PANEL TRUCK. Slams the truck from behind, BULLDOZES it -- Sends it THUNDERING into a park bench. Glass sprays. She owns the road. On the seat beside her: an MP-5 machine gun. She's set. Throws a NINETY DEGREE turn onto a sidestreet. Donates most of her tires to New York. INT. SPEEDING TANKER TRUCK - SANTA CLAUS - NIGHT Charly's on fire. Senses heightened. Eyes tick back and forth like a machine. Heading downhill, out of town... CHARLY Hang on, Catey. She hits the brakes. A flash of SPARKS..! A ripping WHINE, dies away -- The brake pedal is all play. Nothing. She's in a runaway truck. CHARLY *No, not fair, not fucking fair...*! Barreling onward. A lunging behemoth. CHARLY Can't stop, Catey, can't... CHAIN-LINK FENCE, at road's end. Beyond it, a quarter-mile plunge. Downhill over rocky terrain -- To St. PETER'S SEMINARY. Looming stone structure. Closed now. Vast empty PARKING LOT. Tears on her cheeks. Lights a cigarette. Takes a long drag, exhales: CHARLY Suck my dick, every one of you bastards... Blows through the chain-link fence. SHUDDERS AND LEAPS DOWNHILL. Mud blows skyward. Trees, blasted to splinters. CAITLIN Buffeted inside the UTILITY BOX. Cries out as IN THE CAB Charly fights to contain the beast. "Fuck you," slyly retorts the beast. She BOUNCES and caroms off the sides like a mad pinball -- THE TRUCK SMASHES DOWN And all the windows BLOW OUT concussively and the front tires go with a volcano CRACK-! as the beast goes canting to one side, ponderous, MASSIVE... It keels over on its side. Still doing fifty. TRAVERSES THE PARKING LOT. Slows itself by TAKING OUT LIGHT POLES, shears them off like saplings. Whacks the side of the chapel. IMPACT. Keeps going... Charly is EJECTED from the cab. Pinwheels through space like a broken doll, bursts through a STAINED GLASS WINDOW. INT. CHAPEL The glass ruptures as she catapults through. Hits on her stomach, bounces. Slides to a stop, rolls over -- FLINGS herself aside just in time, as a towering ST. PETER SMASHES to earth an inch from her head, showers marble...! Concussion dies away. Silence. Echoes. EXT. SEMINARY GROUNDS - SAME TIME The tanker slides, DETONATING planters one by one... Comes to rest in a central COURTYARD. Lies there, a hissing dinosaur. TIMOTHY'S TEMPERATURE GAUGE is still affixed to the truck's underbelly: *280 degrees*. INT. CHAPEL - WITH CHARLY Charly, semi-conscious. Rolls onto her back, gasping. Stares at the gathered saints. Swallows hard. Sucking it up, preparing. Rolls to one knee, plants her foot... She's got to make that truck. On her feet now. Stumbling forward. One arm hugging her guts. Cross-eyed, so hard to focus... left foot, right foot, get it done, bitch, yes it's *supposed* to hurt that much, flings open the door and she's so brave that for a second we think she might make it. Timothy kicks her in the head. Charly flies back. Hits and SLIDES. Fetches up against a bannister, WHAM--! Timothy calmly shuts the door behind him. Consults his tiny gauge -- *297 degrees*. TIMOTHY Call it four minutes to detonation. I got a chopper on the way, lots of time. He sheds his coat. Stows his gun. Removes a SWITCHBLADE. Drapes the coat on the bannister. Flicks open the knife. CHARLY Oh, honey. Only four inches...? TIMOTHY You'll feel me. He approaches, almost casually. Charly staggers erect. Adopts a killing stance. Instinct. She can barely stand. INT. PERKINS' LIMOUSINE - SAME TIME PERKINS hears a garbled, pained voice over his headset: VOICE (O.S.) Point team leader, reporting... She's... incapacitated the truck... I'm damaged, sir, I believe I'm dying... Instructions...? PERKINS Continue dying. Out. He leans back. Stares sightlessly. Loosens his tie, hits the intercom and says: PERKINS Anthony, get me the President... He takes out a bottle of Scotch. CUT TO: INT. CHAPEL - SAME TIME Charly and Timothy. They circle, two pros. TIMOTHY You've lost a step, Chuck. Muscles never recovered from C-section, I'll bet. Am I right? Never watching the eyes, the eyes are liars, they watch the HANDS... The gathered saints look on, neutral. CHARLY Please, man... She's only... eight... she's a beautiful little girl... His concentration never falters as he says: TIMOTHY She's a worthless bitch. I know it 'cause she came out of me. He LUNGES with the knife, she spins away -- He gets hold of one arm and FLINGS her, up and over...! She SAILS through space. Twists in mid-air. Lands like a cat. Almost. Staggers forward. They circle... TIMOTHY It's called shock, Charly... Your body wants to go into shock... CHARLY Fuck you, your breathing's lousy... Charly LAUNCHES herself. Avoids a stab at her throat, eats that for breakfast, spins, slams the knuckles of her right hand into Timothy's ribs. Busts one. He snarls, TRAPS her wrist: CRACK! Wrist, broken. She HISSES in pain, falls back GASPING. Circling again. Charly cannot walk a straight line. TIMOTHY Look at you. You're out of your motherfucking league, dearie. CLOSE ON CHARLY She looks up at him from sunken eyes shot through with red, and in those eyes we glimpse it; the DEMON, laughing... as Charly whispers: CHARLY ...You want a piece...? Take my shoulder. He lunges with the knife...! She ducks, trips on purpose and HANDS HIM HER SHOULDER, all that's missing is the plate -- And WHAM. In goes the knife, cuts deep and Charly looks him in the eye and GRINS because sure enough, there's the bastard's KNEE, wide open... Boot-strikes, BAM--! Shears the knee, and Timothy HOWLS in agony. Stumbles backward into the bannister -- Grabs his coat. Brings out the gun, it GOES OFF--! Charly dives for cover. Rips the knife from her own shoulder and flings it. Takes him in the shoulder. Topples him back. BANNISTER. Up and over, flailing...! Drops from sight. Charly falls back. Pause. Sucking air. Sits down hard. Legs splayed. Looks down at herself, oh, God... There's a hole in her chest. EXT. SEMINARY - NIGHTTIME The doors burst open and here she comes. Trauma, severe. Shock, blood loss -- She makes for the tanker. For her kid. Hitches. Staggers. Going on sheer guts. THE HELICOPTER ROARS OVERHEAD The PILOT brandishes his radio mic: PILOT Got her. Heading for the tanker, thirty yards out. She's all over the place, something's wrong with her. WITH CHARLY Left foot, right foot, she's not running, she's falling in a straight line -- Reaches the tanker. Staggers against the inverted chassis. UTILITY BOX. Above her. CHARLY *Cover your ears*. She raises her gun. Fires. BAM-! Lock springs to pieces. CAITLIN tumbles to the pavement, dazed and confused. Casts about -- CAITLIN MOMMY...! She springs to her feet. Comes running and flings both arms around her mother. HUGS HER -- That one puts Charly out for a few seconds. PAIN, excruciating. Comes to her senses, swaying like a clothesline in a high wind... CHARLY Run... get out... CAITLIN Don't go away again, Please...! Charly grabs Caitlin's head. Turns it. Facing the TEMPERATURE GAUGE. Red numerals: *301 degrees*. CHARLY The truck's a bomb... gonna blow up, RUN... I'm right behind you, go... Caitlin hovers, torn. Charly summons a gutteral CROAK: CHARLY ...*Go and don't look back*... In the end, Caitlin relents. RUNS, toward the surrounding woods... Charly watches her go. Nods, satisfied -- Collapses. Hits the tarmac and splays in a heap. Breath wheezing in and out. Already the pavement is staining red. WITH CAITLIN As, within ten seconds of the command, she promptly DISOBEYS her mother, looks back -- Stops dead. There's a corpse underneath the truck. It isn't moving. It isn't breathing. It isn't laughing or crying... Or hurting, not anymore. CAITLIN *Mommy, no...*! Bomb forgotten. Danger forgotten. Her tiny arms pumping, feet slapping pavement -- She returns to her mother. Grabs one knife-bloodied shoulder, oblivious of the wound. Jerks back and forth. Frenzied. CAITLIN It's okay. I'm sorry I left, please wake up, come on please... CHARLY. Cheek against the pavement. One lifeless eye STARES. Bloodshot and sightless. ANOTHER ANGLE Government vehicles, pulling up now. At the edge of the parking lot. 100 yards away, give or take. Numerous SEDANS. The Little Debbie panel truck. AGENTS crouch behind cars. Weapons trained on the wounded behemoth. EXT. SEMINARY - SAME TIME The side door BURSTS OUTWARD and a limping figure emerges, frantically signaling for the chopper: TIMOTHY'S got murder in his eye. THE CHOPPER banks, coming in low as he hauls himself aboard. PILOT Sir, your shoulder -- TIMOTHY Fuck the shoulder, knee's worse. Just bring me around and hold her steady. I'm not leaving until I know the bitch is dead. He grabs an automatic rifle. BACK WITH CAITLIN - UNDERNEATH THE TANKER She adheres to Charly's motionless form. Looking small and terrified. Whispers in her mother's ear. Soft and low: CAITLIN Mommy, get up now. You just stop it, Mommy, you stop being a little baby. Stop it, you're not dead, I know you're not dead so you get up now. Face contorted, she strikes out. Flails. HITS Charly. CAITLIN *Don't you die*, you get up now, Goddammit...! Life is pain, you just get used to it, and stand up *right this minute*, Mommy. Life is pain, do it, you bitch. *Do it*. Tears coursing in rivulets. Little fists clenched. Then -- It might be a trick of the wind. Tiny aspiration, not enough breath to fog a mirror... CHARLY ...mommy... here... A solitary tear appears in the wide-open staring eye. One fingernail, then. Scratches feebly. Toes, shifting. Seeking purchase. A HAND, planting itself... TEETH BARED, a rictus of pain... Rising up... *Standing*. Full height now, flexing one deadly arm. She hugs her daughter and says: CHARLY ...You're grounded... Overhead, the HOWLING of rotor blades. Charly gasps for breath. Cracks open the GUN... no bullets. Swell. Scans the pavement... There. THE MP-5 machine gun lies twenty feet from her. Twenty miles, same difference. Across the pavement, even farther away: Timothy's car. *305 degrees*. Charly swallows hard: CHARLY I'm gonna get the gun, you run for that car. We go on three, okay? One... Two... *Three*. They break cover. Into the open. A WITHERING FIRE ERUPTS. Right at their feet...! Geysers of asphalt, shot skyward -- TIMOTHY sprays the blacktop from above. Ruthless. Charly goes insane. Lurches, crazed, to the cab of the truck. Thumbs the mike and says: CHARLY Somebody get that motherfucker off me! I got a kid here, I got my eight year-old daughter, *Jesus Christ*...! It's Christmas Eve, who are you *people*, fucking pull him off! Do you hear me...? CUT TO: EYES SNAP OPEN IN DARKNESS. We don't know whose they are. We don't know where we are. BACK WITH CHARLY - SAME TIME The temperature gauge: *308 degrees*. She clutches Caitlin. Shouting into the mic: CHARLY Distract him, for God's sake give me ten seconds, please, I'm begging somebody, anybody, *she's my daughter*...! EXT. EDGE OF PARKING LOT A sour-looking CHAPTER AGENT stands before a row of cars and the Little Debbie panel truck. Expressionless beaurocrat. Lifts the mic to his lips and says: CHAPTER BEAUROCRAT Negative, ma'am, we understand your request, but we've decided to go ahead and let this play out... Behind him, the back of the panel truck EXPLODES. A car CATAPULTS outward into space -- SMASHES DOWN atop two sedans. Blows out their windshields. Flings itself to the pavement and RICOCHETS forward, zero to sixty. MITCH HENESSEY At the wheel. Making a suicide run. Face a FRIGHT MASK of deadly purpose. We have no idea why someone who looks like him is alive. INT. HELICOPTER - SAME TIME *Distraction*, just enough: The pilot banks toward the CAR. TIMOTHY Where are *you* going?? Timothy grabs the stick -- THAT'S WHEN CHARLY BREAKS COVER. Does a MAD STAGGER across the blacktop. Goes for the GUN. TIMOTHY CHANGES DIRECTION. Chopper again, SCREAMING in low and fast -- CHARLY dives, rolls -- Comes up with the MACHINE GUN and falls flat on her back, points it skyward: CHARLY Suck on it. She fires. Blows the chopper's TAIL ROTOR. The craft pitches to the side -- Dumps Timothy out the door. Flailing. Head over heels, he FALLS -- Lands atop the TANKER, right on the silver tank and *burns*. Actually SIZZLES at 310 degrees Celsius, steam pouring off him like a vampire in daylight, SHRIEKING--! CHARLY Die screaming, motherfucker. She watches as he slips from sight... off the tanker. SIRENS now, approaching. Wind, biting cold. Ground black and bloody in the moonlight... HERE COMES HENESSEY, powers across the lot, pedal to the metal. Followed at a distance of fifty yards by half a dozen squawling GOVERNMENT VEHICLES, flashers turning. Henessey stomps the brake. SLEWS to a stop, tires cooking...! KICKS open the passenger door as Charly collapses into the car, CAITLIN in her arms. The kid says: CAITLIN Hurry! The truck is a bomb! HENESSEY Yeah, yeah. What else, we got a fucking lightning rod on the roof...? No, Caitlin, *don't check*. He PEELS OUT. CHARLY Hey... you're bleeding... HENESSEY I think that's yours... CHARLY Right, sorry... He inadvertently smacks a light pole. SPARKS fly. CAITLIN *You're a bad driver! Who said you could drive*? EXT. PARKING LOT - BESIDE THE TANKER - SAME TIME They have to drag Timothy inside the car. The engine ROARS as it leaps forward, trailing the other FIVE -- Scarred and hideous, he stares after Charly, screaming: TIMOTHY *Somebody do her, somebody kill that fucking whore, kill her*! That's when the helicopter crashes. The pilot does everything but flap his arms -- Forget it. IT KEELS OVER. Rotor touches pavement -- Blows to pieces. They ALL go. Snapped off. Blown like rockets in every direction. TIMOTHY LOOKS UP as a rotor blade whistles right through the windshield of his car. Shears off his HEAD. Blows out the BACK in a shower of glass and hurtles onward, SPINNING out of control... Strikes the tanker. Boom. Imagine God in Monte Carlo. Tossing dice the length of a craps table. Now, imagine the dice are BURNING CARS. EXT. EDGE OF PARKING LOT - SAME TIME Henessey flies out of the parking lot and INTO the WOODS as the firestorm RAGES TO HEAVEN behind him. Cars, heading his way -- AIRBORNE. Fights the wheel, swerving through the woods as all around him, FLAMING CARS crash down. BOUNCING into and out of the trees, peekaboo... Some go flying past OVERHEAD. Striking in front like meteors, GOUGING the earth. Caitlin screams: CAITLIN Don't hit the cars! Henessey favors her with a foul look. CHARLY looks up and sees ANGELS flying overhead, trailing concrete... Then they're OUT OF THE WOODS. Car slingshots onto the highway and races forward, SAFE. Behind it, the sky is aglow, SNOWING fiery traces... Bits of earth, trees, pavement. OVERHEAD VIEW: As they roar out of town, we see burning woods and a CRATER approximately 150 yards in diameter -- St. Peter's Seminary no longer exists... CUT TO: EXT. ROADSIDE - OUTSIDE OF TOWN - NIGHTTIME Henessey coasts to the side of the road and stops. He lays his head on the steering wheel, sucking air. Looks at Charly: HENESSEY Sorry, can't drive... Are you okay...? CHARLY (grimaces) ...Are you... stupid...? HENESSEY ...funny thing...? You aren't going to die... I am... Charly offers him that soft, sad little smile. CHARLY I know. Henessey starts to fade... breathing labored... Reaches up... strokes Caitlin's hair. Smiles at her: HENESSEY Hey, gorgeous... know something... you got your mother's eyes... don't let... nobody tell you different... Slumps back in the seat. Gazing at Charly. A single tear runs from one bloodshot eye. He whispers: HENESSEY Scared... to be nobody... without a ripple... please... remember me... (beat) ...Love you... Dies. Charly leans on the dash. Cries for awhile. For herself... for Henessey... for this Godawful planet, and everything else. DISSOLVE TO: INT. FARMHOUSE - SAME TIME A MOTHER SITS in the glow of a Winnie the Pooh nightlight. Next to her sleeping daughter's bed -- back to the very beginning of the film, it's been a long kiss goodnight. An elderly FARMER pokes his head in. She doesn't look up. DOCTOR Um, Ma'am...? Ambulance is here. They'll be right in. The shadowy figure nods... Remains seated. Stays awhile in the dark. Keeping vigil. Snow slithers against the glass. SLOW DISSOLVE TO: EXT. PALATIAL GEORGETOWN ESTATE - EARLY MORNING MR. PERKINS emerges from a guest cottage, flanked by his aide Harry. AIDE ...They'll push for dismantlement of our apparatus in Chile, but we've got a degree of plausible deniability... Harry's FOOT comes down on a circular slab of STONE -- and a voice from the grave says: VOICE (O.S.) Stay very still. Stops him in his tracks, stops him dead -- As CHARLY BALTIMORE steps from the nearby trees. Stands, twenty yards downrange. Beretta leveled at both of them. Two months, you barely notice the limp. She stands there in sleeveless top and short skirt and looks like a million. Thumbs a metal box, click-! A red ARMING LIGHT blinks on. CHARLY Good morning, I'm Charly. The slab you're standing on is actually a land mine. Keep your foot on the pressure plate, nothing happens. Step off the stone, we'll all be wearing you. PERKINS steps forward. The gun shifts. Targets him. PERKINS Charly, I know we've treated you poorly, please, it was just business -- She reaches in a pocket. Tosses him a cellular phone -- He catches it as though it were a live snake. CHARLY My terms are these. Call State and order full disclosure on your personal correspondence. Then disband Chapter, effective immediately. In exchange...? I won't shoot you, and I won't make you stand on that mine. I won't touch you. I won't touch you. I promise. PERKINS You... you promise. He swallows hard. Looks to his aide... back to her... DIALS. Charly takes a deep breath. Scans the flowers, face placid. It's really quite lovely today. Maybe she'll start a garden. Perkins clicks off. Look at Charly: PERKINS It's done. Now, you promise... you won't shoot me... won't make me get on the mine...? CHARLY I promise. She smiles. Shifts her aim and shoots the other guy. Perkins' eyes WIDEN in sudden realization. He LUNGES forward, grabs the aide, holding him up... desperately propping his dead weight atop the land mine... PERKINS Goddamn you, I can't hold him... You bitch... YOU FUCKING BITCH...! EXT. GEORGETOWN AVENUE - DAYTIME Henessey's CHRYSLER CONVERTIBLE has been restored to a cherry red. It purrs along the boulevard, Charly at the wheel. Hair blowing. She talks on the cellular phone: CHARLY Yes, Mr. President, you have my assurance that Perkins' latest operation has been rendered beyond salvage. Behind her a GOUT OF EARTH blows skyward. Showers the road a ways back. CHARLY He's not in the greatest shape either. INTERCUT - PRESIDENT OF THE UNITED STATES He speaks from the oval office, face grave: PRESIDENT I owe you an astounding debt of thanks, Colonel. Would it be impertinent to ask if you'd consider working for State again? The moneys involved would be substantial. CHARLY Out of the question. I've got a stack of papers to grade. Listen, before I go, I need a small favor... EXT. SUBURBAN HOME - AKRON, OHIO - DAY Henessey's EX-WIFE stands in the open doorway, flanked by her son TODD. Two uniformed COPS speak solemnly: UNIFORM COP #1 ...As I say, we can only apologize for the system, Ma'am, but it's confirmed that your husband is innocent of the crime for which he was imprisoned. This is a photograph of the actual criminal... He shows her a mug shot of TIMOTHY. UNIFORM COP #1 A petty thief, now deceased. I'll respect your wishes should you choose to file charges against the State Attorney... In the eyes of a young boy, Henessey finds redemption. EXT. HOUSE - EDGE OF WHEATFIELD - TWILIGHT Sun, passing into mystery. Wheatfield, rippling. Caitlin is in the yard, chasing a big floppy-eared Labrador. On the porch, a CRICKET chirps. HAL comes out, sits beside his wife CHARLY as she finishes eating. Says softly: HAL Just talked to Dr. Sullivan, she's gonna need the full braces. Even with your teaching, insurance won't cover it... I don't know what to do. Pause. Charly says nothing. The dog parades up to Caitlin with a stick in its jaws. A farm truck goes by, a faraway speck. Charly absent-mindedly rolls a steak knife in her fingers. Eyes far away. It never occurs to her what she's done until the chirping stops. Ten feet away, the knife quivers. FADE OUT. ROLL END CREDITS. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Looper.txt b/unformated_scripts/Script_Looper.txt new file mode 100644 index 0000000000000000000000000000000000000000..7a7de48773a7025e7845a6d032839f8d811d9f08 --- /dev/null +++ b/unformated_scripts/Script_Looper.txt @@ -0,0 +1 @@ + LOOPER Written by Rian Johnson Production draft EXT. EDGE OF CORN FIELDS - DAY A pocket watch. Open. Ticking. Swinging from a chain. Held by a young man named JOE in a clearing beside a Kansas corn field. Sky pregnant with rain. Waiting. He checks the watch, removes his earbud headphones, stands. Without much ceremony a BLOODIED MAN in a suit appears from thin air, kneeling before the young man. Hands and feet tied. Burlap sack over his head. Muffled screams, gagged. With no hesitation Joe raises a squat gun and blows the man apart with a single cough of a shot. LATER Joe loads the corpse into the flatbed of his truck. Cuts open the back of the body's jacket, revealing FOUR bars of gold taped to the dead man's back. Joe takes them. EXT. INDUSTRIAL PLANT - DAY Massive, in the middle of nowhere. Black smoke. JOE (V.O.) Time travel has not yet been invented. But twenty five years from now it will be. Once the technology exists, it will be relatively cheap and available to the public at large. And so. It will be instantly outlawed, used only in secret by the largest criminal organizations. And then only for a very specific purpose. Joe drives up and parks his truck, removes the wrapped corpse from the flatbed. JOE (V.O.) (CONT'D) It's nearly impossible to dispose of a body in the future. I'm told. Tagging techniques, whatnot. So when these future criminal organizations in the future need someone gone, they use specialized assassins in our present, called loopers. INT. INDUSTRIAL PLANT - DAY Cavernous and empty. Joe carries the body to an iron hatch, opens it, and dumps him in. 2. JOE (V.O.) And so. Thirty years from now. My employers in the future nab the target, they zap him back to me, their looper. And I do the necessaries. So the target has vanished from the future, and I've just disposed of a body that technically does not exist. Clean. The body slides down a long chute. Vanishes in a little flare of angry red fire. EXT. DINER - DAY A sidecar roadside diner in the middle of nowhere. Joe's truck in front. INT. DINER Nearly empty, Joe at a booth listening to headphones. A waitress sets down coffee. Her bright red name tag: BEATRIX. BEATRIX Bon jour, Joe. JOE Bon jour, Beatrix. BEATRIX How's the French? JOE Slow. How's the coffee? BEATRIX Burnt. Cream in the coffee. White clouds boil deep down. EXT. FARMLAND ROAD - DAY Joe's truck zooms from the flat fields towards a mid sized city on the horizon. INT. PAWN SHOP - DAY Grungy, heavily fortified. Joe enters and puts his gun in a basket labeled ‚ÄúLOOPERS - BLUNDERBUSSES‚Äù Slips down a narrow passage, which ends at a steel wall with a protruding duct taped camera and microphone. JOE Two, Jedd. 3. Joe fishes the two gold bars from his jacket. A small narrow slot slides open in the wall, and gnarled old hands take the gold bars. It slides shut again. In the background the front door to the pawn shop dings open. The slot slides open and Jedd's hands push a wad of cash. Joe pockets it, and backs around Dale, another Looper. DALE Hey Joe. Be at the Belle tonight? JOE Yup. Dale hands four gold bars through the slot as Joe retrieves his gun and exits. DALE Four, Jedd. INT. JOE'S APARTMENT - AFTERNOON High ceilings, big clean windows overlooking a sooty city. Joe finishes smoothing out an oriental rug and scoots a coffee table in place over it. Puts a bebop LP on a turntable. LATER On the bed, shooting at the ceiling with his fingers. JOE Bon jour, mademoiselle. Bang! INT. CAR GARAGE - EVENING Suit-and-tie Joe pulls a tarp off a cherried-out 1992 Mazda Miata. Lingers over it. His baby. EXT. CITY STREETS - EARLY EVENING Joe drives through the sooty city streets. A muted beep, and he fishes a matchbook sized screen from his pocket. JOE Yeah Seth? Yeah. Ok. 4. EXT. STREET CORNER - EARLY EVENING A young looper named SETH on the side of the road, kneeling beside a motorcycle without wheels called a SLAT BIKE. He kicks it in frustration. A VAGRANT approaches and SETH pulls a gun, identical to Joe's. SETH Walk around! Around, I'm not kidding. Wide around, ya shit. The vagrant crosses the street. Joe pulls up. JOE Seth. SETH Hi Joe. JOE That's new. Seth kicks the bike. SETH Thanks. Goddamn thing. You going to the Belle? EXT. DRIVING THROUGH THE CITY STREETS Seth and Joe. JOE Slat Bikes are all junk. Stick with rubber on the road. SETH Yeah but Gat Men pull up in them, they get respect. JOE They get respect cause they run the town. How much did that thing set you back? How much? Seth holds a quarter idly in his palm. SETH I was gonna pull up in it. Tonight. Heads or tails, call it in the air. The coin lifts, floats several inches in the air, quivering. 5. JOE Congratulations. You're pulling up with me instead. Joe notices the floating quarter. JOE (CONT'D) And don't, if we're going in, don't do that. SETH Chicks dig TKs. JOE It's tacky, don't do it. Seth catches the quarter, sullen. JOE (V.O.) (CONT'D) When the TK mutation started appearing in the general populace it was on every magazine - ‚ÄúNext Step in Evolution, what's next.‚Äù Everyone got tested. But turns out this was it, and now it's just a bunch of assholes thinking they're blowing your mind by floating quarters. EXT. LA BELLE AURORE - NIGHT A shitty but bright nightclub in the heart of the city. Flashy people shiver behind a velvet rope, huge black cars, big rollers in odd suits swept in by the bouncers. All trying very hard to be big time. JOE (V.O.) Big heads. Small potatoes. Drives past, revving the engine. EXT. PARKING LOT Down the street. Joe tosses the keys to an attendant. EXT. LA BELLE AURORE SIDE ENTRANCE A dingy stage door in back of the building. Joe and Seth ring a buzzer, smile for a camera, and the door opens. INT. COAT CHECK A long dark hallway leads to a tiny antechamber with a coat check room used for guns. BIG CRAIG leans out of it, and stops the two. 6. BIG CRAIG No loopers in the club on Wednesdays, Joe. Gat men only. Seth backs towards the door, Joe stops him. JOE We'll stick backstage, just meeting up. In and out. BIG CRAIG Packing your blunderbusses? JOE Hardly. Right Seth? SETH Hardly. I'm with Joe. Big Craig pats them down, waves them in. INT. BACKSTAGE A claustrophobic maze of twisty halls and passages. DANGEROUS MEN and half naked SHOW GIRLS weave through. Joe expertly navigates the turns, going someplace. Seth struggles to keep up. SETH So are we - hey - Joe has vanished. Seth stops meekly, butted by passing men. INT. BORDELLO ENTRANCE An ornate parlor, LACY WOMEN entertaining men. A velvet curtained doorway leads to back rooms. Joe lingers by the entrance, watching one girl in particular, SUZIE. Bold dark eye makeup. A BIG MAN leads her off through the curtains. Joe's eyes drop. Pained. A fat MADAME doesn't look up from her ledger. MADAME No loopers on Wednesday, Joe. Gat Men only. JOE So I've read. He ducks out. 7. INT. BACKSTAGE Joe plods. Dale, the Looper from the pawn shop, passes fast. Curious, Joe follows. They pass Seth, who tails after them. SETH Hey, Joe. We leaving? Cuz, what- Joe? And Seth loses them again, butted back by passing men. INT. STEEP STAIRS A starkly lit steep stairwell leads down. Five or six young loopers gather at the top. Joe and Dale join them. JOE What? DALE Zach. In there right now, with Abe. Dale makes a quarter float above his palm. Joe rolls his eyes. JOE For what? DALE He closed his loop. This lands heavily on Joe. JOE No shit? The door at the bottom of the stairs opens, and ZACH, another looper, steps out. An OLDER MAN'S HAND pats his shoulder then retracts into the door. The loopers watch him in awe. JOE (V.O.) (CONT'D) There's a reason we're called loopers. EXT. ABANDONED LOT - DAY (FLASHBACK) Zach stands waiting, checking his wristwatch, gun in hand. Obviously performing a similar ritual to Joe's. JOE (V.O.) Time travel in the future is so illegal, that when we sign up for this job we agree to a very specific proviso. 8. Zach raises his gun. JOE (V.O.) (CONT'D) If our employers in the future get busted up by the law, their first priority is going to be erasing any trace of their relationship with us ever existing. A flash of light, and a HOG TIED MAN with a sack over his head kneels in front of Zach. Zach fires, and the man's chest explodes. JOE (V.O.) (CONT'D) So. If they're busted, and if we're still alive 30 years from now, they'll find our older self and zap him back to us, like any other job. Zach rips open the back of the corpse's jacket, revealing several dozen gold bars taped to his back. JOE (V.O.) (CONT'D) This is called closing your loop. Zach freezes. Looks at the shape of the corpse's face through the sack. JOE (V.O.) (CONT'D) And you get paid out a mythic amount of money, and you get a handshake and get released from your contract. Enjoy the next 30 years. INT. STEEP STAIRS Zach reaches the top of the stairs, a grin on his face. JOE (V.O.) This job doesn't tend to attract the most forward thinking people. ZACH So are we celebrating? At the bottom of the stairs, a skinny young thug in ratty jeans. This is KID BLUE. KID BLUE No loopers on fucking Wednesdays! The loopers collectively flip him off. 9. ZACH Suck one, kid! INT. LA BELLE AURORE CLUB - NIGHT Lurid and very loud mixture of a dance club and cabaret. One by one the LOOPERS emerge from side exits, sneaking in. Paupers at the feast. INT. LA BELLE AURORE BATHROOM - NIGHT Joe and several other Loopers pass around an EYE DROPPER. Pupils slacken. The drug spins him into a slurred revelry. INT. LA BELLE AURORE CLUB Joe staggers out on the dance floor. Miles high. EXT. LA BELLE AURORE - NIGHT Joe and the loopers are kicked out by burly GAT MEN, followed by Kid Blue, pointing and yelling at them. The loopers laugh their asses off. EXT. CITY STREETS - NIGHT Joe's Miata screams through the abandoned city streets, racing with several other loopers in trucks and sports cars. IN THE CAR Jammed with Seth and Loopers, Joe at the wheel. Still so high. Suddenly one of the Loopers SHOUTS -- Joe slams the BRAKES EXT. VAGRANT VILLAGE - NIGHT Screaming to a halt just shy of a malnourished BEGGAR KID. Caught in the headlights. Behind him, a miserable vagrant village in a field. IN THE CAR Joe stares at the kid, frozen. A moment. Then spins the wheel, peels out. The Loopers hoot and shout. Joe's Miata screams along the dirt road bordering the vagrant village, whizzing past open fires and dirty huddled families. JOE'S FACE - serene and focused. Going somewhere. EXT. SETH'S APARTMENT - DAWN Joe drops Seth off at his building with its bright red garage. 10. JOE Sell that goddamn slat bike back. That's a lot of stupid money. SETH I got stupid money. Seth holds his hand under fuzzy dice hanging from Joe's mirror, and they spin. JOE Alright. Seth stumbles toward his door, checks his pants. SETH I think I did something. You know what? TKs are special. Fuck you. JOE Hey Seth. Seth slumps against the car. JOE (CONT'D) Alright, Zach. What's his payout, 30? 40? If that? That's not going to last you 30 years. And it won't get you overseas. SETH Overseas... JOE So in five, ten years you're back to riding the rails, or worse you're like Kid Blue, working as a gat man, wagging your dick at loopers and roughing up shop clerks for payoff money. SETH Fuckin Kid Blue. JOE Save a little something. Alright? Cause that'll be yours, and then you've got yours and that's all that matters, your life is your own. SETH I gots mine you gots yours. I wish I was smart like you. Saint Joe. Seth pats Joe's cheek, and waddles off towards his apartment. 11. INT. JOE'S APARTMENT - MORNING An alarm wakes Joe, red-eyed. INT. JOE'S APARTMENT ENTRYWAY - MORNING In his bathrobe, Joe checks his apartment mailbox. A slip of folded paper inside, with ‚Äú14:30‚Äù handwritten on it. INT. JOE'S APARTMENT Dressed now, Joe double-checks his french book for a phrase and heads out. EXT. FARMLAND ROAD - DAY Joe's truck zooms away from the city, into corn fields. EXT. CORN FIELD Joe's pocket watch at 2:29, ticking away. A hog-tied MAN with a sack on his head appears before Joe. Shoots the man in the chest, without hesitation. INT. DINER - DAY Joe sits at a booth, the waitress Beatrix brings his coffee. BEATRIX Bon jour Joe. JOE Ravi de te voir, Beatrix. BEATRIX Ooh la la. INT. PAWN SHOP BACK ROOM - DAY JEDD, 70s and knarled, sits in a tiny closet of a work room. Following a BUZZ, Joe appears on a fuzzy monitor, standing in the hall. JOE (OVER SPEAKER) Two, Jedd. Jedd opens a slot and takes two gold bars from Joe, then hands him out a small stack of cash. Marks in a notebook Joe's name, the date and the number ‚Äò2'. All the other transactions have the number ‚Äò4'. INT. JOE'S APARTMENT Joe smooths out the oriental rug. 12. INT. LA BELLE AURORE CLUB - NIGHT Joe drinks with Dale, watches a group of Loopers celebrating at another table. DALE What's that, fourth loop closed this month? Dale casually makes a fork float above his palm, lifting his eyebrows at passing ladies. JOE Fourth. On the stage, flinging her legs with a line of can-can dancers, is Suzie. The girl Joe watched in the bordello. As her dance ends Joe stands and goes backstage. INT. BACKSTAGE Suzie weaves towards her dressing room. Joe catches her. SUZIE Hey. JOE You working a shift tonight? SUZIE Yeah. (REALIZES) Yeah, but one of the gat men bought me out already. For the night. JOE Oh. SUZIE Sweetie. I gotta work. She leaves him watching her go. He turns - sees Kid Blue leaning in the shadows. He's seen this whole exchange. The Kid smirks. INT. LA BELLE AURORE CLUB Joe bursts back into the club with a vengeance. INT. JOE'S APARTMENT - NIGHT - LATER Joe staggers in. Not doing so hot. 13. INT. JOE'S BATHROOM - NIGHT Looks at himself in the mirror. Eyes red as candy. He pops open a hidden drawer next to his medicine cabinet, pulls out an eye dropper and puts one in each. INT. JOE'S APARTMENT - LATER THAT NIGHT A harsh POUNDING. Joe, flopped on the bed, stirs. Then wakes with a jump, shaky on his feet. Goes to the door. A screen shows nobody in the hall outside. Still punch-drunk, Joe listens. POUND POUND POUND. The window. Joe slides it open. Seth tumbles in off the fire escape. JOE Jesus, Seth. SETH They're gonna be here any minute, are they here? JOE No, they're not here. Who? SETH Christ. Joe. Christ. Joe's eyes focus a bit, he tunes in to the situation. Turns the apartment lights off. SETH (CONT'D) (re: the lights) What are you doing? Right. Smart. JOE Seth, sit down here. CRASH! Seth knocks something over in the dark. Joe opens the fridge, pale light. Seth sits at the kitchen table. SETH Late to my own funeral. Mom always said... JOE Tell me now. SETH Christ, Joe. Late to my own goddamn funeral. Can you help me? 14. JOE Seth, what did you do? SETH You can protect me a little, right? Just so they don't... jeez. Oh jeez. This is like a nightmare. This is a nightmare. JOE (V.O.) I knew then what he did so I don't know why I asked. JOE (CONT'D) What did you do? Seth lifts his eyes to Joe. SETH He was singing. EXT. CORN FIELD - DAY (FLASHBACK) FLASH: a hog-tied man with a sack over his head appears. Singing. Seth, with his gun raised, hesitates. SETH (V.O.) Through the gag and mask, but I could hear the tune. Deep memories, my mom in a dark room, singing. Back warm and safe, when I coulda still been good. And once I knew it was him... Joe I couldn't. I couldn't. I had to see. Seth pulls the sack off the man's head. INT. JOE'S APARTMENT SETH Joe I can't even tell you. Looking in his eyes. I had to let him talk, then. I don't even remember the words, but I remember believing every one of them, or not even believing, but submitting. I've never felt that small before. I've never felt that happy. He told me. I remember, there's a new holy terror boss-man in the future, and he's closing all the loops. The Rainmaker, they call him. He told me. (MORE) 15. SETH (CONT'D) Then he wanted a cigarette and I untied him, and he gives me this look. And he just starts running. EXT. CORN FIELD - DAY (FLASHBACK) Seth standing with his gun in his limp arm, receding behind us as we run away. SETH (V.O.) And I had my blunderbuss so I know he's got about fifteen strides till he's out of my range. And they come and go, and I just watch him till he's gone. INT. JOE'S APARTMENT Seth breaks down crying. JOE (V.O.) This is called letting your loop run. It's not a good thing. SETH What do I do? You're the only friend I got Joe you gotta help me JOE You fucking idiot coming here. Seth, sucker punched. JOE (CONT'D) You can't be here, I'll give you a little money but you gotta SETH Joe? A little - where am I gonna - JOE You hop a freight train, you beat it the hell out POUND POUND POUND. On the door this time. Seth makes a sound like he's going to die, Joe closes the fridge, hisses JOE (CONT'D) Shut up. Don't move. Goes to the door. Two GAT MEN and Kid Blue stand outside. KID BLUE Open up Joe! (to the gat man) Watch the window. 16. Joe spins from the door. Considers briefly. JOE I can't do anything for you Seth. Seth crumples to his knees, grasping Joe's hand. SETH No! You gotta hide me! Joe, hide me, please Christ please Joe please hide me tell em something to buy time and I'll leave please- POUND POUND POUND. JOE Hold on! Watching Seth, Joe's face breaks in a moment of decision. He flips the lights on, and briskly pulls back his oriental rug. A FLOOR SAFE with a touch pad. He enters a code, opens it. Wide and deeper than you'd expect, lined with gold bars. Big enough for a man. Seth scrambles in. Joe takes one last look at Seth's frightened, grateful face, framed by the gold bars, then closes the safe and smooths the oriental rug. POUND POUND POUND- Joe opens the door. Kid Blue storms in, his gun drawn, sweeping through the apartment with over-eager purpose. One gat man stays outside, the other casually sits at Joe's kitchen table. Kid Blue gets in Joe's face. KID BLUE That took awhile. JOE You think it's easy looking this good? KID BLUE Tye's going to watch your apartment while we go have a talk with Abe. Joe grabs a jacket. JOE There's coffee in the tin. TYE Thank you. EXT. LA BELLE AURORE - DAWN - ESTABLISHING 17. INT. STEEP STAIRS Kid Blue leads Joe down the stairs and into the door at their base. INT. WAITING ROOM Dingy with a few benches. In one wall three steep stairs lead to a high door. Kid Blue knocks. Muffled voice from WITHIN: ABE (O.S.) Two minutes. LATER Joe and Kid Blue on benches, facing each other. The Kid stares daggers and spins his gun. Joe tries his best not to engage. KID BLUE You know why they call that pea shooter a blunderbuss? Cuz it's impossible to hit anything farther than 15 feet, and impossible to miss anything closer. A gun for fuck up turkeys. Not like a gat. A gat has range. Accuracy. His gun spinning gets fancier. His gun meaner looking than Joe's blunderbuss, long and slim and chrome. JOE Alright, cut it out Kid. You're gonna blow your foot off again. The Kid almost snaps back, but then grins. KID BLUE You're right, it'd be real easy for it to accidentally go off. He clicks the safety off. Joe shifts uncomfortably. JOE C'mon. KID BLUE Don't disrespect a gat man, Looper. Joe stifles a chuckle. In a flash, the Kid stands and pistol-whips him across the face. Joe falls back. The Kid raises his gun at Joe. Frozen in that tableau a moment, the Kid savors his victory. Lowers his gun. 18. ABE (O.S.) What the hell is going on out there- The high door swings open fast, SMACKING Kid Blue hard on the side of the head. His gun goes off, firing into the wall. Out of nowhere three gat men burst into the room, guns drawn. ABE, a sallow man in his 50s, appears in the high doorway. KID BLUE S'alright, s'alright. Humiliated, the Kid tries to stand, but falls over again. After a moment everyone realizes what's happened, and the tension breaks. ABE Alright. Joe. Joe climbs into the doorway. Kid Blue stands shakily. ABE (CONT'D) You didn't shoot your other foot off, didja kid? The door closes, and the gat men laugh at the Kid. INT. ABE'S OFFICE Cluttered, with a big desk. Joe sits, Abe hands him a handkerchief for the ugly gash on his cheek. ABE My great grandfather always told my grandfather, men's like spiders. It's the little ones you gotta be careful of. JOE Dunno I agree with that. ABE Oh yeah? Well. What the fuck did my great grandfather know. JOE (V.O.) This man is from the future. He was sent back here by the mob, a one way ticket, to run the Loopers. That's low effort even for Abe, so to pass the time he recruited some real muscle, the Gat Men. Now he runs the city. Any other city, that'd be impressive. Abe settles in his chair. Regards Joe. 19. ABE How can you kids stand those chokers? This, the cravats. JOE Ties. ABE Ridiculous. You're aware we don't have a dress code. JOE (SHRUGS) Fashion. ABE You know, you don't know, the movies you're dressing like were copying other movies. Goddamn 20th century affectations, do something new. Put a glowing thing around your neck or use... rubberized.. (waves at Joe's suit) Be new. JOE Okay. A beat of silence. JOE (CONT'D) Well it was nice chatting with you Abe. ABE I do like you, Joe. But we're sure enough Seth paid you a visit we're gonna hafta do something about this. JOE Seth? ABE You're expecting we're gonna break your fingers with a hammer or something awful, and I'm going to diffuse that tension right now, that isn't going to happen. What's going to happen is, I'm going to talk for a little, not even that long, then you're gonna give up your friend. JOE My friend Seth? I'm confused. 20. ABE Well then I'll talk a little. You know you were the youngest looper I ever hired? You looked goddamn ridiculous they said, the blunderbuss up to here on you. But I remember they brought you in, I forget what it was for, JOE Watch shop. ABE That's yeah, you had rolled one of our fronts, a watch shop. And they had you, your arms pinned, this kid. Like an animal. But you looked at me, your hair stuck to half your face so just this one eye looking at me. And I thought what's this kid lived through, what he had taken away from him. What's he lost. And I could see, like seeing it happen clear as seeing it, the bad path in front of you, the bad version of your life. Like a vision I saw it happen, you turning bad. So I cleaned you up and put a gun in your hand. I gave you something that was yours. JOE You know I'm grateful, Abe. Genuine. But Abe shakes his hands, not where he's going. ABE I gave you something that was yours. And I remember that kid, and I think when you ask yourself you ask who would I sacrifice for what's mine, I think Seth is deep and cozy inside that circle. Pause. Both their eyes go to a hammer sitting on the desk. ABE (CONT'D) That hammer's there for something else later, that's not, it's a bad coincidence. JOE Okay. ABE Show you how much I know you, I'm not even gonna break you, just set you back a ways. (MORE) 21. ABE (CONT'D) We know you've been stashing half your bars. Which is smart. You give up Seth, or you give us half your stash. For Seth. Joe holds Abe's gaze for a moment, then his eyes drop and it's over. JOE Will you kill him? ABE No. Would be too cataclysmic a change to the future. What we'll do is dangerous in that regard, but not as dangerous as killing him, and not by twice as having him run free. (BEAT) Joe I let him run more than a few days, the boys in the future get nervous, then bing! my replacement shows up. With a gun. So we'll do what we have to do. Silence. JOE Floor safe, beneath the rug. 6742. One of the gat men quietly exits. ABE It's the little ones that get you. INT. WAITING ROOM Abe leads Joe out, past gat men and Kid Blue, smirking again. ABE Why don't you kill an hour, Joe. On the house. After Joe exits, Abe and Kid exchange looks. ABE (CONT'D) Call the doc. INT. BORDELLO ENTRANCE Joe slumps in. Several girls, none of them Suzie. MADAME Suzie's just getting off. Doubt she's up for it. He pushes through the velvet curtained door. 22. INT. BLACK HALLWAY A large gat man pushes past Joe. At the end of the hall, Suzie leans in a doorway smoking a cigarette. Not sexy, just tired. She sees Joe, and is about to say no. But she sees Joe's eyes, and doesn't. Exhaling a plume of smoke, she withdraws into her doorway. Joe follows. Through her smoke. INT. SUZIE'S BEDROOM - LATER Suzie naked at the mirror. She goes to Joe, lying on the bed, distant. JOE I can't remember my mother's face. I remember her touching my hair. Like this. He takes Suzie's hand strokes it over his hair. She smiles briefly, tired, then takes her hand away and puts drops in his eyes. JOE (CONT'D) Do you want to go overseas? SUZIE Do I want to go overseas? With you? Now? JOE Soon, maybe. SUZIE Baby that's sweet. You're a sweet boy. You gotta be careful, it's easy to think you know someone once you been like this. What's in here is services rendered. JOE Is that how it aughta be? SUZIE What, in nature? (BEAT) You know I get this a lot. Especially young guys. I must have wife eyes or something. His face clouds. 23. INT. JOE'S APARTMENT - NIGHT Joe gets home. Empty, quiet. Everything in place. He goes to the rug, pulls it aside. Opens the safe. All the gold, and nothing else. One bar juts from the side, knocked out of place. He pushes it back, and when he lifts his fingers they have a bright smear of fresh red blood. EXT. CITY OUTSKIRTS - NIGHT A hunched figure sprints through an abandoned lot towards a train yard. It is a 55 YEAR OLD SETH. He limps up to a razor-wire fence bordering the train yard. Surveys the sharp wire, rips the lining from his jacket and wraps first his left hand then his right. But stops. On the palm of his right hand, a WEATHERED SCAR. Clearly carved in the shape of an arrow, pointing down to his wrist. Old Seth squints at it, confused. He pulls back his sleeve, revealing his clean bare forearm. Then his face changes. Because his arm is no longer bare. Suddenly, out of nowhere, more intricate scarring has appeared down its length. The scars spell out clearly: ‚ÄúBE AT 75 WIRE STREET IN 15 MINUTES¬Äù Old Seth's breath returns, jagged. He pulls his sleeve up and hoists himself up the fence, climbing fast. He reaches the top, gets a good grasp on the wire to hoist himself over... and stops again. His right hand is missing a finger. The ring finger is just gone, its stump worn with age. Old Seth stares. And now his middle finger is gone as well. A freight train whistle moans. The cars, open and inviting, leading out of town. Behind him, the city. Terror and indecision seizes his chest, so much so that it takes a moment for him to realize the sound of his breathing has changed to a ragged whistle. 24. He lifts his hand, now with just two fingers, to his face... and the smooth scarred hole where his nose used to be. EXT. CITY STREETS The train yard far in the distance. Old Seth RUNNING back into town. He looks down at his right hand, fingerless now but for his thumb. He speeds up, desperate. Cuts through an alley. And has no right hand, just a stump. OLD SETH No no no no no! A bell-like DING. Old Seth spins, sees a WEDDING BAND lying on the sidewalk. He picks it up with the four remaining fingers on his left hand, stuffs it in his pocket, sobbing. Bursts out of the alleyway, limping now, straight into the street and into the headlights of an oncoming car. The car screeches to a halt, and its harsh white light shows Old Seth's missing right ear, and deep scars down his face. IN THE CAR Old Seth throws open the drivers side door and throws out the DRIVER. Jams on the gas. Speeding through the streets, hands slipping on the wheel. His pant leg crumples. Empty boot tangling with the pedals. EXT. WIRE STREET The car hits a pole. Out climbs what's left of Old Seth, his face mangled, missing a foot, one arm gone to the elbow. Street sign - WIRE STREET. The numbers, 45. He runs. Howling, missing his tongue. Arm totally gone. Then falls as his leg goes to the knees. And he's crawling, an animal form, bellowing wordlessly. Makes it to an iron street-side door. 75. And with his one arm, slams it. Slumps against it, heaving. After a long moment it swings open. 25. With no hesitation, a BLAST from the darkened doorway, and Old Seth's head mists open. He slumps to the pavement. Kid Blue steps from the doorway, drags the body inside. Deep in the dark doorway we glimpse a DOCTOR in a surgical frock smeared with bright red blood. The door SLAMS. INT. JOE'S APARTMENT - MORNING Joe wakes with a start. EXT. CORN FIELD Joe's pocket watch at 2:29, ticking away. He takes his stance. Earbud headphones, the drone of French lessons. A hog-tied MAN with a sack on his head appears kneeling before Joe. Joe raises his gun without hesitation and shoots the man in the chest. Walks to the body, flips it. The man's hands, tied and purplish. Joe hesitates. Puts his hand next to them. Similar. He flips the man onto his back, stares long and hard at the shape of the man's face under the cloth sack. Tears it off. An older Asian man's face, frozen in terror. Joe smirks, the spell broken. His face hardens. INT. PLANT - DAY Joe watches the Asian man's body slide down the hatch and vanish in a puff of distant fire. BEGIN MONTAGE: 1. Joe in the club, drinking, watching more loopers celebrate. 2. Joe in the field, he shoots a hog-tied man. 3. Joe in his floor safe, setting more gold bars. 4. Joe in the field, BANG. 5. Joe in the club, watching Suzie with her red hair. 6. Joe in the field, BANG. 7. In the plant, a body sliding into the fire. 8. Joe in the field, BANG. BANG. BANG. His face more determined with each shot. 26. EXT. CORN FIELD - DAY Our montage comes to an end suddenly and all is silent. Joe in the corn field, in his stance, ready to draw. But nothing happens. Silence. Joe checks his watch, confused. 2:30 and change. Waits. Watching the blank space where the man is supposed to appear. Hand on his gun. Breathing shallow. Something is wrong. 2:32. An eternity. Then, there he is. But different. Not kneeling. On his side, so he flops over and has to straighten himself. The man's hands are UNTIED. Holy shit. Joe raises his gun, scared. Time slows. Finger tightens on the trigger. Then he sees: the man has NO SACK ON HIS HEAD. And the face that stares back at Joe is his own. 57 YEAR OLD JOE. His eyes fixed on Joe. And for just one split second, Joe's face slackens, and his finger eases on the trigger. It's all the hesitation Old Joe needs. He throws his body into a spin. Joe snaps out of it, and PULLS THE TRIGGER. The shot catches Old Joe square in the back, and the impact blows him forward. But instead of blood beneath his torn jacket's back, we see the layered gold bars spill out. They caught the blast. In what seems like one fluid motion Old Joe's fingers grab one of the bars, he spins again, throwing handfuls of dirt and the bar back towards Joe. Joe flinches, again just for a moment, and when his eyes focus again and his arm steadies the gun it's too late. Old Joe is on top of him, with a heavy blow knocking the gun aside, and with an even heavier one swinging down on Joe's head, a fist and then THE CORN FIELD, HOURS LATER Joe wakes. Blood caked on his face. Headphones beside him, still squawking French lessons. Sits up. 27. JOE Oh god. Gold bars scattered in the dirt. But no Old Joe. And no truck. Joe staggers to his feet, shaky. Head thick. But realizing. JOE (CONT'D) Late to my own funeral. EXT. FARMLAND ROAD - LATE AFTERNOON Joe runs, shaky, towards town. Fishes his phone-device from his pocket, chucks it. EXT. JOE'S APARTMENT BUILDING - NIGHT Across the street, Joe huddles behind a car, breathing hard. Looks up at his lit window. Debating. INT. JOE'S APARTMENT HALLWAY Joe walks silently towards his apartment door. It is ajar. He hesitates. Knows he shouldn't. INT. JOE'S APARTMENT Holding his breath, Joe edges in. It's ravaged, torn to pieces. The floor safe is open, about half the gold bars missing. But the apartment seems empty. Exhaling, Joe works quickly. Knocks a tile aside, pulls a wad of cash from the wall. A heavy jacket from the closet. Eyes dart around the room - what else? But too late -- footsteps in the hallway. Joe ducks into the bathroom just as Kid Blue and a TALL GAT MAN enter the apartment. INT. JOE'S BATHROOM Joe crouches. Outside, Kid Blue piles the man's arms full of gold bars. KID BLUE (O.S.) That's twenty four there. I'm keeping count. TALL GAT MAN (O.S.) Uh huh. KID BLUE (O.S.) Two more trips should do it. Joe gently lifts himself off his haunches. 28. INT. JOE'S APARTMENT The Tall Gat Man exits, Kid Blue stays crouched over the floor safe hefting out bars, his back to the bathroom. In the distance, a GUNSHOT. Kid Blue's head perks up. CREAK! From the bathroom. Quick as lightning, the Kid draws his gat and spins - but Joe is already upon him, full sprint. SLAM! Joe tackles the Kid backwards. But while Joe uses his momentum to leap over the OPEN FLOOR SAFE, the Kid tumbles back into it, vanishing inside with a painful thud. Joe scrambles to a stop, lifts the heavy safe trap door and SLAMS it down - just as the Kid's hand grasps the open edge. With a sickening CRACK, the trap door closes on the Kid's fingers. A bellowing howl, his fingers withdraw, and the safe door clicks shut. The ELECTRIC BOX rigged to the code pad to crack it clatters off, and whirrrr, CLICK. Locked. Joe, panting, goes on hands and knees to the safe door and shouts clear and earnest: JOE Kid listen Kid. I'm sorry. Tell Abe I'm going to fix this. Tell him keep my bars safe cause I swear to god I'm going to fix this, I'm going to find my loop and I'm gonna kill him. Tell Abe- CRACK CRACK! The wood paneled floor above the safe door splinters upwards with gunshots, and a chunk of Joe's right ear explodes. More blood than you'd think spills down his neck, Joe falls back. Three more shots - CRACK CRACK CRACK! And now footsteps running down the hall. Joe on his feet, slipping in his own blood, sprints across the apartment. The TALL GAT MAN appears in the doorway, shooting blindly at Joe, chunks of wall and plaster exploding as Joe doesn't stop but JUMPS OUT THE WINDOW. EXT. JOE'S APARTMENT WINDOW - NIGHT 5 floors up, Joe leaps out, hits the fire escape, bullets shattering the window. Blind with blood, ears ringing, Joe barrels down the fire escape. A confused blur of iron steps, slipping and scrambling down, but now the tall gat man is out the window and shooting down at him. Somehow Joe slips and rolls, grabs at thin air, falling - three stories at least, falling. When he hits the ground the world goes away. OLD JOE 29. EXT. CORN FIELD - DAY We abruptly CUT ON to a very familiar scene. Young Joe stands alone in the corn field, in his stance, ready to draw. But nothing happens. Silence. Joe checks his watch, confused. 2:30 and change. This is exactly the scene where Old Joe appears, being replayed before our eyes. But when Old Joe does APPEAR, it's different: his hands are tied, his head covered with a sack. And something very different happens: Joe raises his gun and without hesitation PULLS THE TRIGGER. Old Joe's chest explodes. He falls dead. Joe approaches the body, and slows. Sensing something. He pulls off the sack. The face of his older self. Old Joe. He flips him over. Gold bars CLINK beneath a bloody jacket. Joe has closed his loop. INT. LA BELLE AURORE CLUB - NIGHT The other LOOPERS buy Joe drinks and cheer him, celebrating. INT. JOE'S APARTMENT - MORNING His belongings in boxes. Joe unloads the GOLD BARS from the trap door. EXT. CARGO SHIP DECK - DAY Out at sea. Joe, bundled against the cold, leans on a railing, eagerly watching the horizon. INT. PARIS APARTMENT - DAY Joe smoking in window of an empty apartment, half unpacked. EXT. PARIS STREETS - DAY Joe walking the city streets, breathing deep. Alive. INT. PARIS BODEGA - NIGHT Joe picks up a bottle of beer. Several FRENCH GANGSTERS in suits shake down the OWNER of the shop for money from the register. One holds a gun in the owner's face. Joe ignores them, walks out. 30. INT. PARIS CLUB - NIGHT Loud and dark. Joe shotguns eye drops right out in the open, dances like a madman. INT. PARIS APARTMENT - DAY Joe's apartment, unpacked and lived in. Joe smokes. In a NOOK behind a wall panel - stacks of CASH. EXT. PARIS STREETS - DAY Cloudy and cold. Joe wanders alone. Buffeted by strangers. EXT. PARIS CLUB - NIGHT Music pumping, Joe deadened at a table, in another world. Beside him a YOUNG PUNK makes a glass float using his TK power, then shatters the glass. Red liquid goes everywhere. INT. PARIS APARTMENT - DAY Joe takes money from the stacks in the nook, which have grown drastically low. LATER - sets a hypo down in the ashtray. INT. PARIS BODEGA - DAY A GUN in the face of the shop's OWNER. Held by Joe. Several years older now, in his mid thirties. Dressed in a suit, surrounded by fellow GANGSTERS. Now part of their gang. EXT. PARIS STREETS - NIGHT A shoot-out between rival gangs. Joe's guns blaze. A remorseless killer. Blasting away, cold and skillful. Smashing up shops that won't pay protection. He's muscle. INT. PARIS GANG HEADQUARTERS A dingy dark hallway. Distant thumping bass indicates it's maybe behind a club. The hall is lined with French Gangster, all similarly dressed. Reminiscent of the Gat Men. It takes us a moment to recognize Joe among them. In his EARLY 40s now. His face a hard weathered mask. A soldier. (Note - it is here we transition from the actor playing Young Joe to the one playing Old Joe.) 31. EXT. PARIS STREETS - DAY Snow on the ground. INT. PARIS CLUB - NIGHT Old Joe high as a kite, in an all out brawl. Punched to the ground. Laughing his ass off. A bar fight blossoms in slow motion all around. Old Joe looks up, sees the woman who will be his WIFE for the first time. Long red hair (reminiscent of but NOT Suzie.) In a green dress. She flees the fighting, towards the exit. ‚ÄúSORTIE.‚Äù Transfixed and high, Old Joe follows her. Puts his hand on her shoulder. She turns, looks him over. Flips him off. Leaves. Old Joe watches her go. In love. INT. PARIS CAFE - DAY Old Joe hits on his future Wife, she tells him to fuck off. INT. PARIS BEDROOM - DAY Old Joe in bed with his future Wife. They kiss. EXT. PARIS STREETS - DAY Old Joe shoots up a storefront with his gang. INT. PARIS APARTMENT - DAY Old Joe's future wife yells at him, holding his gun holsters accusingly. She throws them across the room. LATER - He holds her in bed, both of them troubled. INT. CAR - DAY Old Joe driving. Deep in thought. His future Wife beside him, her hand on his. He hits the brakes. EXT. FRENCH BEACH / HIGHWAY - CONTINUOUS The car screeches to a halt on a beach side road. Old Joe gets out, runs across the beach to the water, pulling his gun out of its holster. He fires it out to sea till its empty, then throws the gun into the ocean. He runs back to his Wife, standing on the beach. They kiss. They fall to the sand, and kiss. 32. EXT. FRENCH COUNTRYSIDE - DAY A cottage in the country. INT. FRENCH COTTAGE BEDROOM - NIGHT Old Joe sweats and shudders out his drug addiction. His Wife tends to him. EXT. FRENCH COTTAGE - SUNSET - YEARS LATER Old Joe in his mid 50s, his Wife lying on a hammock with him, reading. Hands lazily entwined. A good life. INT. FRENCH COTTAGE KITCHEN - MORNING - A WEEK LATER The Wife cuts vegetables. Headlines (in French) scroll across a small floating screen, against images of destruction. ‚ÄúGangland Terror Spreads, Who is The Rainmaker‚Äù She turns it off. INT. FRENCH BEDROOM - MORNING Lazy, dust motes hanging in the sunlight through the windows. Old Joe in bed, in his late 50s. His Wife walks through, says something inconsequential, puts her hand on his foot. Draws it away, fingers sliding off gently. And is gone. We stay with Old Joe. His deep breath. The sun warming the sheets. Running water from the kitchen. His eyes focus on his hand. Written in faded ink on the palm is a number we do not recognize: 07153902935. A long moment. With all the violence in the world, the cottage's green front door is KICKED OPEN. Joe runs out of the bedroom half dressed, and GANGSTERS grab him, taking him down with a rifle butt to the head. His Wife is dragged from the kitchen screaming. EXT. COTTAGE - CONTINUOUS Dark cars parked out front. We watch the quiet facade for a moment too long, violence that we don't want to think about happening inside. Then the door BURSTS open and Gangsters drag Joe out, sobbing thrashing and bleeding from his head. 33. INT. BASEMENT - DAY Concrete, nondescript. The Gangsters carry Joe in, now hog tied. Put a sack over his head. Lead him towards a machine, an iron monstrosity with a hatch. One of the men taps his watch - hurry. Another man pulls a large lever, and the machine hums, warming up. Joe's face, covered with the sack. Breathing. Remembering: flashes of his WIFE, screaming. Then Joe LUNGES and somehow his hands are loose, he PUNCHES one man, tears off the sack, PUNCHES another man, a flurry and then it's over. He stands among a pile of broken men. Slowly takes stock. Looks at the exit. Looks at the faded number on his blood-smeared hand. A million things in his mind. But just one choice. The machine hums angrily. Ready. INT. TIME MACHINE - CONTINUOUS Like an iron coffin. Old Joe climbs inside. Braces himself. Closes the hatch behind him. Flash and crack and he is sent. EXT. CORN FIELD - DAY And appears in front of his younger self. The scene now plays out as it did the first time. Joe hesitates, Old Joe gets the upper hand, knocks him out. Old Joe looks around, gets his bearings. Stares at his younger self a moment. Then goes to the truck. EXT. HIGHWAY - DUSK Old Joe drives the truck into the city. INT. BODEGA - NIGHT Cramped. Old Joe walks in quickly, gets aspirin, wrapped sandwiches, bandages, big bottles of water. Removes his torn jacket, dumps it. At the register, the CLERK bags everything up. Old Joe pulls the blunderbuss on the clerk. OLD JOE And your jacket. 34. EXT. ALLEYWAY - NIGHT Wearing the clerk's jacket, Old Joe takes four aspirin. Holds his head a minute, rocking gently. EXT. JOE'S APARTMENT - NIGHT On the street outside the building. Old Joe approaches, watching the window high above. Weighing his options. He scans the street. Spots an ARMORED VAN in the alleyway. Movement from behind it - Kid Blue and the Tall Gat Man loading their bars in the back. OLD JOE Shit. Old Joe turns to go, but STOPS when his eye catches movement between parked cars. It's Joe. Young Joe, hid between the cars, looking up at the apartment building weighing his options. OLD JOE (CONT'D) (SOTTO) Don't do it. Idiot. Don't do it. After a moment Joe dashes across the street and into the building. Old Joe stays still a moment, watching him go. Ducks into shadows as Kid Blue and the Tall Gat Man step from the alleyway, wiping their hands. KID BLUE Two more trips. They enter the building. Old Joe takes a breath, then casually walks down the sidewalk, past the alleyway, scoping the Armored Van. A GAT MAN DRIVER in the driver's seat. INT. ARMORED VAN The Gat Man Driver watches Old Joe disappear from view. Suspicious, he uncovers a GAT on the seat beside him. When he looks back up Old Joe stands in his headlights, blunderbuss raised. BANG! The windshield shatters, the Gat Man Driver is torn apart. Old Joe runs up, flings open the door, digs through the bloody mess frantically, finding the GAT. 35. EXT. JOE'S APARTMENT Old Joe dashes out onto the street as gunfire cracks from the high apartment window. Sharp eyes will notice that Old Joe's right ear is now clipped off, an old wound. He dashes towards the apartment door, gun in hand, but stops when the window five stories above shatters with gunfire. Old Joe backs up, and sees Joe scrambling down the fire escape as the TALL GAT MAN fires down at him. Old Joe takes expert aim with the gat, and fires three shots upwards. The Tall Gat Man's gunfire stops. Joe slips on the fire escape, falls two stories and lands on the hood of a parked car. Old Joe goes to him, checks his pulse. Behind them the TALL GAT MAN hits the sidewalk with a SPLAT. Old Joe goes to the tall gat man's remains, picks another gat out of them, and goes back to Joe's inert body on the car hood. OLD JOE Stupid little shit. He lifts him in his arms. EXT. CITY OUTSKIRTS - NIGHT Joe wakes slowly, pained. Lying alone in an abandoned lot on the outskirts of town. Slowly he takes stock of himself. Nothing broken. A tight bandage on his ear. A mournful train whistle, and he turns. Through a chain link fence, the train yard. He was put here for a reason. A man and a young boy in rags hop onto an empty cargo car, heading out of town. Joe watches the boy, his eyes angry. Stands shakily. And walks away from the train yard. Something like a HELICOPTER sweeps overhead, a spotlight zigzagging the area. Joe ducks into shadows, heading towards the city. INT. LA BELLE AURORE BACKSTAGE A swarm of activity, Gat Men rushing in and out. 36. ABE (PRE-LAP) He ain't dumb like the last, we gotta get lucky now. Cover the roads out of town. Sweep the streets, pull in his social circle, pound the pavement. INT. ABE'S DEN Map spread on a table. Gat men gathered around Abe. GAT MAN 3 He'll hop a train. Fast and untraceable. ABE Maybe. Sweep the train yard. Every second that passes is bad, go. INT. ABE'S OFFICE Kid Blue slumps in a chair, holding a rag to a wound on his head. Eyes wet from crying. Abe storms in. ABE Stupid little shit. KID BLUE I can't hear you Abe leans in next to his ear and shouts ABE Well that's what happens when you fire a gat in a steel box you stupid little shit. KID BLUE I can fix this. I can find him. ABE Go home and let the grown ups work. Kid Blue. EXT. CITY STREETS - NIGHT More helicopters sweep the streets, searchlights blazing. Cars with Gat Men circle slowly, shining spotlights themselves. Joe leaps from the shadows, ducks behind a dumpster. Barely avoiding the light. He won't last long out here. JOE Where would I go if I were me. 37. He sprints into an alleyway, but Gat Men are coming down the other side with flashlights. Goes back the way he came, turns a corner. EXT. SETH'S APARTMENT Joe finds himself in front of a familiar BRIGHT RED GARAGE. Seth's apartment. Three stories up, Seth's darkened window. He looks up at it, hesitant but desperate. INT. PUBLIC LIBRARY - NIGHT A window shatters inward, punched through by a wrapped fist. A big reading hall, empty and dark. The broken window opens, Old Joe slides in. Weaves his way past the reading tables, finds what he's looking for at a desk. A suspended sheet of thin plastic turns out to be a computer. Checking his hand, he inputs the number. Navigates menus and windows, information flashing, searching. EXT. LA BELLE AURORE - NIGHT Gat Men in cars and helicopters patrol the streets. Kid Blue sits on the curb, smoking a cigarette. Seething at his bandaged hand. Deep in thought. His eyes lift. An idea. EXT. SETH'S APARTMENT - NIGHT The familiar red garage. And three stories up, Seth's lit window. Kid Blue pulls a small caliber gun from a holster concealed on his boot, enters the building. INT. PUBLIC LIBRARY - NIGHT Old Joe finishes printing several large documents that look like maps. He folds them up, pockets them. Dashes to the window, starts to heft himself up - And stops. On his hand, a smooth aged scar. Of an arrow. Pointing to his wrist. Old Joe's breath catches. He pulls down his sleeve, revealing ‚ÄúB‚Äù then ‚ÄúE‚Äù Then ‚ÄúA then ‚ÄúT‚Äù... He bares his arm, reading the entire message. 38. INT. SETH'S APARTMENT - NIGHT The peephole screen on the inside of Seth's apartment door. Kid Blue manipulating a device, a shower of sparks blows the screen out momentarily, and the door swings open. Kid Blue storms in, his gun drawn, sweeping through the apartment with over-eager purpose. Empty. He deflates. Thinks. Goes to the peephole screen, touches it and a menu comes up. A little manipulating, and the image is rewinding. An empty hall, scanning back half an hour. Then: young Joe. Kid Blue stops scanning, hits ‚ÄòPLAY'. Joe feels around the door jam, retrieves a key, and enters the apartment. Kid Blue exhales. Well Joe was here. Taps the screen again, it goes back to a live feed, and he's about to step away when his eye catches something. He pushes a square on the screen, and the view changes. To a live feed from a camera in the ceiling of the apartment. Excited, Kid rewinds this half an hour. On the screen: Joe enters the apartment. Rifles around a little, then sits at the table. Head in his hands. Staring into space. Then goes to a kitchen drawer, opens it, gets something. Goes to the front door, takes something off the wall, briskly exits. Kid Blue stops the screen. He goes and sits where Joe sat. Stares where Joe stared. The kitchen counter. A blender, sink. Can labeled ‚ÄúCOFFEE.‚Äù Kid goes to the kitchen drawer Joe opened, pulls it open. It's full of knives. Kid goes finally to the door, looks at the wall. A small rack for keys, several hanging and one empty hook. Kid Blue stares into space, trying to put these pieces together. Lights a cigarette. EXT. CORN FIELD - DAWN - ESTABLISHING The sun rises over a flat endless field of corn stalks. 39. EXT. CORN FIELD We push forward through the green stalks at a brisk pace. They part before us, endless, hypnotic. INT. BEDROOM - MORNING - FLASHBACK The same from the previous flashback. Old Joe in bed, half asleep. A woman's arm under his neck. It slips away, and he kisses its wrist. Comfort, warmth. The woman, leaving. Her hand touches and slides off his foot, moving away. EXT. DINER - EARLY MORNING Old Joe emerges from the corn fields bordering the sidecar roadside diner. Fumbles in his jacket, dry-swallows four aspirin. Regains his footing. Walks around the diner cautiously. Parked in back behind a dumpster, SETH'S SLAT BIKE. INT. DINER Joe sits at a booth. Old Joe enters, steps up slowly, sits. A moment of silence. Along with his ear, Joe's hand and arm are now wrapped in bloodied bandages. Joe's eyes go to Old Joe's arm. Old Joe pulls his sleeve back and shows him the scar spelling ‚ÄúBEATRIX.‚Äù Beatrix the waitress steps up breezily. BEATRIX Coffee? OLD JOE Please. Black. And water. BEATRIX Anything else? OLD JOE (TO JOE) Are we eating? JOE I ordered something. OLD JOE Steak and eggs, rare and scrambled. BEATRIX Two steak & eggs coming up. 40. She goes. Another pause. OLD JOE We're not going to talk about time travel. JOE ...ok. OLD JOE Must hurt. His arm. JOE Yeah. Didn't know if you'd REMEMBER HER OLD JOE I put it together. Clever. (BEAT) Do I get the scar when you're cut, or when the knife is on its way down and it's inevitable that you're going to be cut? JOE I'm not cutting myself again to- OLD JOE I'm not asking you to. JOE It's an interesting question, I've just lost a lot of blood today. OLD JOE You know there's another girl here on weekends. JOE (REALIZES) Sue. OLD JOE Well. Have fun explaining who ‚ÄòBeatrix' is for the next thirty years. Beatrix sets Old Joe's black coffee next to Joe's white. OLD JOE (CONT'D) How's the French coming? JOE Good. 41. OLD JOE (fast in French, SUBTITLED) I know you have a gun between your legs. Joe's face registers obvious incomprehension. OLD JOE (CONT'D) No? Well you'll get there eventually. Obviously. JOE I don't care what you're here for, whatever you think you're going to get from me. More time or whatever you want. I can't let you walk away from this diner alive. Because the next 30 years of my LIFE- OLD JOE JOE I'm sorry to cut off - sorry -are mine they're not yours to cut off this spiel you've they're not yours anymore you been practicing all night, can say anything you want but but I need you to need you to you're not walking outta here listen. Listen. alive OLD JOE You know what the voice of god sounds like? See now good you're confused now but you're listening. I hope the voice of god sounds like an old man speaking French. Old men speaking French sound like primeval trees in a strong wind, just irrefutable. Wise, strong, gentle, all these things in harmony, complimentary. At once. Old men speaking French. Young men speaking French sound, without exception, like weenies. Fact. You ever hear a Frenchman under 40 try to sound threatening? It's hilarious. English is a tight t- shirt, flatters the young. Rat a tat tat. French is a double breasted suit. Young man can put it on, but it always feels like he's putting something on. Some things, you just need the years. It's my favorite language. JOE I've got a life ahead of me that's mine and I'm not giving it up for you or anybody 42. OLD JOE Well you know what you have to do then why don't you take your little gun out from between your knees and do it. One in the head, two in the heart. Boy. It's all ‚Äúanybody‚Äù and ‚Äúnever‚Äù and then you show up here and think you can talk me into dying. Well bullshit we both know you're not going to kill me. Christ you ordered eggs. Old Joe downs two aspirin. Takes a breath. OLD JOE (CONT'D) I know why you couldn't pull that trigger. When you're tasked to do the unthinkable, your mind, it'll do anything it can to stop you. Only way is you gotta know why you're doing it, in your bones, so you can say it out loud to someone without apologizing. Or you gotta cut yourself off, go numb. But that'll kill you, down the line. (BEAT) It's hard to make eye contact with you. It's too strange. JOE Your face looks backwards. OLD JOE Yeah, that helps actually. That little twist of unfamiliar. (BEAT) You're not winning some pissing contest by looking me in the eye, you didn't know what I looked like until yesterday, it makes sense that it's easier for you. JOE I wasn't trying to. Do you know what's going to happen? Have you already done all this, right now, as me? OLD JOE No not - exactly - I don't want to talk about time travel shit, because we'll start talking about it and then we'll be here all day making diagrams with straws. It doesn't matter. 43. JOE When I hurt myself now, it changes your body. Do my actions change your memories? OLD JOE It doesn't matter because I don't know how it works. Nobody knows how it works. Time travel was an accident, thirty years from now the smartest men in the world know exactly one thing about it that you don't: they know to be scared to death of it. (BEAT) My memory is cloudy, there's a cloud. It's a, it starts clear then gets cloudy as it goes back.. Goddammit hand me those. Straws. Joe passes him two. OLD JOE (CONT'D) And the salt. No, the pepper. The pepper. Old Joe sets two straws about a foot apart, parallel, and pours pepper between them, thus: OLD JOE (CONT'D) Ok, the span between the straws is a timeline of the next 30 years. THIS (the left straw) is the present moment, right now. AND THIS (the right straw) is the moment thirty years from now when I was sent back. The machine is tuned to a fixed time, you know that, 30 some years, it's not adjustable. JOE What's the pepper? 44. OLD JOE The pepper is a sort of fog. See my memories start clear here, (at the right straw) but as they go back they get cloudier, until they're totally obscured. It's like a fog. Because my memories aren't really memories, they're one possible eventuality now, and they grow clearer or cloudier as they become more or less likely. But then they get to the present moment (the left straw) And they're instantly clear again. Like a wall of fog moving forward with the present moment. I can remember what you do after you do it. He pushes the left straw slowly towards the right, and it pushes the pepper with it. JOE So you can OLD JOE And it hurts. JOE So when we're apart you can remember what I do. After I do it. OLD JOE Uh huh. But Beatrix brings their food, two identical plates. Old Joe awkwardly clears away the pepper and straws. OLD JOE (CONT'D) This is a precise description of a fuzzy mechanism. Time travel fucks everything, my brain and body try to catch up. It's messy. That's why it's dangerous. And it hurts. All I know I know two things for sure. I know what's happening in my head. And I know that you're still going to meet her. JOE Who? Old Joe takes a worn double of Joe's POCKET WATCH from his pocket, clicks it open. We don't see inside it, but he stares at it intently. 45. JOE (CONT'D) This is a woman, what? I'm going to fall in love with? OLD JOE She's gonna save your life. Old Joe makes eye contact with Joe, for maybe the first time, and holds it. Unexpectedly naked on his face is the deepest sort of grief. Deep and unrelenting. Joe can't look at it, he breaks off his gaze. The grief is too much for Old Joe to swallow back down, so he turns it into anger. OLD JOE (CONT'D) For a long time at the beginning she thought we'd have a baby. She would have been a good mother. She wanted that so much. And now I'm saying sorry to a picture. JOE She's. How is she, you said save my life. OLD JOE Your life. Let's look. At your life. You're a killer and a junkie. And a fucking child mentality, ‚ÄúMy life,‚Äù ‚Äúwhat's mine.‚Äù Save your life, you're asking how? The question is why. Why would someone waste themselves on you, give up the good life they had, sacrifice a good life to love you. JOE My life is my own, I don't need it SAVED OLD JOE Shut your fucking child mouth. She's going to clean you up and you're going to take her love like a sponge and you're both going to pretend that she's saved you, you're so self absorbed and stupid. (BEAT) Yesterday. Thirty years from now is yesterday. And I can remember it, it's going to happen. Let me tell you what's going to happen to this woman who saved your worthless life. A GREEN DOOR - Kicked in with all the violence in the world. 46. INT. FRENCH COTTAGE - MORNING (FLASHBACK) His Wife spins, as Gangsters burst into the entryway. Old Joe in bed. It plays out again. He leaps to his feet, is tackled by the Gangsters. They drag Old Joe from the bedroom. Though the hall, Joe sees the woman struggling against two Gangsters, her dress torn and bloody. One approaches her with the knife. Old Joe screams, struggles, but cannot stop them from doing what they do to her. INT. DINER Joe is not sure where to put his eyes. OLD JOE Have you heard of the Rainmaker? JOE Seth said, that night. A new boss in the future, he said. OLD JOE The Rainmaker came out of nowhere and in the span of six months took total control of the five major syndicates. JOE That would take an army. OLD JOE But he didn't have an army. Legend is he did it alone. Alone alone. Don't know I believe the legend but he didn't have an army. JOE How did he do it? OLD JOE That's the question. And no one knows. Not only that, there's no pictures of him. It's insane. There's stories he has a synthetic jaw. Things like that. But word spread quick about him through the ex-looper grapevine, even before his mass executions and vagrant purges and reign of terror, because the first thing he did was start closing loops. All of them. Exterminating the whole program. Cleaning house. 47. Old Joe pulls the folded papers he printed at the library out of his jacket, puts them on the table. OLD JOE (CONT'D) Do you know what this is? This number. This number. On the back of his papers he scrawls the number: 07153902935. As he writes it, a phone starts ringing, bringing us into: INT. OFFICE - DAY - FLASHBACK An 8th story office, under siege. Gangsters down in the street fire up at the windows with guns. Helicopters pass by. The office door is blocked shut with a filing cabinet. On the phone - the looper DALE, but in his mid 50s. Battered and terrified. Holding a piece of paper, reading off it, on the phone with Old Joe. The wall with the door in it EXPLODES inward. INT. FRENCH LIVING ROOM - CONTINUOUS - FLASHBACK The line goes dead. Old Joe hangs up. Looks at his hand, with the number. Standing in his cottage, before he was sent back. Through the window, his wife working in the garden. Old Joe closes his hand. OLD JOE (V.O.) This is a piece of identifying information on the Rainmaker. I can use it to find him, now, and stop him from killing my wife. INT. DINER Old Joe showing the number to Joe. JOE None of this concerns me. We're done we're gonna walk outside now. OLD JOE This is going to happen JOE It happened to you, it doesn't have to happen to me. (points: the pocket watch) You got her picture in there? Show it to me. Show me her picture. And when I see her for the first time I'll walk away, and she won't be with me. (MORE) 48. JOE (CONT'D) I guarantee the instant I look at her picture that fog in your brain will swallow up the memories of her and she'll be gone. OLD JOE Gone. JOE She'll be safe. And then we can all do what we have to do. A beat. Old Joe holding the pocket watch, gazing at it. Then he snaps it closed in his fist, drawing it back. OLD JOE No you don't understand. We don't have to give her up. I'm going to tell you why I'm here now. He puts his hand on the folded papers. OLD JOE (CONT'D) I'm gonna save her. A quick beat. Joe goes for his gun. But Old Joe is fast, he jams his foot into Joe's crotch, crushing the hidden gun into him. Joe cries out, Old Joe grabs his hair and plants his face into the table. When Joe's hands go to his face Old Joe grabs them and pulls. Foot in his crotch, pulling his arms tight over the table. OLD JOE (CONT'D) The Rainmaker is alive right now. Living here, somewhere in this county. And I can find him with this. I need you to lay low, stay out of my way and not get caught. I know how to fix this, I won't stop till I finish it. I'm going to find him and kill him. Joe's face loosens, his eyes on their coffee cups. JOE It's been awhile since we've gotten a warm-up. Old Joe realizes, looks around. The diner is eerily quiet. Beatrix and the staff have all quietly left. Fled. Old Joe swings out of the booth, still holding Joe by the hair, dragging him like a doll. Joe's blunderbuss clatters to the ground. Old Joe drags him to the window. They look out. Nothing in the parking lot. Too quiet. 49. OLD JOE It's been thirty years for me, so it's hard to remember. When you stole Seth's bike you stripped out the security tracker. Right? Joe's fearful face says ‚Äòno.' Old Joe draws his gat. OLD JOE (CONT'D) Make it to the field, you can lose them in the field. Go east and hop A TRAIN Joe punches Old Joe square in the jaw, and he goes down. His papers and gun fall. The diner door EXPLODES. JOE I've got him! He's here! A GAT MAN barrels in, his gat blazing. Joe scrambles but Old Joe gets the gat. With an expert shot Old Joe puts the Gat Man down, but there are two more behind him. Pinned behind a booth, Old Joe returns fire, glass breaking and chaos. Joe grabs at the papers, Old Joe grabs them first and yanks. Leaving Joe with a torn-off top sheet. Joe scrambles away, down the length of the diner behind the booths, back to their table, as the Gat Men and Old Joe have their fire fight. Joe's blunderbuss on the ground beneath the table. He scoops it up. Turns, and fires at Old Joe. OLD JOE Shit. Joe's blunderbuss hacks another shot, and the window behind Old Joe explodes. Old Joe makes his break, sprints for the broken window, jumps... EXT. BACK OF DINER - MORNING ...and hits the dusty parking lot running. Towards the corn. EXT. FRONT OF DINER Kid Blue squats on his haunches with four more Gat Men, their guns trained on the diner door. Three Gat Men burst out, followed by Joe. DINER GAT MAN The back, he's running! JOE Around back! 50. They all run around back, where Old Joe is halfway to the corn but not there yet. The seven Gat Men and Kid Blue and Joe fire their guns after him while running but they're too far away (and they're running) so nothing hits. Joe blasts at the old man blindly, sprinting with all his might, eyes streaming tears in the dust. When Old Joe hits the wall of corn he seems to vanish. Four of the Gat Men follow him in, while the remaining pursuers slow to a stop, doubled over, panting. Defeated. It takes a few seconds for Kid Blue to realize that Joe is there with them. It takes another second for Joe to realize that the dynamic has changed. He turns and runs back towards the diner, Kid Blue and the Gat men in pursuit. One of the Gat Men fires. KID BLUE Alive! No, alive! Joe makes it to the Slat Bike, jumps on, hits the ignition. CLICK. JOE No fuck no fucking piece of shit CLICK CLICK. The Kid and the Gats closing in, and just the moment that Kid Blue lays his hands on the back of the bike the engine turns over with a ROAR. The back of the bike kicks up, heat and air blasts from the open slats beneath, blowing Kid Blue back on his ass. The bike HOVERS a few feet off the ground. Joe roars off into the corn. The Kid is on his feet running back to the Gat Men. KID BLUE The tracker! Get the tracker! EXT. CORN FIELD Joe riding at full speed through the thick corn stalks. He BAILS, snapping through corn stalks and rolling to a painful stop. The bike ZOOMS onward through the stalks, quickly out of sight. Pained, Joe lies still, breathing hard. Pulls Old Joe's torn paper from his pocket. On one side, the number Old Joe scribbled: 1027363259 He flips it over. It's a map. Mostly of empty farm land, bisected by a bold highway and scattered farm houses. One of them is CIRCLED IN BLACK. SARA 51. EXT. FIELD - DAWN A bare field of churned chocolatey earth. Near its edge juts the dead stump of an old tree. A YOUNG WOMAN in work clothes named SARA chops away at the trunk with a large axe. Over and over, splintering it apart. Endless plains of corn surround the field. In the near distance, a two story farm house with an adjacent barn. Sara focused on her work as the sun rises. EXT. CORN FIELD - EARLY MORNING Sara fiddles with a garbage can sized DEVICE, and with a crackle of mechanic thrusters it floats up and over the corn fields, spraying something chemical. INT. FARM HOUSE KITCHEN - EARLY MORNING Sara makes coffee. EXT. FARM HOUSE PORCH - EARLY MORNING She sits on a rocking chair, and mimes smoking an invisible cigarette. Our first good look at her face. Clear and beautiful, but it has been here for awhile. The morning light changes from steel blue to pale white. Rocking gently, fake smoking and drinking coffee. Not going anywhere. INT. FARM HOUSE BEDROOM - MORNING Blinds drawn, dark. A FIGURE lies in bed. Sara steps in, puts her hand on the sleeping figure's foot. SARA C'mon baby. Time to get up. INT. FARM HOUSE KITCHEN - MORNING Cooking eggs. The front door bangs. She looks up. INT. FARM HOUSE FOYER The screen door bangs in the wind. Sara inspects it. The latch is broken. She sighs. Then freezes. 52. Through the screen door, some fifty yards across the front lawn, the dark figure of a MAN stands at the edge of the corn fields. Watching her. She watches right back for a long moment. Then grabs a shotgun mounted above the door and with no hesitation at all plows outside. The dark figure vanishes into the corn fields. EXT. FARMHOUSE FRONT LAWN Sara storms down the porch and stalks across the lawn, shotgun extended. Not fucking around. Does not slow her pace until she is ten yards from the corn fields, where she plants herself and shouts: SARA Listen up fucker. I have shot and buried three vagrants in the past year. If you want to know the Christ's honest truth I'm starting to get a taste for it. So I don't care what hobo sob story you've got, I get a dozen a week and it cuts no cash with me. It's me and my husband here, we're broke and angry at our lot in this world and heavily armed. So take some corn and move on, but if you show your face again I will cut you the fuck in half. Silence. Just the wind in the corn. A long beat. Then Sara turns, walks briskly back. Moments later Joe's face pokes through the corn stalks. He takes in the farm. The barn behind it. The fallow field. LATER Joe sits in the same spot, a few feet in the corn but with a clear sight line at the house. His gun on his knee. JOE'S FACE - Pale, sweating. Something's wrong. He winces. Pinches his eyes. Headache. The sun pounds down. He looks at the piece of map. JOE C'mon. C'mere. C'mon. C'mon. C'mon. 53. EXT. CITY - ESTABLISHING - DAY Helicopters sweep by. INT. ABE'S OFFICE Abe stands fuming, flanked by two Gat Men. Kid Blue sits like a kid in detention. ABE Well. You found him. And you russeled up a posse and went to git ‚Äòem. Like a good little cowboy from one of your movie movies. Without telling me. KID BLUE I can do it again. ABE You can fuck up again? Really. You know what happens to me if I don't get that old bastard? I got too much riding, Kid, I can't afford a fuck-up playing cowboy. Put your gat on the table. Fighting tears now, Kid puts his gun on the desk. But he doesn't take his hand off it. KID BLUE I wanted you to say I did good, that's all I wanted. This is all I have. Abe puts his hand on the gat. Kids' finger still on the trigger. A tense moment. Abe pulls the gun away, across the table. KID BLUE (CONT'D) Please just give me one more chance, I'll bring him here alive and hold him and you can put a bullet in his brain yourself- Abe grabs the hammer. SLAMS it on Kid's bad hand, crushing it. Kid howls, the Gat Men grab him. INT. STEEP STAIRS Kid is literally dragged up the stairs by a Gat Man. INT. BACKSTAGE The Gat Man shoves Kid Blue through the twisty maze of backstage, past girls and Loopers and men. 54. The Kid blubbers and bleeds. Humiliated. But he pulls himself halfway together. Make a show: KID BLUE I'm gonna make this good again. I will. I'm gonna be back. EXT. ALLEYWAY - DAY Raining. The Gat Man pushes the Kid out the back entrance door, into the alley. The Kid instinctively turns towards the street. But the Gat Man steers him back, deeper into the alley. The Kid realizes what this means. Everything changes. KID BLUE Oh no. Oh no no no no He fights in vain to break from the Gat Man's grip. Weeps, begs, clasps at whatever he can grab. The Gat Man turns a corner -- towards the alley's dead end. KID BLUE (CONT'D) No! No! No no no no! Shrieking. Annoyed, the Gat Man throws the Kid hard to the concrete. The Gat Man pulls his gun, raises it without ceremony. BANG. The Gat Man's face explodes. Staggers, his gun FIRES into the wall. He drops like a doll. Kid Blue lies in the rain, hyperventilating. His pant leg hiked up, showing his boot with its holster. In his mangled left hand, the small caliber PISTOL he keeps stashed. His pinkie on the trigger. KID BLUE (CONT'D) Oh. Cradling his crushed hand, dazed, he scampers off like a soaked rat. EXT. FARM HOUSE - NIGHT Silent and still. Sara comes out onto the front porch. She gathers up a few things, turns out the porch light. Notices a floodlight still lit on the BARN across the yard. She turns the porch light back on. The dark corn fields, silent and vaguely threatening. She steps back in the house, emerging again with the shotgun. 55. EXT. FRONT LAWN - NIGHT Sara stalks towards the barn, shotgun in hand. Shadows loom across the yard. All is silent. EXT. BARN - CONTINUOUS She reaches the barn. A hard pool of light from a mounted floodlight falls off to inky darkness. Hits a metal switch near the barn door and the light snaps off. In its absence the darkness swarms. She briskly walks back towards the house, but slows. Stops. Turns. In the darkness by the barn, crunch crunch. Crunch. And maybe a shape. Deep in the swarming dark. SARA Hey. Who's there. Sara levels the shotgun at the darkness, and steps back. Quiet but definite - crunch crunch. And now, definitely a shape. A man. coming towards her. SARA (CONT'D) Stop right there. Stop! EXT. CORN FIELD - CONTINUOUS Joe slumped over unconscious where we left him, in the corn. Sara's shout wakes him with a start. Sweating, pasty. Disoriented. Something is wrong with him. In a flash of panic he parts the corn stalks, sees Sarah backing away from the barn. The dark hulking figure of a man pursues her slowly but steadily. JOE SHIT His hand goes to his holster but his gun has fallen out, he scrambles in the dirt for it. EXT. FRONT LAWN Sara backing up still, shotgun leveled. The man, still in darkness, comes towards her. SARA You stop right there, you stop! She fires her gun in the air. The man pauses, but then continues towards her. She trips on a root, FALLS. 56. INT. 2ND STORY BEDROOM - NIGHT From a CHILD'S POV - We run across a darkened bedroom to the WINDOW. A child's hand smacks the glass, and framed through the pane, through the unseen child's eyes, this is what we SEE: Sara on the ground, fumbling the gun. In trouble. The DARK MAN, advancing towards her menacingly. At the last moment, from the corn fields, JOE runs into the light and steps directly between them, shouts, his gun raised at the Dark Man. And the Dark Man STOPS. EXT. FRONT LAWN - CONTINUOUS Joe's gun leveled, face set. But the porch light on the man's face: it is not Old Joe. It is a man in his 30s, filthy, with down's syndrome. A greasy sign around his neck: ‚ÄúPLEASE HELP MUWTE FOOD $ GOD BLESS YOU¬Äù Joe lowers his gun, face melting. SARA Jee sus. (to the MUTE VAGRANT) Hey, hey. I'm going to get you SOME FOOD- But the man scampers off, leaving his sign. SARA (CONT'D) ...great. EXT. SECOND STORY BEDROOM WINDOW The child, in darkness, watching. He recedes into the bedroom, his hand slipping off the glass. EXT. FRONT LAWN Sara stands, picks up the sign, calls after the MUTE. SARA Hey you forgot your greasy goddamn hobo sign oh for godssakes. (turns to Joe) Alright, what are you? Joe turns away from her quickly, but doubles over, crumpling to a heap on the grass. Sara checks his face. 57. SARA (CONT'D) Hey. Look at - hey. The fuck- ehh. Joe PUKES. She steps away. Takes a moment. Breathes. EXT. FRONT PORCH - MOMENTS LATER She drags Joe up onto the porch, under the light. SARA Hey. Up here, at the light. Hey. Sara SLAPS HIM. Hard. His eyes snap open. He sees her face. She feels his head. Checks his eyes. Cherry red and veined, swollen under the lids. JOE (TOTALLY GONE) My head... splitting apart... time eventualities, he said- SARA How long since you dropped? JOE DROPPED Sara mimes an eye dropper. SARA Dropped, or what the kids call it. JOE A day. SARA One day. Wow. She leans back on her haunches, looks at him, deep in thought. Deciding what to do. Joe lies prone, shaking, sweating. JOE Thirsty. I can't feel my legs SARA You're withdrawing from a synthetic barbiturate. It's a quick punch but it's this bad a day in, without care you might not make it through the night. Sara looks at his shoes. Beneath the caked mud, fine leather. Her eyes linger on his gun. They turn cold. 58. She stands quickly without a word, vanishing into the house. Joe lies still, breath shallow. Turns his head, hazy. JOE Thirsty. Thirsty. Soft footsteps approach. Small bare feet padding towards him through the front door. A young boy steps out onto the porch, 6 years old, named CID. Cid looks Joe over. His eyes linger on Joe's gun. Then he kneels, his small hands feeling Joe's sweaty face. Pushes a straw to Joe's lips. Joe's hands clasp around a plastic cup with a cartoon tiger, and he drinks. SARA (O.S.) (SHARP) Cid. C'mere monkey. Cid goes back into the house, leaving his cup with Joe. INT. FARMHOUSE FOYER - CONTINUOUS Sara tries to pick Cid up but he dodges, walks up the stairs. CID Who's that man? SARA Just a vagrant babe. INT. FARMHOUSE UPPER HALL Sara leads him down the hall and into his bedroom. CID No he's not. SARA Oh yeah? CID His shoes are too shiny. SARA Well aren't you a smart monkey. INT. CID'S BEDROOM He gets in bed. CID Is he sick? SARA Yup. 59. CID Will he get better? SARA Yup. CID Promise? SARA Go to sleep. Okay. Night baby boy. Kisses him. CID Night Sara. Lingers over him in the pale light. Then goes. EXT. HIGHWAY - NIGHT A darkened highway, the lights of the farm house distant. A small STAKE BED TRUCK rumbles up, stops on the soft shoulder. Sara at the wheel. Sits a second. Then climbs out. Roughly pulls Joe out of the flatbed. He lands in the dirt. Sara avoids looking at him, closes up the flatbed. Joe weakly grabs her ankle. She pries his hand off, and discovers CID'S CUP in the dirt beside him. Takes it angrily, strides back to the truck. INT. STAKE BED TRUCK - CONTINUOUS Sara gets in, drops Cid's cup on the seat beside her. Looks in her rear view mirror. Leaving a man to die. Looks down at Cid's cup. For a long moment. SARA Ssssshhit. INT. BARN - NIGHT Sara lights a gas lamp. Threads a hose from a tank of water around the cot. Joe on a metal cot, covered with blankets. SARA Water. Drink it, all night, more than you think you want. Moves a metal bucket next to the bed. Adjusts the blankets. SARA (CONT'D) Aim for the bucket. And don't chew your tongue off. In the morning we're gonna talk. 60. The last thing she does is handcuff his wrist to the cot and take his gun. On her way out she puts it on a bench beside the door, and turns out the floodlight. EXT. CITY STREETS - MORNING Dawn breaks. Exhausted Gat Men dutifully patrol the streets with flashlights, stopping every passerby. On the outskirts of the city. Vagrant fires burn distant orange. A large drainage pipe drips into a brackish creek. INT. DRAINAGE TUNNEL Underground. We move through it. INT. RUNOFF ROOM Cavernous space beneath a high street grating, damp and cold. Old Joe sits on the ground, methodically cleaning and loading his gun. He finishes. Places the gun on top of his folded, torn maps. Closes his eyes. Sees: EXT. FRONT PORCH - NIGHT (OLD JOE MEMORY) A bank of fog clears, revealing Sara's face looking down at us. She slaps us hard. SARA Hey. INT. RUNOFF ROOM Old Joe touches his temple. Head aching. Remembering. OLD JOE The first time I saw her face. EXT. FRONT PORCH - NIGHT (OLD JOE MEMORY) Sara's face. SLAP! SARA Hey. INT. RUNOFF ROOM OLD JOE No. No no. His POCKET WATCH sits open in front of him. He picks it up. EXT. FRONT PORCH - NIGHT (OLD JOE MEMORY) Sara's face. SLAP! 61. INT. RUNOFF ROOM Old Joe holds his pocket watch tight like a talisman. Fingers dug deep in his head. OLD JOE No. The first time I saw her face. INT. PARIS CLUB - NIGHT A fist comes straight at us. SMACK! We reel back, revealing: the Paris club, crowded and rowdy. A piece of Old Joe's life that we've seen before. Joe (mid 40s) lies on the ground, lip bloodied, laughing hysterically at a YOUNG PUNK who has just hit him. A bar fight blossoms in slow motion all around. Joe looks up, sees the woman who will be his Wife for the first time. In her green dress. Whisps of fog drift into frame. INT. RUNOFF ROOM Inside Old Joe's pocket watch, a picture. Of his WIFE. The sun breaks in through the grate above. Old Joe closes the pocket watch, holds in tight. Then he stands and picks up the gun and goes. CUT TO: A child stands in a massive doorway with blinding white light beaming through. JOE'S FACE - wrecked, but his eyes flutter. Blink. INT. BARN - MORNING Joe lies on the cot. Blinks. The barn doors, the morning sun rising through. If the child was there, he's gone now. INT. FARMHOUSE KITCHEN - MORNING Cid draws at the kitchen table. Sara enters. SARA Morning monkey. CID The man's up. Sara stiffens, looks out the window. CID (CONT'D) Is he staying here now? 62. SARA No. A WALL OF LEAVES Fingers part the green, and Old Joe peers through the dense foliage. EXT. SUBURBAN STREET - MORNING Old Joe hides in the trees across the street from a suburban track home. A young boy in a bright jacket runs out the front door and off down the street. Old Joe checks the folded map in his trembling hands. On it, this house is circled in black, exactly like Sara's farm. Stuffing the map in his pocket, he pushes out through the trees. EXT. BARN - MORNING Sara approaches the barn, her shotgun in hand. Joe sits on the ground just outside the open barn door, the metal cot behind him still handcuffed to his wrist. Methodically cleaning and loading his gun. SARA Toss it. Joe freezes. Then, half annoyed JOE I just finished cleaning - alright. Tosses it into the dirt. Sara lowers the shotgun slightly. SARA How do you feel? JOE I'm at thirty percent. SARA Take it slow and by the end of the week you'll be at fifty. Good. She tosses him a key, he unlocks his handcuff. SARA (CONT'D) I took you in so you wouldn't die, and now you're not going to die. (MORE) 63. SARA (CONT'D) So take the morning to rest, then you need to get off my farm. JOE I can't do that. SARA I'm sorry? JOE I need to stay here for a little while longer. SARA I am not cool with that. JOE Well I'm sorry. SARA Well I'm sorry too, you just lost your take the morning to rest privileges, get off my farm. JOE No. Sara raises the shotgun. SARA Get off my farm. JOE No. You couldn't scare a retarded hobo with that thing. Literally. SARA This is a Remington 870, one blast could cut you the fuck in half. JOE And that's, that's telling. You're holding a gun. I say I'm not afraid, so you describe the gun to me. But it's not the gun I'm not afraid of. (BEAT) What are you gonna shoot in the air? Blow a hole in your barn? To scare me? Go ahead. But you couldn't let me die, you won't kill me. SARA So now I saved your life that makes me weak? 64. JOE Look I'm not a threat to you or your boy. I need to be on your property but I'd prefer to not have any contact with you at all, I'll stay in the fields. There's just one thing you need to do for me, and you won't have to deal with me again. He takes the map from his pocket, unfolds it. Tosses it over to her. JOE (CONT'D) Just, verify for me that's your house on the map. So I know I'm in the right place. SARA What is this? JOE A map. SARA That's my house. Why is it marked? JOE Doesn't matter. Ok. I'll be out of the barn in an hour, if you can spare it I'll take the water jug with me. Does that well have water? I'll fill it from there. Sara turns the map over. Sees the NUMBER that Old Joe wrote on the back. 07153902935. And everything changes. SARA What is this. She shows him the number. She is not asking what the number is - she knows. Joe is suddenly not so relaxed. SARA (CONT'D) What is this. JOE Does that mean something to you? For the first time in their conversation, Joe looks in her eyes. Sara stares daggers, searching. Very different than she was ten seconds ago. Joe scoots back 65. JOE (CONT'D) HEY- And without hesitating Sara hefts the shotgun and SHOOTS HIM. BLAST! Rips his shirt open bloody, blows him back screaming. EXT. PARK Old Joe STOPS in his tracks, children running around him. His hand goes to his temple. EXT. BARN - DAY (OLD JOE MEMORY) Fog clears from Sara blasting us with her shotgun. EXT. PARK Old Joe's hand runs from his temple to his neck. Feels a new but old scar, just a little divot behind his ear. INT. BARN Sara drags Joe in by the foot. She heaves the barn door closed. In the lamp lit dark Joe rolls and groans in the dirt. SARA Who are you? She shoves the shotgun barrel in his face, a rush of fury SARA (CONT'D) You're right I'm not a killer but I am fine with how a blast of rock salt to your face won't kill you. Who are you and what are you here for? Who are you? Joe breathes hard, bleeding in the dirt with a shotgun in his nose. But he forces calm. A beat. Then he starts talking. JOE Time travel hasn't been invented yet. But in thirty years it will be. EXT. PARK - DAY A suburban park. On its far end, a birthday party. The YOUNG BOY in the bright jacket we saw run out of the house earlier sits alone under a tree. Old Joe approaches him. 66. OLD JOE Hi. Daniel, right? I'm Chad's father. Aren't you going to come over? We're doing cake. DANIEL It's ice cream cake and I can't eat ice cream. Cause of the milk. OLD JOE Well you should join the party even if you don't have cake. You have a birthday coming up? DANIEL In July. We were gonna go to the lake but I don't think we are now. OLD JOE I'm sorry. Old Joe leaves, walks across the grass. Having trouble breathing. INT. BARN Sara sits. Joe weakly talks, the end of a long explanation. JOE I can't go back to the city and find him cause Abe, the boss, all his men are going to search the streets 24/7 till they turn up me or... him. All I have is this map. And that he's coming here. Sara stands. Paces away. Deep in thought. SARA A Looper. JOE Yeah. Did you know about Loopers, what we do SARA I've heard stories. So he's coming here to murder me and my son because he thinks we might be this Rainmaker. And once he kills the Rainmaker, what happens? JOE I think... he thinks, the instant the rainmaker dies, he'll never have been sent back, so he'll just vanish, and be back with his wife. 67. EXT. SUBURBAN STREET The same track home Old Joe studied from the trees earlier. Daniel trots towards it, coming home from the birthday party. INT. BARN SARA Who is he? The guy you let run? Just some random guy from the future? JOE Yeah. Someone. You know what these numbers mean. EXT. SUBURBAN HOME BACK YARD - DAY Well tended by someone who loves growing things. Laurels, ivy on trellises, flowers and trees. Daniel comes through the side gate. Lifts the back door matt, revealing a dusty key. INT. BARN Sara takes a pen from a workbench. Shows Joe the numbers: 07153902935 She draws lines with the pen, thus: 07/15/39[02935] SARA This is my son Cid's birthday. And this is the hospital he was born in. Joe's face, taking this in. EXT. SUBURBAN HOME BACK YARD Old Joe. Sitting in a corner of the yard. Face set hard. Daniel stands, key in hand. Drops the matt. Slow motion. Turns. Sees Old Joe, standing now. Stillness between them. OLD JOE'S FACE. Struggling to be stone, and then it is. He draws his gun in one fluid motion and FIRES. We don't hear the shot. We just hear the garden, the wind through the plants. 68. And we just see Old Joe's face. Struggling now to remain stone. Numb he puts his gun away and exits. EXT. PARK Old Joe walks across the park. Map in his hand. Children play in the distance. Children's voices all around. Old Joe spins, his breath up into his head. The map falls to the ground. The park around him, green and full of children. He keels over onto his knees and cries. Grabs the grass, holds it in his fingers, thick and green. INT. PARIS APARTMENT - AFTERNOON The Wife stands at the edge of a bed. 35 and Full of life. Old Joe on the bed. Mid 40s. She unsnaps her GREEN DRESS and it falls, leaving her naked in the sunlight. LATER On the bed. Old Joe and the Wife. Faces close. Drifting into sleep. From a neighboring apartment, a BABY CRIES. Loud and insistent. Old Joe opens his eyes, joking-annoyed at the crying baby. ‚ÄúGod you have to be kidding me.‚Äù Then he sees her face. Her smiling eyes, listening to the neighbor's baby cry. Like she's listening to music. She touches his hand. EXT. PARK Old Joe. Staring at the grass. On the map beside him: three circled houses around the city. And the torn corner. INT. BARN Sara holds the torn piece of map in her hands. Their house circled. SARA Would he do this? JOE Think about what doing this would fix. What he thinks it would fix. Sara caught that, and she did not like it. 69. JOE (CONT'D) He'll kill the other kids on that map and then come here last. Put off facing me. SARA If he comes here, can you stop him? She turns the paper over in her hands. SARA (CONT'D) Given this, if I erred on the side of caution and believed all of this, I'm asking. If I trusted you. Will you stop him before he gets to my son? JOE I've lost my life. I kill this man, I get it back. You can trust me. EXT. FRONT PORCH - LATER They sit on the steps, Joe stripped to the waist. Sara picks salt chunks from his chest with tweezers and antiseptic. Joe surveys the surrounding land, cleaning his gun. JOE We're surrounded by the corn, that leaves us blind. He can get within fifty yards of the house without a hawk spotting him. (BEAT) What makes sense is, we burn the fields, level them. Sara realizes he's seriously asking. SARA No you cannot burn down my corn fields. JOE What kind of equipment's in the barn? SARA Farm equipment. JOE Nothing that shoots. SARA No farm equipment that shoots. No. 70. Joe finishes assembling his gun. Sara's eyes flick to it. SARA (CONT'D) You use what you need, set up anywhere. But one thing, I don't want you talking to Cid. I watch my son, you watch the corn. That's the deal. JOE Good by me. He hisses as she applies antiseptic to a gash in his arm. SARA Hold still. Easy for things to get infected on a farm, start falling off. (SOTTO) Pussy. Caught off guard, Joe almost smiles. Then grimaces. JOE If I'm out here and you're in the house we're gonna need some way to communicate. SARA There's a dinner bell down by the barn, ring that if someone's coming, I'll hear it. JOE Dinner bell. We need walkies, or buzzers. SARA Dunno what we've got but I'll look. She spots Cid at the screen door, watching them. SARA (CONT'D) Cid. She goes to take him inside. JOE Got any ammo for that shotgun? That isn't a seasoning? INT. FARMHOUSE FOYER - CONTINUOUS Sara leads Cid back into the house. SARA How's the maths coming? 71. CID I wanna help the man. SARA Help him what? CID I could help him with my toys. SARA Baby. Listen. I need you to stay away from that man. Okay? Let him- HEY Cid squirms out of her grasp, bats her away with a light but angry slap. She grabs his arm harder. SARA (CONT'D) Let him do his thing, but you stay with me. CID Is he not good? SARA Well we're gonna see what he is. But you stick with me. Yeah? INT. DRAINAGE TUNNEL - EVENING Old Joe's little hide-out. He violently washes his hands in a trench of water. Slumps back, eyes blood red. Streaks of tears down his face. Reddish light fading to blue through the grating high above. Runs fingers across his forehead, spreading cooling water. His eyes close. His breathing shallows. In one hand he holds his pocket watch. He places the other on the gat. The map beneath it. Daniel's map location CROSSED OUT. Two others remaining. And the missing corner, edge torn. CLOSE ON Old Joe's face. Slipping to sleep. Then from nowhere a CHILD'S HAND enters frame and rests on his forehead. Old Joe's eyes gasp open with terror EXT. PORCH - NIGHT but it's Joe who wakes up with a start. Slumped against the steps, gun in hand. Cid's hand on his forehead. Cid steps back quickly, puts his finger to his lips. Shhh. 72. INT. FARMHOUSE FOYER - NIGHT Cid leads Joe inside, beckoning him to follow. INT. FARM HOUSE KITCHEN Dark. Cid leads Joe to the kitchen table. Laid out on it: an arrangement of toys. With the deliberateness of a man at work Cid clicks on a flashlight and sets it on the table. Works on several toys, cracking open cases, pulling out wires. Hands moving fast. Joe sits, watching Cid. CID Hand me that Phillips. Joe hands him the screwdriver. Cid keeps working. CID (CONT'D) Tell me if you hear her coming. JOE What are we doing here? CID Commundication. He pushes a button on a small plastic box in his hands, and an identical one next to Joe lights up. The way Joe looks at Cid changes slightly. CID (CONT'D) But I need to make it stronger. JOE How do you do that? CID Bigger battery. Joe idly fingers a toy. JOE Smart. CID Do you kill people? Joe half laughs. Cid keeps working, his face in shadows. AFTER AWHILE: JOE Let's say I kill people. 73. CID With your gun? JOE Uh huh. Cid looks at him in the dark. Not scared at all. Then he goes back to fitting the backing on a toy. A long beat, Joe thinking. Broken by a PIERCING NOISE. They both jump - the toy truck Joe has idly played with is shrieking, sirens blaring. Joe fumbles with it, Cid reaches over and switches it off, they both freeze. And look up at the ceiling. Silence in the house. With a look of reproach beyond his years, Cid takes the truck from Joe and finishes up his work. JOE (CONT'D) How long have you and your mom been on the farm? CID She's not my mom. My mom got killed when I was a baby. Someone bad, bad men killed her. Cid sets the two finished BUZZERS on the table. JOE I'm sorry. CID Sara doesn't think I remember cause I was a baby. But I remember my mom. I couldn't stop her getting killed. I don't remember it all but I remember. I was a baby. I couldn't do anything. I couldn't stop it. Cause I was a baby. Cid is crying. Joe has never been more at a loss. JOE I'm sorry Takes the buzzers. Stands, fumbling. Retreating. 74. JOE (CONT'D) You should talk to your mom about this. CID She's not my mom. She's a liar. With one last look back at Cid in the dark, Joe exits. SMASH CUT TO: EXT. CITY OUTSKIRTS STREET - NIGHT Old Joe. Running hard. Sirens, flashlights behind him. Being chased. Zig zags through an alleyway, a pursuing car smashing up behind him. Bursts out onto the street, nearly hit by another car. Shouts all around, a few shots. Surrounding. He runs. INT. ABE'S OFFICE A Gat Man briefing Abe, who hasn't gotten much sleep lately. GAT MAN 1 -spotted him coming out of a sewer tunnel on the west end, he's on the RUN ABE Every fucking car, every gat, every cop - get ‚Äòem down there! Flood that fucker! Take him down! EXT. CITY STREETS - SEEN FROM HIGH IN THE AIR Cars, motorcycles, cop prowlers, all roar to life and blaze through the city streets in one direction. INT/EXT. HALF BUILT HIGHRISE Kid Blue, squatting in the 10th story of a half finished highrise, looks down on the activity in the streets. Spread on the floor are maps with notes. He's been searching for Old Joe. And now his eyes are alight. He bolts for the stairs. EXT. CITY OUTSKIRTS STREETS - NIGHT A small park on one block. With a playground. Swings, and a merry-go-round. Gat men sweep the park. 75. After they pass, Old Joe's face pops up under the merry-go- round. He crouches in a shallow space beneath it. He sees: Across from the park, a cheap APARTMENT BUILDING. He checks his map - the 2nd circled address. Kid number two. He waits. EXT. FIELD - EARLY MORNING Sara chops the dead tree trunk in the field, greatly diminished but still formidable. Joe approaches. JOE Can't you pull that out with a plow? SARA Uh huh. She keeps chopping. JOE I found a, in the barn I found some parts, and I made a, thing. Joe pushes one of Cid's BUZZERS into her hands, which we now see is a colorful plastic frog toy with a light bulb nose. JOE (CONT'D) If you see anything, just push that, and, Joe pushes the button on his buzzer, and Sara's lights up and vibrates. She regards the toy, then stares hard and cold at Joe. JOE (CONT'D) It's important. SARA When? JOE Last night. He woke me up. Don't tell him I told you though, he... Sara rolls her eyes, turns away. Starts chopping again. Joe doesn't leave. SARA What? JOE You said you were his mom. 76. SARA Uh huh. JOE He told me you're not. This hits Sara hard. She resumes chopping to cover it. SARA He said that? JOE If he's not your son who is he? SARA (SHARP) He's my son. (BEAT) I had Cid when I was twenty two. But I didn't want to give up my life. In the city. The word ‚Äúcity‚Äù has weight for her. Implies volumes. SARA (CONT'D) So I dropped Cid with my mom, here. And my sister. And they saw how I was living and they took him. My sister raised him here, she loved him. He called her mom. JOE How'd she get killed? When Sara's eyes hit him they're daggers. JOE (CONT'D) Cid told me. You have to talk to him about it. Icy silence from Sara, and an odd stare. SARA I told you one thing, I told you to stay away from my son. JOE He asked about my gun. You think this is going to go away if you don't talk to him about it but it's just gonna grow SARA Stay out of it. Stay the fuck away from my son. 77. She goes back to chopping. Joe lingers, then leaves. She hacks away. EXT. FRONT PORCH - EARLY MORNING Sara sits with coffee, looking out at the fields. Deep in thought. She takes a drag from her pretend cigarette. EXT. CHEAP APARTMENT BUILDING - EARLY MORNING A motel style building. Gat Men in cars pass occasionally with spotlights and radios, but the activity has calmed. Old Joe slips around a corner. Staying hid. Checks the address on the map. 12 Talbott Dr, #205. Makes a break for stairs leading to the 2nd level. But just at that moment a car pulls into the building's lot. Old Joe ducks under the stairs. Holding his breath. The car parks. Door slams. Footsteps. A WOMAN. Slumping exhausted, up the stairs. And through the slatted steps Old Joe sees her face flash by. It is Suzie, the girl from Abe's brothel. Old Joe's face, pure disbelief. He recognizes her instantly. It can't be. He gingerly steps half a foot out. Looking up he can see the apartment doors above. Suzie walks down the landing. Towards apartment 205. Jesus it can't be. Then she passes it. Keeps walking. Old Joe's eyes, relieved. She stops at the next door over, knocks. It opens, vaguely indistinct conversation between her and the girl that answers. SUZIE Sorry, I know I promised five, you know how it gets. GIRL NEIGHBOR Don't worry sugar. She was no problem. Gat men searched through here, lookin for god knows... Suzie disappears into the apartment. Re-emerges, holding a sleeping 6 year old girl. She whispers goodbye to the neighbor and walks back to APARTMENT 205. She enters. 78. Old Joe, frozen. Gun in his hand. Face numbly: ‚ÄúYou have to be shitting me.‚Äù He climbs the stairs. On the 2nd story landing. To 205. Breath held, back against the wall. Peeks in the window. On the couch, Suzie holding her daughter. Head in her lap. Stroking her hair. Suzie's back is to us, and with her long red hair down, she is eerily reminiscent of Old Joe's wife. Old Joe watches them for a long time. EXT. FARMHOUSE FRONT PORCH - DAY Joe sits, watching the corn. It rustles in the wind. Hand on his blunderbuss. Beside it, his frog buzzer. The tension is constant. And it's a long, long day. INT. FARMHOUSE HALLWAY - LATER Sara vacuums while Cid plays with toy trucks. INT. FARMHOUSE LAUNDRY ROOM - LATER In the basement, bare concrete. Sara empties the dryer. INT. CID'S BEDROOM - LATE AFTERNOON Sara sits on the floor with Cid, putting numbered tiles on a plastic multiplication table. SARA Where does 56 go? Good. 21. CID How long can you not sleep? SARA I don't know, awhile. That's a good question. Where's it go. Good, there. 32. CID We should help Joe watch. SARA Joe? CID Cause he can't stay awake all the time. SARA He isn't our business. 79. CID He's keeping us safe SARA Baby. Let's do this now. You have 32 there, I know you know this one. CID I want to help him. Sara is distracted by a distant bell-like DINGING. SARA Cid. 32. She goes to the window, looks out, nervous. But it's just a loose LAUNDRY LINE down in the yard, whipping in the wind against its metal pole. In the distance, Joe paces the yard. Relieved, Sara returns to Cid. He sets the tile, petulant. SARA (CONT'D) No. Eight times three is what? CID Thirty two. SARA Eight times three is what? CID Thirty two. SARA I want you to count three eights. CID Eight. Sixteen. Thirty two. SARA Are you telling me you want alone time? CID No. SARA Okay. Why don't you put that where it belongs? Deliberately, Cid lifts the tile and sets it straight back down on the same spot. SARA (CONT'D) Alone time. 80. Then like a knife in a fist fight: CID He's protecting us cause you can't do it. SARA Ok. I told you to stay away from HIM CID I never did anything SARA Do you think I'm stupid? CID So? SARA I told you already Cid is building into a temper tantrum fast. CID So? SARA You do what I tell you CID You can't tell me what to do you're not my mom. (a deadly beat) You're not my mom! You're a liar and you're gonna get killed and you won't stop lying! Cid lunges at her, Sara slaps him back. Not hard, but Cid scoots back, eyes furious. SARA CID BABY CID You're a liar! Liar! I hate you because you're lying! I hate you! Liar! You're lying to me! Sara scoots back. SARA CID CID You're lying! 81. Cid stands, balls his fists, SCREAMING at her. Sara pushes back away from him. Maybe a cloud passed over the sun. The room darkens. And we see it now, in her eyes: Sara is afraid. She bolts out of the room. EXT. UPSTAIRS HALLWAY Sara walks fast down the hall INT. SARA'S BEDROOM Not slowing, through her bedroom INT. SARA'S CLOSET Into her walk-in closet, to a huge steel safe tucked in back. She opens the safe with trembling hands. And climbs inside. INT. SAFE Closes the heavy door. Turns on a small LED light. And waits. Cid's screams distant but not lessening. EXT. BARN - CONTINUOUS Cid's screams from the house, clear as day. Joe paces in front of the barn. Turns his head back towards the house, not sure what to think. The screams stop. Joe turns uneasily back to the swaying corn. INT. CID'S BEDROOM The math game scattered, numbered tiles everywhere. Cid lies face down on the bed, cried out. Sara enters quietly. Sits on the bed beside him. Strokes his hair. He folds into her, and they're holding each other tight. EXT. CITY STREETS - DAY A Gat Man named CANADY strolls out of a donut shop, coffee in hand, and gets in his car. INT. CANADY'S CAR Canady starts the car up, starts driving. 82. Somehow not seeing Kid Blue crouched clear as day in the passenger side foot-well. KID BLUE Hey Can. Can. Canady sees him, jumps and yelps. The sedan swerves, scrapes to a stop against a parked car. Coffee everywhere. CANADY Jesus, fuckin Kid Blue what the FUCK KID BLUE Pull into that alley. CANADY You get the fuck outta KID BLUE You don't wanna be seen with me Canady, pull in the alley. Canady glares at him, but pulls the car into a narrow alley, parks it. CANADY The fuck are you still doing in town, Abe wants you dead man KID BLUE All Abe wants right now is the looper. Unless he got him last night? CANADY Jssshhh. No we didn't get him. Spotted and lost him. West End, near Whore's Alley. KID BLUE Whore's Alley? CANADY That area, Mott & Talbott, little working girl colony. KID BLUE (has a thought) Whore's Alley.. CANADY You shoulda left town man. 83. KID BLUE I'm gonna bring him in, get right with Abe. CANADY Yeah, maybe you bring him the looper, but short of that Abe don't get right with priced men. KID BLUE I got a price? CANADY Big one. Canady locks the car doors. And in that one moment, Kid Blue pulls Canady's gun from his holster. Holds it on him. A tense moment. CANADY (CONT'D) Course I'd never turn a friend for A PRICE EXT. ALLEYWAY BANG and the drivers side window explodes outward bloody. A moment, then Kid Blue stumbles out, holding his ears in pain. Off down the alley and out of sight. INT. CID'S BEDROOM Sara lies with Cid, both asleep. Distant but sharp, a bell ringing. It's unmistakable this time. The DINNER BELL. Sara's eyelids flutter. She hears. Stiffens. The bell stops suddenly. She stands, careful not to wake Cid. INT. FARMHOUSE FOYER - CONTINUOUS Sara rushes quietly down the stairs. Through a doorway, she sees the Frog Buzzer sitting on the living room coffee table. Lit up and buzzing. She goes to the front door, throws it open. And is face to face with a tall Gat Man named JESSE. She freezes. JESSE Evenin ma'am. SARA Evenin. How can I help you? 84. Joe is nowhere in sight. JESSE You can start by accepting my apologies re the hour, I hope I didn't catch you in supper. SARA No, that's fine. JESSE Yours was the last house on my list today, been walking between empty farms all day in the hot sun. Thought I'd tick this off my list, not have to come back tomorrow. SARA What's this about? Back in the house somewhere, a screen door bangs. JESSE You alone here, ma'am? SARA My husband should be back from the city, any time now. JESSE Happy to hear. Could I trouble you for some water? SARA Course. I'll get some, you can take the glass with you. JESSE Actually ma'am, my business tonight, this ticking off the list business, it's gonna require me coming in. If that's alright. Jesse shifts his weight, and Sara notices his heavy boot is now a few inches over the door jam. SARA Will you tell me what this is about? JESSE I will, yes. Can I come in? Hanging above the door, just over Sara's head: the shotgun. Possibilities whirling through her mind. 85. JESSE (CONT'D) Ma'am? Silent decision, and she steps aside to let him enter. INT. FARMHOUSE KITCHEN - CONTINUOUS Joe slips in through the screen door, gun in hand. Freezes in the kitchen, listening. JESSE (O.S.) I'm a deputized police officer, we're looking for an escaped criminal, just doing a sweep. Seen anyone through here the past two days, vagrants? SARA (O.S.) No, vagrants are always passing but nobody near the house. Footsteps, as they walk deeper in the house. Joe can't tell if they're coming through the living room or hall. He hesitates. JESSE (O.S.) This man, here. SARA (O.S.) He's young. No. Then at the last moment Joe slips out the hallway door, as they enter from the living room. Sara leads Jesse in, holding a photograph of Joe. She pours him some water. Jesse hands her a second photograph. JESSE We're looking for his father too, similar look and build but late 50s. May or may not be travelling together. This one is a print-out from a security camera in the Bodega, of Old Joe holding a gun on the checkout clerk. Sara's eyes linger on Old Joe's photo, side by side with Joe's. Mind spinning. Maybe making the connection, we're not sure. SARA No. She tries to hand the photos back but Jesse doesn't take them. He notices the toys on the table. 86. JESSE Keep em. Kids with your husband? SARA Yeah. Just one. JESSE How old? SARA Eight. Jesse pokes his head into the hallway, just missing Joe slipping through the hall and into the living room. He lifts his glass, drinks. JESSE Thank you. SARA I'll show you round the grounds, then the house, then you can be on your way. Sara holds the screen door open for him. JESSE We'll start with the house. Jesse strolls into the living room, and we follow him. INT. FARMHOUSE LIVING ROOM He sits on a couch, taps on a small folding phone. Sara follows him. JESSE Eight, you said? Boy? And your husband. Just gotta, check in. With the home office. This goddamn thing. SARA This man dangerous? JESSE Tween you me and a lamppost? No. Sweet kid. But he's wanted. My boss has half the city's looking for him. Half the city and me. So. And if you find him, there's a helluva price. Think on that if he comes by, acting sweet. Behind the couch, Joe crouches unseen. He looks up and sees Cid in the foyer, standing halfway down the stairs. 87. If Jesse turned his head he would see Cid clear as day. Joe motions for Cid to get out. Cid points to Jesse, makes a GUN with his hand. Asking Joe. Joe shakes his head, sharply motions: get out! Cid silently creeps down the stairs. He is in full sight of the living room, but Jesse doesn't look up from his phone. Cid vanishes down the hall. Jesse looks up, stands. JESSE (CONT'D) Alright, show me upstairs. The screen door in the kitchen creaks and bangs. Jesse looks sharply at Sara. SARA Drafts, in the house. Jesse is already moving fast to the kitchen. The instant Jesse exits, Cid appears again in the hallway. Opens a small door under the stairway and beckons Joe. JESSE (O.S.) This door doesn't latch? SARA (O.S.) It used to, it's busted. Joe hesitates, then silently dashes over and in. INT. FARMHOUSE FOYER Cid follows him in, down steep concrete stairs. Pulls the door closed behind them. It CREAKS. Jesse steps out into the hallway, gun drawn. Sara behind him. JESSE Drafty house. SARA Farm house. Jesse walks to the thin wooden door. Opens it. Closes it. CREAK. He looks at Sara. JESSE What's down there? SARA Laundry room. Door must've blown open. 88. Jesse opens the door, then looks at Sara gravely. JESSE Two things. First, I have a family of my own back in the city, and I want to see them again. Second if anything happens to me, and I don't report back to my boss people in fifteen minutes, they're gonna know I disappeared searching this house, and inside of another fifteen you'll have an army of more me's kicking down your door. Ok? SARA It's a laundry room. Jesse motions - her first. INT. FARMHOUSE LAUNDRY ROOM Bare concrete basement, starkly lit by a hanging bulb. The only things in the basement are a small washer and dryer, and a large canvas hamper the size of a fridge. No windows. Nowhere else to go. Jesse levels his gun at the hamper. JESSE You want to call out whoever's hiding in that hamper? SARA If someone was hiding in the house, that's what I'd do. But nobody is in the house. Open it up. JESSE No I think I'm gonna put a shot through it just to be safe. He raises his gat. Sara stiffens slightly. JESSE (CONT'D) You wanna call him out? Sara stays silent. A long beat. Then Sara strides over, pulls the hamper open. Empty. She throws open the washer and dryer. She takes the bucket and shakes it upsidown, dumping out the water, shows him it's empty. 89. SARA Now if you promise not to wag your gun at my shoe rack I'll show you upstairs then show you the fuck out. She storms up the stairs. A little cowed, Jesse holsters his gun and follows her. The water from the bucket flows in a small stream across the room, and into a drain hole under the hamper. INT. TUNNEL Dark and earthy. Cid leads Joe with his flashlight. EXT. BARN - LATE AFTERNOON Just outside the barn, a trap door covered with earth opens two inches. Joe and Cid prop it open, and peer out at the house. INT. CRAWL SPACE - CONTINUOUS A deep large hole capped with a wooden trap door. Joe squats, Cid stands. CID My granddad built it, but he didn't tell anyone of us why. Nanna said cuz he was nuts. JOE Thank you granddad. CID That wasn't the man. JOE No. I know him, that's what's funny. His name's Jesse. I like him. He'll go away when he doesn't find me, he won't hurt her. They watch in silence for awhile. In the distance, Jesse leaves the house alone and scopes the grounds before walking back towards the highway. JOE (CONT'D) My mom gave me up. I was younger than you. We were vagrants, and she was alone, for a long time I thought she was stupid for getting on the drug she was on, it was bad stuff, it probably ended up killing her. (MORE) 90. JOE (CONT'D) But now I see, she was so alone. And it was what she had. She sold me. To a panhandle gang. QUICKLY, SILENTLY WE SEE - FOUR YEAR OLD JOE dragged into darkness by rough men, screaming. Then we're back to the scene. JOE (CONT'D) But I got away. And I ran and I ended on a train, sitting in the dark in an empty freight, going to the city, and I saw myself over and over killing those men who bought me and who got my mom on what she was on. Finding them and tearing them apart. Saving my mom. CID But you didn't. JOE A man in the city found me, put a gun in my hand, and gave me some things. I didn't have my mom anymore. I had my work, my money. My plans. For my life. That's what I'd kill for. Not something I don't have, and can't ever get back. (BEAT) There's just men figuring out what they'd do to keep what's theirs, what they got. That's the only kind of man there is. CID I'm not gonna let Sara get killed. Joe looks at him. Wants to put his hand on his shoulder but doesn't. JOE I think we're clear. He opens the trap door, climbs out. EXT. BARN Joe reaches down to help Cid out. Looking down at Cid in a hole with a trap door. Like Seth. He grabs Cid's hand and lifts him out. Sara comes out, sees Cid and her face breaks with relief. Cid runs to her, and in the distance they embrace. 91. Sara and Joe share a look. Joe quickly turns his eyes back to the corn fields. INT. SECURITY MONITOR ROOM - EVENING A tiny, dark concrete room. Kid Blue watches a screen, his hand on a toggle wheel. A security cam view of Suzie's apartment building upper landing. Playback of last night. It scans quickly forward. The APARTMENT SUPER leans against the wall behind him, counting money. KID BLUE All working girls, yeah? SUPER Uh huh. This whole block. You wanna check those too, I can arrange. KID BLUE I do. On the screen, Suzie comes home. Picks up her daughter from next door. Goes into 205. Kid Blue keeps scanning. And an instant later, Old Joe climbs the stairs. Kid Blue slows the playback. KID BLUE (CONT'D) ‚ÄòLo Joe. Old Joe goes up to the window, his back to the wall. Watches Suzie through the window for a long while. Kid watches him intently. Then very suddenly, without going inside, Old Joe leaves. Down the stairs, shoving his gun in his jacket. SUPER I'm an arranger, stranger. Huhuha. But you don't see what you wanna see, no refunds. Old Joe vanishes down the street in a swarm of pixels. EXT. CHEAP APARTMENT BUILDING - EVENING Kid Blue emerges from a passage, into the parking lot. Looks up at Suzie's apartment door. Then down the street. A few drops of rain fall. EXT. FRENCH CAR - DAY (FLASHBACK) Driving on a highway along the beach. A few drops of rain on the windshield. Old Joe (late 40s) and his Wife in intense conversation, her hand on his. 92. OLD JOE (IN FRENCH) But I will. WIFE (IN FRENCH) You want to, I know that. But you won't. OLD JOE (IN FRENCH) I'd do anything for you. WIFE (IN FRENCH) You'd do. You'd kill for me, you'd take life for me. But I don't want that. You kill for what you love, but someone loves the person you kill, and it starts again. I don't want that. I can't love a killer. What would you give up for me? That's yours? OLD JOE (IN FRENCH) Anything. She smiles but does not believe him. Old Joe sees this. A moment, in thought. EXT. BEACH / HIGHWAY - CONTINUOUS The car screeches to a stop, and Old Joe runs to the sea. THROWS his gun in the ocean. Above the waters, the sun breaks the clouds. Rain falls. He runs back to her. Falls on her. Kissing her. He holds her face like the most precious thing in the world. OLD JOE Anything. INT. CHURCH - EVENING Rain beats against stained glass. Old Joe kneeling in a pew. Fists clenched as if in prayer. He stands, stumbles out. EXT. LA BELLE AURORE SIDE ENTRANCE - EVENING Oddly quiet. Old Joe walks down the sidewalk towards the side entrance to the theater. Face uncovered. In plain sight. Not caring. Stops 30 feet shy of the entrance, at a street garbage can. He draws his gun and leans over to drop it into the can. He lets it dangle from his fingers above the trash can. His pocket watch, hanging open from its chain. The picture of his Wife inside. Spinning. His gun slowly slipping from his grasp. 93. With each spin of the watch, the photo of his Wife appears cloudier. Blurred. Indistinct. Gun on the tips of his fingers, about to fall. Then the photo is nearly gone. OLD JOE'S EYES. INT. PARIS CLUB - NIGHT (FLASHBACK) Old Joe staggering to his feet from a fight. We've seen this before, it's the IDENTICAL SCENE to the previous flashback. But when he sees his Wife for the first time, whisps of FOG grow, blotting out the scene. Deep in the fog are other backgrounds - a street, a house - and unfamiliar faces. Other eventualities, clouding this one as it becomes less likely Old Joe will meet his wife and have this memory. Erasing it. OLD JOE'S EYES. INT. PARIS APARTMENT - DAY (FLASHBACK) Old Joe in bed with his wife. Baby crying outside. Her face. Then, whisps of FOG thickens, obscuring them. OLD JOE'S EYES. EXT. FRENCH BEACH - DAY (FLASHBACK) The thrown gun splashes in the sea, and Old Joe turns back to the beach. But where his Wife was in the previous memory, now there is the FOG. A wall of it, massive, reaching to the sky. Old Joe dwarfed against it. Caught between the roiling waves and this wall of nothingness falling towards him. OLD JOE'S EYES. The gun on his fingertips. About to fall. A moment of decision. INT. SARA'S BEDROOM - NIGHT Sara lies in bed. Eyes wide open. Still and quiet in the dark. Her hand moves over her bare leg. Slides across the sheets. Finds the Frog Buzzer lying next to her. A moment of hesitation. Then she pushes it. Silence. Her eyes go to the window. A long beat. Then sound: a door opening in the house below. 94. Quick footsteps approaching. Her eyes follow them. The door flies open. Joe, gun in hand, buzzer in the other. His eyes adjust to the dark. JOE What? Closes the door, kisses him. The adrenaline in his head doesn't know where to go. SARA Don't wake Cid. She pulls him to the bed, lifting his shirt off. The rain starts to fall against the windows. LATER Lying beside each other. Joe still stunned. Sara smokes a real cigarette, taking a deep joyful drag. She sets the lighter on her palm. It floats about a foot in the air, spinning, then drops. JOE That's pretty good. SARA In the city, young guys would hit on me by floating fucking quarters, I wouldn't tell ‚Äòem I was TK but I'd keep their quarters down. One guy busted a blood vessel in his eye trying to get it up. (BEAT) He's you. Your loop. You lied to me. She doesn't seem angry but deeply curious. Joe sits up. SARA (CONT'D) But you protected Cid. And I know you're not lying that you're gonna kill this guy, your own self. Even though he's protecting your future. JOE He's protecting his future. Not mine. A beat. SARA When I came back, after my sister died. Cid was sitting on the porch, I remember seeing him for the first time, in two years. (MORE) 95. SARA (CONT'D) Saw him on the porch. I drove up crying and I had been at a party in the city when I got the call, I was wearing this ridiculous party dress. All my ridiculous shit. I don't know if he remembered me, but he looked at me. I abandoned him. I abandoned my baby. (BEAT) Maybe I can't be a mother to him, is that something I can't get back. When he looked at me then, on the porch, he was mine again, he was my son. I seen so many men in the city, who I look in their eyes and they're lost. Whether he loves me back or not I'm gonna love my son I said. And he's never gonna get lost. Joe sitting up still, Sara lying beside him, maybe crying. He touches her hair. INT. APARTMENT 205 - EARLY MORNING A DOOR FRAME - kicked open with all the violence in the world. Old Joe sweeps into the small apartment, gun drawn. Suzie cooking in a robe, opens her mouth to scream. OLD JOE Don't. Don't wake up your daughter. Old Joe trains the gun on her. She goes silent. OLD JOE (CONT'D) Sit down. At the kitchen table. Quivering, she does. He keeps the gun on her. OLD JOE (CONT'D) Do you know me? SUZIE No. I don't know you. Who are you? OLD JOE I need to tell you why I'm doing this. I gotta say it out loud to someone so I know. SUZIE Why you're doing what? 96. INT. SARA'S BEDROOM - EARLY MORNING Joe sleeping alone in the bed. Sara's voice, distant. SARA (O.S.) Joe. Joe. He wakes. She is calling him from downstairs. INT. FARMHOUSE FOYER Joe comes down the stairs half dressed. Jesse holds Sara at gunpoint in the living room. Staring at Joe with a cool lack of malice. JESSE Lo' Joe. JOE Jesse. INT. APARTMENT 205 OLD JOE I threw my gun away once. To get her love. And I was going to do it again, now. Because I know she'd want me to. I was going to do it. And I saw then, I saw her vanishing, like how life probably goes when you die. That's what she was asking me to give up this time. SUZIE ...who are you? OLD JOE And if I picked up the gun. If I made this sacrifice. Life, my life. Absolution. Given back to me. My love. Given back, just like we were, and she wouldn't know what I did to get it back. INT. FARMHOUSE LIVING ROOM Joe steps into the living room, stands facing them. JOE I'm unarmed Jesse, you can let her go. Sara, Jesse here's the best shot with a gat I've ever seen, when he lets you go you sit on the couch and don't do anything stupid. Jesse lets Sara go and trains the gat on Joe. 97. JOE (CONT'D) He's coming here Jess. My Looper, is gonna come here. JESSE I gotta take you in man. JOE I got eighty large in pure gold, I take my looper back in and get right with Abe, whatever he gives me back I'll split it with you. JESSE Was that your plan? JOE Ok. It's yours, all of it JESSE Are you delusional? INT. APARTMENT 205 OLD JOE Everything set right. Everything fixed. Through this sacrifice. SUZIE What are you gonna do? Old Joe stands, walks towards the back hall. Suzie screams SUZIE (CONT'D) No! And runs at him but he shoves her back hard. INT. FARMHOUSE LIVING ROOM JESSE I know you got no options you take the one you got but Joe, you aint gettin right with no one. Looper or no, you're beyond saving. As long as Abe's got one Gat Man standing, he'll be hunting you till his dying day. Joe's face falling. INT. APARTMENT 205 Old Joe, gun ready, down the darkened hallway towards the door at the end with a rainbow on it. He puts his hand on the knob. 98. INT. FARMHOUSE LIVING ROOM JESSE We're going now. We're gonna go to my truck, you're gonna CREAK. Cid on the stairs, sleepy eyed. Jesse, purely on instinct, spins and draws on Cid. Cid's POV - Jesse's gun, snapping like a snake, barrel leveled at him. Cid makes a strange shouting noise, falls back. Everything slows down. INT. APARTMENT 205 Old Joe pushes the door open. Blackness within. INT. FARMHOUSE FOYER / LIVING ROOM The room darkens. As if the sun passed behind a cloud. Jesse realizes it's a kid. Lowers his gun. But Cid is mid- scream, falling back, his foot misses the step and he tumbles down the stairs. Confused, terrified, falling. Joe runs into the foyer, to catch Cid. Sara runs behind him. The room is very dark now. Knick-knacks around the room rattle, then LIFT INTO THE AIR. All of them. Floating. Spinning. Sara's LIGHTER, on the coffee table: it RISES into the air. INT. APARTMENT 205 Old Joe readies his gun, staring into the blackness. But his eyes lower. He touches his temple. Remembering. INT. FARMHOUSE FOYER / LIVING ROOM (OLD JOE'S MEMORIES) Fog clears - Joe is almost to Cid, who is still tumbling, nearly at the bottom of the stairs. INT. FARMHOUSE FOYER / LIVING ROOM (NORMAL) But just before he reaches him, Sara shoves Joe from behind. Shoving him TOWARDS THE FRONT DOOR. He's confused but her face is set. Cid hits the hardwood floor of the foyer, face contorted with rage now, hand raised to Jesse, palm outstretched. Screaming. His scream louder than it should be. 99. Bigger things in the living room RISE OFF THE GROUND. Chairs. The couch. And Jesse. He rises five feet in the air, terrified. Sara pulls Joe through the front door, and he looks back and sees Jesse suspended in the air and Cid on the ground screaming like an animal, and just as they cross the threshold, Jesse explodes in a bright red fan of blood. INT. APARTMENT 205 Old Joe's face. Remembering. INT. FARMHOUSE FOYER (OLD JOE MEMORY) Frozen in a tableau - Cid screaming, raw power. Jesse EXPLODING. A bright red fan. EXT. FRONT PORCH Joe and Sara fall out and down the stairs. The front door and windows EXPLODE in a burst of splinters and glass. INT. APARTMENT 205 Old Joe's eyes lift. Realizing. OLD JOE The Rainmaker. A bare bulb hanging from the ceiling turns on. A six year old girl's room. But the only person in it is Kid Blue. He shoots Old Joe with a blue tazer. Old Joe hits the ground, mouth foaming, paralyzed. Knowing the answer now, knowing the who and the how but helpless and defeated. Kid Blue kicks him in the face. CID 100. INT. ABE'S OFFICE A Gat Man circles a spot on the map in red ink, Sara's farm. GAT MAN 1 He's there. Lost his signal five minutes ago, right after he sent word he had him. Joe. Abe slumps in a chair, taking oxygen from a tank. ABE Call everyone, every Gat Man in the city, call ‚Äòem here. Gather em all up here first. No mistakes this time. We're gonna take an army to that farm, all at once, and sweep it like hellfire. Now. EXT. CITY STREETS - MORNING From a high vantage point. Cars, bikes, Gat Men on foot, all heading towards the club. An army, all meeting at the Belle Aurore. Massing to attack. EXT. FARMHOUSE FRONT LAWN - MORNING Moments after the blast. Joe and Sara lie in the dirt. Jesse's TRUCK parked nearby. Joe stirs first. Stands shakily. The front door jam is splintered. Windows broken. He goes inside. Sara gets up, staggers in after him. SARA Cid! Cid! JOE (O.S.) Cid! EXT. BACK OF FARMHOUSE Joe bursts out of the screen door, holding his Blunderbuss and wiping off Jesse's gat. Bloody Cid-sized footprints lead out the screen door and streak across the lawn, into the corn. Sara comes out after Joe, sees him heading for the corn. SARA What are you doing with those guns? What are you going to do? She lunges for him, wild. Wrenches his arm and he spins, throwing her to the ground. 101. JOE How did your sister die? Sara holds his gaze. Then everything breaks inside her and she collapses in sobs. Heaving. JOE (CONT'D) That happened to her. Cid. (BEAT) Jesus. Jesus he killed her This breaks Sara out of her sobs SARA No! No he was climbing a bookshelf, it fell back on him. He has no control, he gets scared, it explodes. JOE What is it a TK mutation? SARA Joe someday he'll learn to control it. JOE Yeah I know he will. Imagine what he could do. SARA If he did good with it! If he grew up good! JOE He doesn't. Joe heads to the corn, Sara scampers after him but slips on the wet grass, and Joe hits the corn with a head start. SARA You stay away from him! Cid! Cid! She runs into the corn. EXT. CORN FIELD - WITH SARA WITH SARA as she stumbles blindly through the tall stalks. SARA Cid! Make a noise baby, call to me! Cid! WITH JOE through the corn, following traces of blood on the stalks. 102. SARA (O.S.) (CONT'D) You stay away from Joe, you come to me! Cid! Tries cocking the GAT but it's broken. Tosses it, wields the Blunderbuss. INT. SMALL CROP CLEARING Joe emerges from the corn. Cid crouches at one end of the small clearing. He looks at Joe. Terrified. Half covered in blood. Hair matted over one eye. Joe looks back at him. Approaches him, gun not raised, but in hand. Cid, like a frightened animal. A long moment. And just like that, Joe puts his hand on Cid's head. Cid leans against his legs, crying. Sara bursts into the clearing, sees this. Runs to Cid and embraces him, wiping the blood from his face. Joe steps back. JOE Right now two things have happened. My looper knows Cid's the kid he's looking for, and my gang knows I'm here. So in fifteen minutes one or both is coming down that highway. You pack up the Gat Man's truck, whatever you can fit in ten minutes, and you drive North away from the city. SARA Where are you going? Joe takes the Frog Buzzer from his pocket, presses it. Sara's buzzes in her pocket. JOE One buzz means come and get me. Two or nothing, don't. He vanishes into the stalks, towards the highway. INT. ABE'S OFFICE Crowded with Gat Men, all preparing. GAT MAN 1 We got everyone here. All our men. ABE Arm ‚Äòem up, let's go. 103. BUZZZZ. Abe turns, annoyed, and sees the security monitor. On the screen - Kid Blue rips the sack off and holds Old Joe's bloodied face up to the camera. KID BLUE (ON SPEAKER) I got him Abe. I got him. ABE Well. Shhhhhit. INT. COAT CHECK The door buzzes open. Kid pushes Old Joe through the long entrance hallway, past a dozen Gat Men, who watch him with shocked amazement. Old Joe's hands bound back. Kid Blue glows. He comes to the tiny coat check room, and Big Craig stops him, then sees Old Joe. BIG CRAIG Hoh. So both we got? KID BLUE Just the Looper. I got him. Knew he went for whores, so I checked every building. BIG CRAIG They found Joe too though, in a farm on the east side. That's why all the Gats are here, the whole crew's arming up to make a sweep. KID BLUE Joe fuck Joe, save your bullets I got the Looper. Not such a fuck up huh? I'm taking him up to This happens very fast: Old Joe uses his legs to kick himself off the wall and back into Kid Blue, SLAMMING him against the opposite wall. Old Joe grabs (behind his back) Kid Blue's gun, and blasts one shot through the chains binding his wrists and into the Kid's midsection. He whips the gun from behind his back and shoots Big Craig in the face. Then blasts the Gat Men in the entrance hallway while he reaches into the coat check and pulls an automatic rifle. He blasts like hell into the hallway. A few shots return but mostly the men are trapped. Then it's over. All is smoky still for a moment. 104. Old Joe stares at the exit door ajar, down the long hallway jammed with bodies. Then at the passage that leads deeper into the club. A Gat Man runs in, and Old Joe shoots him down. He steps into the coat check and loads his pockets with guns and grenades. Then launches himself into passageway towards the club. INT. BACKSTAGE Old Joe weaves his way through the backstage area, chucking grenades in front of him, then unloading his automatic rifle into the smoky aftermath. And with a mixture of dumb luck and skill from years of being gangland muscle takes out Gat Man after Gat Man. The corridors are tight, twisty. Old Joe uses that. Throwing grenades. Blasting away. Purging. Killing everyone he lays eyes on. Wiping them out. All the bad guys. It's horrible. Men maimed, bleeding and crying, dying the way people actually die from gunshots. Old Joe forges on, deeper. INT. ABE'S OFFICE Empty. Old Joe kicks the door open. Takes it in, the office. Hammer on the desk. He reloads a gun. Eyes find the door to Abe's inner den. INT. ABE'S DEN Abe and two Gat Men, guns out, crouched behind the table. Watching the door. A display screen shows Old Joe on the other side. Abe, eyes dull. Shouts at the door ABE Joe. Guess I put the gun in that kid's hand, huh Joe. Guess everything comes back around. Like your goddamn ties. INT. ABE'S OFFICE Old Joe. Breathing hard. Reloaded. Closes the gun. EXT. HIGHWAY Joe breaks out of the corn, panting. He steps out into the middle of the highway. Storm clouds on the horizon. He cleans and readies his Blunderbuss. 105. INT. COAT CHECK - LATER Kid Blue's eyes flutter open. He lifts himself painfully. Checks his chest. Most of the shot caught his shoulder, his chest is grazed. The Gat Men in the hall. Big Craig. All dead. INT. BACKSTAGE Kid Blue wanders the smoky halls. Dead and dying men. INT. ABE'S DEN Abe, shot once in the head, twice in the chest. Kid Blue stands over them. Stunned. Tears well in his eyes. Then on the wall, he sees the map. The farm circled in red. EXT. FARMHOUSE FRONT LAWN - MORNING Clothes and boxes piled in the back of Jesse's truck. Sara loads one last bundle. Calls to Cid, in the front seat. SARA Ok baby, we're going. EXT. HIGHWAY Joe waits. Then, a CLOUD OF DUST on the distant highway. He tenses. The cloud gets closer. It is a truck. An armored truck. Joe squints. It's the ARMORED TRUCK that Kid Blue loaded his gold bricks into. The front windshield blown in. The truck stops fifty feet away, and Old Joe steps out. He throws a gold bar, which lands in the dusty highway between them. OLD JOE Bon jour. You take this truck, you take your money, and you go live your life. No one's coming after you. I fixed it. JOE And you go kill the boy. That's how you fix it. OLD JOE That's how. You got your life back, you better think right now about what that's worth to you. JOE My life? Your life. Becoming you. 106. Joe raises his Blunderbuss and FIRES. Too far away, the shot scatters. The old man flinches, backs away. Joe walks forward towards Old Joe, stepping over the gold. OLD JOE Stupid little shit! You let him live, he's gonna take away everything that's yours, everything that's mine! You seen what the boy's gonna become. JOE I haven't seen that yet. Joe fires again, close enough now to draw blood off Old Joe's chest and knock him back. Out of nowhere a SLAT BIKE careens around the van, which has until now blocked our line of sight down the highway. Kid Blue. The bike clips Joe's leg, sending him spinning violently to the dusty pavement. The bike shoots off down the highway, a cloud of dust in its wake. It takes a hundred yards for the Kid to pull it to a stop and spin it around. Joe is hurt bad. He grapples for his blunderbuss. Kid Blue guns the engine, gat in hand. Levels it, steady as a rock. Joe shoots at the Kid, but he's out of range, the gun fires scattershot. Kid Blue fires, a bullet hits dangerously close to Joe. Panicked, Joe begins firing at the pavement around him, round after fiery round. Kicking up dust. Lots of dust. Raising a cloud. KID BLUE'S POV - zooming towards Joe, now obscured in a cloud of dust and smoke. He fires his gat into the cloud, tries to slow the bike but can't in time. In the dust cloud Joe hears the bike roaring down upon him. He covers up and when he feels the bike roaring past blindly FIRES his buss. A moment later the bike emerges from the dust cloud. Without a driver. It skids, crashes. When the dust clears away Joe lies still, arms over his head. 107. Besides him, the broken remains of Kid Blue. Painfully, Joe raises himself. Then realizes: Old Joe is gone. EXT. FARMHOUSE FRONT LAWN Sara starts the truck up. SARA Here we go. Give it a wave goodbye. EXT. DIRT ROAD They roll down the dirt road that leads to the highway. At the far end of it, at a distance but walking towards them, is the dark figure of Old Joe. Gun in hand. Sara hesitates a minute, then guns it. Straight for him. CID STOP SARA Duck down baby CID Stop please he can shoot us SARA Just stay down Half the distance closed, but he's still far off. A shot cracks the front grill, another cracks the windshield. CID Stop! The truck lurches horribly, and flips straight back in a graceful arc, landing upsidown. Sara and Cid, dazed, hanging by their seatbelts. SARA Are you ok? CID I'm sorry In the rear view mirror, Sara sees Old Joe getting closer. SARA You're ok. C'mon baby we have to run now. 108. She unfastens them and they both climb out, and Old Joe stops suddenly, taking aim. Sara pulls Cid behind the flatbed for cover as two bullets glance off the overturned truck. SARA (CONT'D) We're going into the fields. I want you to run, I'll be right behind you, don't look back. Okay? Old Joe lowers his gun and runs towards them. SARA (CONT'D) Go! They both sprint off the road. EXT. FIELD - WITH CID & SARA The wide bare field. Cid runs ahead towards the corn, Sara not far behind. The earth soft, their feet sink in, like a nightmare. EXT. FIELD - WITH OLD JOE Old Joe crosses the road and chases them onto the field, firing at them on the run. EXT. FIELD - WITH CID & SARA Bullets thunk in the earth. Sara stumbles, exhausted. Cid turns, about thirty feet ahead of her. EXT. FIELD - WITH OLD JOE Old Joe stops running and steadies his gun. EXT. FIELD - WITH CID & SARA A distant gunshot CRACK. A fan of crimson blood sprays from Cid's head. His neck twists and he crumples to the ground. SARA NO! Sara is stopped in her tracks by an invisible force. SARA (CONT'D) No Cid no! The topsoil of the earth around them RISES in a fine dust. EXT. FIELD - WITH OLD JOE Old Joe reacts as the topsoil rises, an eerie moment. 109. EXT. FIELD - WITH CID & SARA Sara struggles to reach Cid but is still about twenty feet behind him. Cid raises his head. The bullet grazed his jawline. Not severe but lots of blood. Cid's eyes locked hateful on Old Joe. Blood soaks his shirt. Far behind him, the barn splinters apart as if in a tornado. SARA No! With a sudden jolt the field ripples out from Cid, like a stone thrown in a pond. Sara lifts into the air. EXT. FIELD - WITH OLD JOE Old Joe is hefted off the ground. His gun falls. EXT. CORN FIELDS - CONTINUOUS Joe struggling through the fields, limping, desperate. Something like a furious wind rushes through the stalks. EXT. FIELD - WITH CID & SARA Cid stands. Intense, eyes dark, in another place. EXT. FIELD - WITH OLD JOE Old Joe, suspended mid-air, realizes what's about to happen. He lifts his hand defensively and SCREAMS EXT. FIELD - WITH CID & SARA Cid's face straining, about to scream. Cid's focus adjusts from Old Joe to Sara. She floats, reaching out to him. Frightened. Yelling something he can't hear but he can see her eyes. Cid's face breaks. He barely mouths the word CID MOM And everything FALLS. Sara, Old Joe, the earth. All comes crashing down. EXT. EDGE OF FIELD - CONTINUOUS The corn stalks shiver then are still. 110. Joe breaks out of the stalks and onto the field. Gasping for breath. Gets his bearings. In the far distance across the field, Old Joe, Sara and Cid. Too far. EXT. FIELD - WITH CID & SARA Cid runs to Sara, who sits up slowly. They embrace. SARA You did good, baby. You did so good. I love you. Behind them, Old Joe struggles to his feet. Sara kisses Cid. SARA (CONT'D) Into the fields. Run now baby. Go. CID NO SARA GO NOW CID No no mom no SARA You go! She pushes him away and Cid runs. Then she turns. Standing her ground. Directly between Old Joe and Cid. Old Joe TRIPS in the mud, fumbles his gun. Sees Cid approaching the safety of the CORN STALKS. Blocked by Sara. OLD JOE Move! EXT. FIELD - WITH JOE Still too far away, struggling as fast as he can, helpless as Old Joe closes in on Sara. He fires his buss at Old Joe, but is way out of range. EXT. FIELD - WITH OLD JOE & SARA Old Joe gets his gun, rises with it. Cid about to hit the stalks. Sara between them. EXT. FIELD - WITH CID Cid nears the corn fields, running. Seconds from safety. 111. EXT. FIELD - WITH OLD JOE & SARA Old Joe. Gun raised. Pocket watch wrapped around it. His wife's picture in it. Clear as day. No time to move around Sara. Now or never. EXT. FIELD - WITH JOE Joe running, useless gun in hand. JOE No! EXT. FIELD - WITH OLD JOE & SARA Sara, not going anywhere. OLD JOE I'm sorry He pulls the trigger. EXT. FIELD - WITH JOE Joe running. Time slows. Watching: EXT. FIELD - OLD JOE & SARA Everything is a little surreal. Dream-like. Slow. Old Joe shoots Sara. We hear no gunshot. Just the wind in the corn, and young Joe's breathing. She falls, giving him a clear shot at Cid. EXT. FIELD - WITH JOE JOE WATCHING: EXT. FIELD - WITH CID Just as Old Joe gets him in his sights, Cid breaches the corn fields and is gone, vanishing in the stalks. Old Joe lowers his gun, stunned but still frantic. He stumbles towards the corn, still far off, his face breaking. Trips, falls in the mud. Corn field vast in front of him. Cid is gone. He lost him. He holds his pocket watch. Sobs. Lost. EXT. FIELD - WITH JOE JOE WATCHING: 112. EXT. CORN FIELDS On the horizon, a train. EXT. FIELD - WITH JOE JOE WATCHING: INT./EXT. FREIGHT TRAIN CAR Cid sits in a darkened car, holding a bloody rag to his jaw. EXT. FIELD - WITH JOE Joe watching, seeing: INT./EXT. FREIGHT TRAIN CAR Cid's face. Bloody. Dirty. His eyes full of hate. The train rumbles towards the dark city. EXT. FIELD - WITH JOE Joe watches. Sees, in his mind's eye, all of this. And through all of this we have only heard the wind. And Joe breathing. Time hanging, slowed nearly to a stop. A moment of decision. Joe turns his blunderbuss back on himself and FIRES. EXT. FIELD - WITH OLD JOE & SARA Revealing that all we saw was in Joe's head, and we are still in the moment where Old Joe is about to shoot Sara. But this time, just as he's pulling the trigger, a distant shot is heard. And Old Joe DISAPPEARS. Sara stands shell shocked just for a moment. Then she doesn't process any of it, she just turns and yells SARA CID! EXT. FIELD - WITH CID Cid stops just shy of the corn. Turns back to the field. There's his mom, Sara, unharmed and smiling. The bad man is gone. The field is empty. 113. EXT. FIELD - SEEN FROM JOE'S POV We don't see Joe, but far across the field Cid runs to his mom, into her arms. Sara lifts him, holds him. EXT. FIELD - WITH CID & SARA She carries him. Walking fast back towards a far distant figure lying still on the edge of the field. Joe. Then a faint buzz. The flasher, in her pocket. She pulls it out. Two flashes. She slows. Stops. Looking at him, far away. Two flashes. CID Where's Joe? SARA He had to go away, baby. CID He took the bad man with him? She kisses him. EXT. FIELD - FROM JOE'S POV In the distance, Sara turns away and carries Cid back towards the farmhouse. INT. CID'S BATHROOM Sara bathes Cid, dresses the wound on his jaw. INT. CID'S BEDROOM She tucks Cid in, holds him close. Kisses his forehead. EXT. FARM HOUSE PORCH - LATE AFTERNOON Sara emerges from the ruined front door, crosses the porch. EXT. FARMHOUSE FRONT LAWN Sara crosses the lawn, and walks across the field. EXT. EDGE OF CORN FIELDS Joe's body. Sara goes to him, slowly. She kneels beside him. His pocket watch in the dirt. Open. No photo inside. Ticking away. Around and around. She closes it.Touches his hair. The wind through the corn. After a long while, the sun breaks through the clouds. \ No newline at end of file diff --git a/unformated_scripts/Script_Lord of Illusions.txt b/unformated_scripts/Script_Lord of Illusions.txt new file mode 100644 index 0000000000000000000000000000000000000000..ff48e4f4ca18674e3360aea04d9859fbb12137cc --- /dev/null +++ b/unformated_scripts/Script_Lord of Illusions.txt @@ -0,0 +1 @@ +TITLE SEQUENCE As the credits run, we INTERCUT the following two sequences: EXT. NEVADA DESERT - IDOLS - DAY A SLOW DRIFT through a collection of crudely constructed, surreal, six-foot tall "IDOLS." Like modern demons. Grotesque. Disturbing. WE LAP DISSOLVE between details of their twisted anatomies: headlamp eyes, bright metal claws, broken glass teeth. EXT. NEVADA ROADS - DESERT - DAY Two vehicles, one a Volkswagen "bus" decorated with stylized flames, the other a '66 Thunderbird, speeding along a series of eerily empty desert roads, somewhere in a wilderness of sand and heat. END CREDITS. CUT WIDE TO; EXT. NEVADA DESERT - DAY A violent WIND HOWLS around, but through the sand we-can just make out a large, ominous building: the HOUSE of William Nix. Its walls are white-washed and scrawled with GRAFFITI. The "family" of IDOLS surrounds the doorway, guarding it. ON SCREEN, the words: '"Nevada - Thirteen Years Ago" EXT. NIX'S HOUSE - DAY We're at the front door now, which stands open. Leaning against the door-frame is a scrawny, wild-eyed YOUTH, about sixteen. His name is BUTTERFIELD. He's got a brooding, almost sultry look on his face. One of his eyes is black, the other milky blue. He's whittling something with a scalpel. Distantly, the sound of CAR ENGINES. Butterfield narrows his eyes. BUTTERFIELD'S P.O.V. The Volkswagen "bus" and Thunderbird are approaching the house. BUTTERFIELD (softly) Swann...? He turns from the door. In his haste he drops the WOOD he's whittling. He's been carving a DEATH'S HEAD. INT. NIX'S HOUSE - ROOMS AND CORRIDORS - DAY The house no longer serves any domestic function. It has become the temple and dormitory of Nix's small apocalyptic cult. As we go through the house with Butterfield we glimpse a little of what life here is like. The rooms are murky, and chaotic. The walls, PAINTED with scenes of cities and landscapes BURNING, and creatures from some unspeakable nightmare ATTACKING, RAPING, and DEVOURING helpless humanity. The atmosphere is joyless, and oppressive. The passages become progressively darker as the boy makes his way to the heart of the house. Only OIL LAMPS, set on the floor, light these claustrophobic corridors. BUTTERFIELD Master? INT. NIX'S HOUSE - MEDITATION ROOM - DAY A dozen CULTISTS sit cross-legged on the floor in front of their leader, WILLIAM NIX. His black hair grows to his shoulders. His eyes are deep and glittering, his voice seductive. A terrifying yet charismatic presence. All the Cultists - who are a cross-section of obsessives - wear the same simple T-shirts, painted with the cult's SIGIL. They watch Nix in adoration. As Nix speaks, he juggles a FLAME, passing it from hand to hand with casual ease... NIX And the fire said to me: Nix, Nix, you're my instrument. From now on, you'll be called the Puritan... CULTISTS (murmuring) Puritan... NIX You will find a few good men and women, and together, together you will cleanse the world. CULTISTS Yes... Butterfield enters. BUTTERFIELD Master? Nix looks up. BUTTERFIELD Swann's here. Nix rises, smiling. NIX (to Cultists) We'll come back to this. Get about your business. As the Cultists disperse, Nix and Butterfield exit into INT. NIX'S HOUSE - SANCTUM - DAY A place of nightmares. Hanging from the middle of the ceiling is another grotesque SCULPTURE, three times the bulk of a large man, and made of metal, fly-blown animal parts and knotted rope. It is vaguely cruciform, but its swaying, creaking bulk is not even faintly Christian. It is a perverse, sickening image, evoking insanity and agony. From the shadows in the corner, we hear a young girl's soft SOBBING. NIX Hush... Nix goes to the GIRL. She is twelve; beautiful, blonde, and presently in a state of mortal fear. She sits, bound, in a fetal position, her face soaked with SWEAT and TEARS, her mouth BLOODIED, her cheek BRUISED. NIX I said hush. GIRL Please. Let me go. From the opposite corner the SCREECH of Nix's pet BABOON. Nix goes to it. The animal is large and lethal. NIX (to Baboon) What is it? The Baboon pulls on its chain, staring at the Girl and baring its teeth as it screeches. NIX (to Girl) I think he's in love. He unshackles the Baboon. The animal pads toward the Girl, trailing its chain. GIRL Keep it away from me. Nix catches hold of its chain. Holds it back. The Baboon starts screeching again, scrabbling at the Girl, its NAILS catching her arms and legs, drawing BLOOD. GIRL Please... please... Nix watches her terror dispassionately. BUTTERFIELD (also watching, wide- eyed) Want me to shoot Swann? NIX You don't like him, do you? BUTTERFIELD He wants your magic. NIX Maybe. Go fetch him. Butterfield exits. Nix advances on the Girl. GIRL What are you going to do? CUT TO: EXT. NIX'S HOUSE - DESERT - DAY The two vehicles come to a halt outside Nix's house. From the Thunderbird steps PHILIP SWANN, a nineteen- year-old with shoulder-length hair and brilliant blue eyes. He's not conventionally handsome, but he's certainly striking. From the passenger seat steps CASPAR QUAID, a black man, studious and intense. From the bus emerges MURRAY PIMM, skinny and jittery, and JENNIFER DESIDERIO, a woman with a steely gaze. SWANN (to all three) Are we ready? JENNIFER (cool) Say the word. PIMM (very nervous) Look, maybe we should think this over. On Swann, as he brings from his car three very bizarre pieces of METALWORK. We get only a tantalizing glimpse of them, as he slips them into his pocket. SWANN No. He's gone too far. PIMM So he took a child. JENNIFER He'll kill her. PIMM No he won't. SWANN (determined) He's not going to get the chance. Quaid checks a gun, then slips it into his belt. QUAID If he gets in our fucking heads he'll drive us crazy. SWANN So stay out here. Swann starts towards the House. Jennifer is the first to follow, with the other two on her heels. INT. NIX'S HOUSE - HALLWAY - DAY Butterfield comes to the door, as Swann steps inside. BUTTERFIELD He's expecting you. Behind Swann, Quaid and Pimm exchange nervous looks. SWANN (to others) Look around. If you find 'the child, yell. She's got blonde hair, that's all I know. Butterfield turns away, smiling to himself. Swann follows him. INT. NIX'S HOUSE - "MEDITATION" ROOM - DAY Quaid looks into a large circular room where FIVE CULTISTS (three men and two women) still sit. One of the women is breast-feeding a baby. 1ST MAN Hey, Quaid. I thought you said you weren't coming back. QUAID I changed my mind. 1ST WOMAN Come and join us. She smiles a crazy smile. Reaches out for Quaid. A SNAKE appears from around the back of her neck. Quaid recoils. And now we see that there are snakes everywhere. In the Cultists' clothes and hair. Even on the baby. Quaid turns away. And - shock! - there's a SNAKE on the door frame, winding around his hand. He strikes it to the ground, and drives his heel down on its head. SNAKE-HANDLER CULTIST (angry) Don't do that! The Snake-Handler gets up. Quaid retreats from the door. Snake-Handler picks up the dead snake and, lifting it above his head, dribbles its BLOOD onto his face. INT. NIX'S HOUSE - "BEDROOM" - DAY Jennifer enters a gloomy room. She goes to a mattress where a BLONDE GIRL lies with her bare back to us. JENNIFER Don't be afraid. The Blonde Girl, BARBARA, turns over. She has a dirty cloth pressed to a wound between her breasts. It is not the Girl, of course. She stares up at Jennifer, clearly drugged. BARBARA I'm not... want to see? She pulls the cloth away. She has carved the cult SIGIL into her FLESH. The BLOODY KNIFE lies beside her. Jennifer retreats to the door, and exits back out into -- INT. NIX'S HOUSE - PASSAGEWAY - DAY Pimm is standing against the wall, clutching a CRUCIFIX. He is ashen with terror. Jennifer snatches the crucifix from his white-knuckled fingers. PIMM He's going to kill us all... JENNIFER Where did Swann go? Pimm points down the passageway towards Nix's room. INT. NIX'S HOUSE - PASSAGEWAY OUTSIDE NIX'S SANCTUM - DAY Swann wipes sweat from his upper lip, then reaches down to his belt, to check the GUN tucked out of sight at his side. He turns the door handle. INT. NIX'S HOUSE - SANCTUM - DAY Swann steps inside. Nix's chair has its back to him. The folds of Nix's robe are visible, however. Swann hears a muffled SOBBING from the far side of the room. On the Girl, now gagged and lying amongst bones and filth. Swann starts towards her, his footsteps barely audible. As he approaches the chair - the Baboon leaps at him screeching! He reaches for his gun. The chair topples. The Baboon, half dressed in Nix's robes, bounds towards Swann. Swann FIRES at it. The bullet blasts off half its head. INT. NIX'S HOUSE - PASSAGEWAY - DAY On Quaid, who draws his GUN as three CULTISTS appear in the passageway that leads to Nix's Sanctum. QUAID Stay the fuck away! (yells) Pimm! Get over here! INT. NIX'S HOUSE - SANCTUM - DAY PAN UP from the twitching Baboon corpse to Swann as he struggles with the Girl's gag. He has laid his gun on the ground beside her. SWANN You're going to be okay. Out of focus, behind him, the cruciform sculpture swings round. Nix is hanging on it, like an idol on a grotesque altarpiece. The Girl sees Nix over Swann's shoulder. Terror crosses her face. Swann turns. NIX I knew you'd come. He reaches down to Swann. NIX I've got so much power to give you, Swann. All you have to do is...beg. SWANN Fuck you. NIX You don't think I've got it to give? SWANN No! Suddenly. Nix swoops down on Swann. apparently defying gravity. NIX You're wrong. He catches hold of Swann with one hand and drives him back against the wall. NIX I could eat your fucking soul, Swann. INT. NIX'S HOUSE - PASSAGEWAY - DAY Jennifer, reaches the door of the Sanctum. Butterfield steps from the shadows. His KNIFE flashes as it strikes Jennifer's hand. BLOOD SPURTS. JENNIFER Fuck! She retreats, staunching her bleeding hand. INT. NIX'S HOUSE - SANCTUM - DAY Nix has Swann trapped against the wall and is working his fingers against Swann's temples. Working, working, like a psychic surgeon plying against the belly of a patient. NIX You want to know what the world really looks like? Swann struggles, but he can't get free of Nix's hold. And now -- horribly -- Nix's fingers slide beneath the skin of Swann's temples, without a drop of blood being spilt. NIX Want to see flesh with a god's eyes? Swann SCREAMS as Nix's mind-hold seizes him. INT. NIX'S HOUSE - PASSAGEWAY - DAY Quaid levels his gun at Butterfield, who is guarding the Sanctum door. Jennifer is at Quaid's side. SWANN (V.O.) Aah! QUAID Get away from the door! Butterfield shakes his head. Quaid FIRES. The bullet. strikes the wall beside Butterfield's head. He retreats, growling like a rabid animal. Quaid kicks the Sanctum door open, and enters. INT. NIX'S HOUSE - SANCTUM - DAY QUAID Swann? NIX (to Quaid) Here he is. Swann stumbles into the middle of the room, the whites of his eyes blood-red. NIX Take a look, Swann! These are your friends. On Swann, reeling like a drunkard as he looks up at Quaid and Jennifer. JENNIFER (V.O.) What have you done to him? SWANN'S P.O.V. of Quaid and Jennifer. To Swann's eyes, their faces seem to be MORPHING. Their humanity is MELTING AWAY. What's left is like a jellyfish with black, soulless eyes: PRIMEVAL MUCK. QUAID (V.O.) Swann. It's okay. Quaid reaches for Swann, who retreats in horror, shaking his head violently. SWANN Don't touch me. He's got... got into my head. NIX You want to be like that, Swann? Mud and shit? Swann turns away from Quaid and Jennifer in disgust. SWANN'S P.O.V. of Nix, his arms outstretched in welcome. His face has an aura of pulsing light. NIX Come here. Share the power. ON a GUN, leveled. .We don't see by whom. The trigger is pulled. The bullet strikes Nix's back and explodes out of his chest. ON SWANN, staring at Nix. SWANN'S P.O.V. of Nix, as the aura of light dies. Just for a moment - a terrible moment - Swann glimpses something else. MORPHING out of Nix's features. A NIGHTMARE FACE with waves of DARKNESS emanating from the middle of its forehead. Swann covers his eyes. NIX (raging, terrifying) Swann! Swann! Nix staggers, letting out an ungodly HOWL, and drops to his knees, clutching the WOUND. As he falls, he reveals the ashen Girl, who is still holding Swann's smoking GUN. NIX (a roar) Help me! Swann shakes his head, ridding himself of Nix's mind- control. SWANN Jesus- INT. NIX'S HOUSE - PASSAGEWAY OUTSIDE SANCTUM - DAY Pinon stands guard, his gun pointed on several cultists. 1ST CULTIST (with distressing confidence) You can't kill him. 2ND CULTIST He'll just rise up again! INT. NIX'S HOUSE - SANCTUM - DAY On Nix, doing just that: rising up. Right hand clamped to his bloody chest, left hand reaching for Swann. NIX Help me! Quaid FIRES at him again. Strikes his shoulder. And again. Strikes his leg. Nix collapses to the ground, JENNIFER Quickly! They have come prepared for this. Swann now takes from his jacket the three strange pieces of METALWORK. There are SCREWS in then all. NIX (seeing) Swann? What are you doing? SWANN Binding you. He clamps one of the pieces over Nix's EYES. It fits like an eyeless mask. Nix thrashes and SCREAMS. Swann lays his hands on the side of the mask, and — LIKE MAGIC -- his touch makes the screws tighten of their own accord, grinding into Nix's flesh and bone with a gut- wrenching SOUND. BLOOD runs from the screw-holes. NIX Fuck you, Swann! Fuck you! Now the second piece, over his MOUTH. NIX Sw— He's silenced. The piece screws itself into-his head, like the first. And now comes the third and final piece: over the nose and into the ears. Again, it screws itself into place. Swann has done all he can. He retreats from Nix's body, as it continues to convulse. We go from face to ashen face, as each man and woman watches and waits. Why won't he die? And now, at last the violence of Nix's death-throes diminishes. Nix's body bends like a bow, arching off the ground, and with one last, terrible spasm, he dies. GIRL (quietly) Is it finished? SWANN It's finished. INT. NIX'S HOUSE - PASSAGEWAY - DAY The Cultists' faces slacken, as though some mental hold Nix had upon them has disappeared. Then they start to retreat, their confidence and courage gone. Pimm steps into the Sanctum. INT. NIX'S HOUSE - SANCTUM - DAY The five assassins, including the Girl, stand around Nix's body. Swann has his arm around the Girl. PIMM Dead? QUAID Dead. PIMM What now? SWANN We bury him so deep no one will ever find him. CUT TO: EXT. NIX'S .HOUSE - WIDE SHOT - DUSK The wind has died away. It's eerily calm. Butterfield dashes towards camera, then halts. HE LOOKS BACK, as Nix's killers load his huge, limp CORPSE into the back of Murray Pimm's bus. ON Butterfield. He watches, with a feral look on his face. FADE OUT FADE IN EXT. LOS ANGELES - MONTAGE - DAY The city looks magical in the spring light, its palms and gleaming towers, its rivers of sun-baked traffic, evoking some fantastical metropolis. This, for all its smog and congestion, is a city of exoticism and enchantments. ON SCREEN, the words: "LOS ANGELES - THIRTEEN YEARS LATER" EXT. STARDUST HOTEL - DAY The facade of this small HOTEL off Hollywood Boulevard needs a lick of paint, and the neon sign is blinking fitfully, but it has a certain charm. INT. STARDUST HOTEL - LOBBY - DAY A large deteriorating mural of Hollywoodland, depicting a host of 50's movie stars, dominates the lobby. At the front desk - with his back to us at present - stands HARRY D'AMOUR. He is having difficulty getting the pretty but vacant BLONDE at the reception desk to comprehend his name. BLONDE GIRL How'd you spell that again? HARRY D.A.M.O.U.R. D'Amour. Harry D'Amour. BLONDE GIRL D'Amour. HARRY Right. BLONDE GIRL Isn't that French for something? ON THE BELLBOY, approaching Harry from the front door. BELLBOY Mister D'Amour? HARRY (to Blonde) Yeah. It's French. BLONDE GIRL For love, right? BELLBOY Mister D'Amour? HARRY (to Blonde) Right. BLONDE GIRL (grinning) That's so cool. BELLBOY Mister D'Amour? Harry turns. He's wearing a washed-out Grateful Dead t- shirt, an Italian cut linen suit, and glasses. He's handsome, unshaven, 35-ish, with an open easy smile. HARRY Yeah? BELLBOY You haven't paid the cab. He won't give us your bags 'til you pay him. HARRY How much? BELLBOY Thirty-five bucks. HARRY Tell him he can keep them. The Bellboy looks puzzled. HARRY Just kidding. Harry gets out his wallet and hands over four ten-dollar bills. HARRY I've got my life in there. INT. HARRY'S HOTEL ROOM - DAY On the suit-case, which is now on the bed. Harry flings it open. Inside, mingled with the clothes, a bizarre collection of items, which he tosses out onto the coverlet. A GUN. A CRUCIFIX. A STATUE of Shiva, the Hindu Lord of creation and destruction. ON HARRY, as he heads into the bathroom. Turns on the shower. Starts to undress. EXT. STARDUST HOTEL - DUSK Harry, his hair still wet from his shower, steps out into the sun. Squints. Puts on sunglasses. HARRY Hello, L.A. BELLBOY Have a nice evening, Mr. D'Amour. HARRY You bet. EXT. MELROSE RESTAURANT - NIGHT Harry stands, in a shabby doorway across the street from a classy restaurant. It's RAINING. ON TAPERT, a middle-aged, balding man with a very pretty WOMAN opposite him, sitting at a table close to the window. Tapert makes a joke (unheard). The woman laughs. ON HARRY, chewing on a hamburger, as he speaks into his tape recorder. HARRY Nine-eighteen p.m. Tapert's either got a great sense of humour or he's paying her to laugh. (looks at hamburger in disgust) Jesus. On Tapert, as he rises from the table. HARRY (into tape recorder) He's finished. Tapert exits the restaurant, and crosses the street. Harry tosses his half-eaten hamburger away, and goes to his car. EXT. HARRY'S CAR - MELROSE - NIGHT Harry pulls the parking ticket off the windshield, screws it up and gets in. INT. HARRY'S CAR - MELROSE - NIGHT HARRY (into tape) Nine twenty-six p.m. He's off again. He turns the key in the ignition. CUT TO: EXT. QUAID'S OFFICES - SILVERLAKE - NIGHT In neon blue and purple, a sign blazes in a store window. It reads: TAROT CARD AND CRYSTAL READINGS - $15 SPECIAL ON TAPERT, as he hurries across the street, and through the door beside the store window. WE PAN OFF the door as Harry's car comes to a halt on the far side of the street. Harry gets out of the car. Stares at the sign in the window, puzzled. HARRY Superstitious? He starts across the street. Suddenly: TAPERT (V.O.) Oh my God! Tapert emerges, his face white with terror. He stumbles to his car, and he's away. Harry freezes, caught between the need to follow Tapert and sheer curiosity. He gives in to the latter, and steps inside. INT. QUAID'S OFFICES - STAIRWELL - NIGHT An illuminated ARROW points up the stairs. Harry ascends, past faded PHOTOGRAPHS of Caspar Quaid with famous faces. At the landing, the passageway turns ninety degrees. Harry halts, and takes out his GUN. There's a strange RUMBLING SOUND approaching from round the corner. Harry chances a look. There's a short length of passageway, leading to an open door. From the threshold a CRYSTAL BALL rolls towards Harry, BLOOD- SMEARED. This is the source of the rumbling. Harry stops the ball before it falls down the stairs. Dead silence. After a beat, Harry creeps towards the open door. He pushes it open. Inside, chaos. The fake antique FURNITURE is splintered, the ASTRAL CHARTS slashed. INT. QUAID'S OFFICES - WAITING ROOM - NIGHT There are two offices. In the front, a Waiting Room, into which Harry now steps. Beyond it, through a door that stands narrowly ajar, the Fortune Telling Room. From out of the Fortune Telling Room, a MOAN. QUAID (V.O.) Ahh. . . Harry crosses the Waiting Room, reaching into his jacket for his gun. Suddenly, a nightmarish FIGURE leaps from the shadows. His name is RAY MILLER. He's as crazy as a rabid dog, teeth sharpened, eyes wild. Nix's SIGIL is tattooed on the middle of his forehead. He STRIKES the GUN from Harry's hand and goes for his throat. Harry reaches out behind him, picks up a phrenologist's BUST and SMASHES it on Miller's skull. Miller reels back. Harry makes a dash for the door to the Fortune Telling Room. MILLER Fuckhead. INT. QUAID'S OFFICES - FORTUNE-TELLING ROOM - NIGHT A mysterious, candle-lit space. In the middle of the room, a table. At it sits Quaid. thirteen years older. He has been tortured close to death. Several small SCALPELS protrude from his chest and neck. His life is ebbing away. On the table in front of him, a fan of TAROT CARDS, BLOOD-SPATTERED. Harry races in through the open door from the Waiting Room. HARRY What the fuck!? Harry picks up the PHONE. It's dead. Miller charges at the door. HARRY Shit! Harry SLAMS the door in Miller's face, and locks it. As he does so, the candles FLICKER. Harry looks up. A FIGURE looms from the darkness behind Quaid. He's in his late twenties: an androgynous, disturbing sight. His long hair is drawn back into a pony-tail. His mismatched eyes - one black, one milky blue, tell us that he is Butterfield. His hands are BLOODY, and he carries one last SCALPEL. HARRY (to Butterfield) Don't touch him." Butterfield strokes the wounds on Quaid's cheek. Quaid sobs in pain. BUTTERFIELD What are you going to do about it? Miller's hand tears at the wood around the lock from the other side. His fingers appear, scrabbling to tear the lock out. Harry doesn't move, or Miller will be through. BUTTERFIELD (to Harry) Ever watched a man die? If you watch very closely, you can sometimes see the soul escaping. And if you're very quick, you can catch it. QUAID Please... Butterfield... I wasn't there. Ask Pimm. BUTTERFIELD Pimm's dead. Jennifer Desiderio's disappeared. They knew the Puritan was coming home. As this exchange goes on, Miller pulls the lock out of the door and starts to THROW HIMSELF against it from the other side. It's all Harry can do to keep himself from being pitched across the room. He looks around for some means of defense. There's a crack in the drapes to the left of the table. Behind it a WINDOW. BUTTERFIELD So do you. You've seen the future. Haven't you? QUAID Yes. BUTTERFIELD And are you afraid? QUAID Yes. Suddenly, Harry steps aside. The door's flung open. Miller CHARGES in. Harry catches hold of his arm, and THROWS him against the drape. The window CRACKS; the drape comes down around Miller. Amber STREETLIGHT floods in. Butterfield is momentarily distracted. Harry STRIKES the scalpel from his hands. Miller, meanwhile, is struggling to free himself from the folds of the drapes. Harry lands a solid KICK to the man's belly. Miller is THROWN back against the cracked window, which SHATTERS. Still wrapped in the drape, he FALLS OUT. Harry turns back to arrest Butterfield, but he's already making his escape. Harry starts after him. QUAID (to Harry) Don't leave me. He turns back. TEARS are pouring down the man's face. Harry goes back to comfort Quaid, as Butterfield escapes down the stairs. HARRY You need an ambulance. QUAID (in pain) Too late. Why are you here? Did you cone... up here for a reading? Quaid takes hold of Harry's hand. HARRY NO ... I... Quaid stares at Harry's HAND. Fascinated, he momentarily forgets his pain. He traces the lines with bloody fingers. QUAID (quietly) My God. HARRY What? QUAID You've taken some strange journeys in your life. HARRY Yeah. You could say that. QUAID You're drawn to the dark side, over and over. And it's drawn to you. (looks at Harry) You don't like that. HARRY Not much. QUAID You can't change it. You have to walk... (coughs) ...walk the line between Heaven and Hell. It's your destiny. Accept it. Harry takes his hand from Quaid's grip. Quaid winces in pain. HARRY Hold on. QUAID I'm not afraid to die. There's something terrible... coming home... HARRY The Puritan? QUAID Yes... HARRY Who is he? Quaid shudders, and dies. HARRY (softly; sadly) Shit. He looks away, down at the CARDS. All have been turned over but ONE. He turns it. The card is the Ten of Swords which pictures a prostrate man against a thunderous sky, pierced by all ten swords. An image of death and desolation. EXT. QUAID'S OFFICES - ALLEY BEHIND BUILDING - NIGHT The flashing LIGHTS of two patrol cars illuminate the scene. DETECTIVE EDDISON, a surfer-turned-policeman with buzz-cut blond hair, heads along the alley with Harry. He's midway through taking Harry's statement. There are already two OFFICERS examining the drapes. We can't yet see the body. EDDISON (to Harry) What were you doing up there? HARRY I'm a private detective. I was hired to follow somebody for a few days. A guy called Tapert. Insurance fraud. EDDISON (writing) Tapert. So, now I've got Tapert, Butterfield. HARRY Tapert's got nothing to do with this. He came here to get his palm read. EDDISON What makes you so sure? HARRY (shrugs) I got a file on him two inches thick. He's a petty fraudster. This is something else. Ever heard of someone called the Puritan? EDDISON New one on me. (to Officer) Okay. Let's see him. OFFICER #l shakes his head, and opens up the drape. Broken GLASS drops from the folds, but that's all. Miller has gone. EDDISON Where the fuck is he? HARRY He got up and walked. EDDISON (looking up at window) After that fall?. He must have broken half his bones. WE MOVE IN ON HARRY, as he stares down at the drape. HARRY I don't think he'd have given a shit. CUT TO: INT. BUTTERFIELD'S APARTMENT - NIGHT The rooms are spartan. Nothing on the walls. Nothing on the floors. Very little furniture. Butterfield sits beside the window, obsessively combing his long hair. There is something feminine about him now: his voice a whisper, his stare distracted. If we didn't guess it already, we're in the presence of a madman. Miller is squatting against the wall, picking shards of GLASS out of his torso. It hurts, but he's enjoying himself. BUTTERFIELD D'Amour... D'Amour... Why do I know that name? MILLER I know him. I saw him. He stops to pull out a particularly large piece of glass, sighing with pleasure. MILLER I saw him on T.V. Some kid got possessed and he saved the little bastard's life. BUTTERFIELD He's a priest? MILLER No. He's just a guy who's got a nose for this shit. (a beat. A smirk) Like you. A long beat of silence. Butterfield combs. Miller digs for glass. BUTTERFIELD I don't want him getting in the way. MILLER He won't. Another silence. BUTTERFIELD (dreamily) We've all of us waited too long to have the homecoming spoiled. MILLER What do you mean, "all of us?" BUTTERFIELD You didn't think it was just going to be you and me? A lot of people believed in Nix. They haven't forgotten his promise. MILLER About? BUTTERFIELD Death. MILLER What about death? BUTTERFIELD (a beat) It's an illusion. CUT TO: EXT. PHILADELPHIA STREET - MORNING On screen: Philadelphia A suburban street. Early morning light. INT. SUBURBAN HOUSE - PHILADELPHIA - MORNING CLOSE-UP of a PHOTOGRAPH of the Cultist with the Painted Face, from the opening scene, standing outside Nix's house in Nevada. His name is Norman Sanders. ON NORMAN, thirteen years older, looking down at the photograph. He lays it down, beside a letter, on which two words are written: "Homecoming Time." Norman smiles to himself. Goes to the wardrobe. Gets out a small suitcase. His WIFE'S BODY is slumped in the wardrobe, glassy-eyed. CLOSE UP of letter -— CUT TO: INT. KITCHEN IN MIAMI HOUSE - DAY —- and DRAW OUT from the letter to a different interior, a different domestic circumstance. On the screen: Miami. BARBARA - the blonde girl who carved the cult's sigil into her chest - is washing her hands. She casually dries them, and picks up the letter, walking past her HUSBAND and SON, both DEAD at the breakfast table, BLOOD spreading around their heads. When she gets to the door she steps over the body of her DAUGHTER, who has also been shot trying to escape her mother's murder spree. ON THE RADIO, George Harrison sings "My Sweet Lord." RADIO "I really want to see you, Lord, And it won't take long, my Lord, My sweet Lord..." CUT TO: EXT. SAN ANTONIO 200 - REPTILE HOUSE - DAY On screen: San Antonio. A ZOO-KEEPER wanders into the darkened interior of the Reptile House. INT. REPTILE HOUSE - DAY The Zoo-keeper's benign expression changes at the sight of the chaos inside. The glass cases have been SMASHED. Another KEEPER lies on the ground, his face pulped. A few SNAKES slither around his body, but most of them have gone. CUT TO: EXT. SNAKE-HANDLER CULTIST'S CAR - DAY The Snake-Handler Cultist drives at speed. INT. SNAKE-HANDLER CULTIST'S CAR - DAY PAN UP from another letter'- with the same message - on the dashboard, to the crazed face of the Snake-Handler. PAN TO the back of the car. IT SEETHES WITH HUNDREDS OF SNAKES. EXT. SWANN'S MANSION - DAY It's early morning in Bel-Air. The sun shines down on a millionaire's paradise: a huge house surrounded by a jungle of trees and blossoms. EXT. SWANN'S MANSION - POOLSIDE - DAY The blue water glitters in the noon-day sun. And a WOMAN -- her body perfectly proportioned -- glides under the surface, emerging at the shallow end, where the housekeeper CLEMENZIA is setting a tray on a table. CLEMENZIA Coffee, Mrs. Swann? Mrs. Swann's name is DOROTHEA. She is a beautiful and sensual woman. DOROTHEA Thank you. She dries off. DOROTHEA Where's Mr. Swann? CLEMENZIA In his study. (a beat) He got something on his mind? DOROTHEA Why? CLEMENZIA Bad mood today. INT. SWANN'S MANSION - STUDY - DAY Venetian blinds shut out most of the sunlight, but a lamp burns on the desk (huge), showing us the furniture (leather), the books (innumerable), and the figure of SWANN, sitting behind the desk smoking a CIGAR. He's lost some hair and some colour over the years, but he still has the same hypnotic eyes. He studies the L.A. TIMES in front of him. ON THE OPEN PAGE "Fortune Teller Brutally Murdered," the headline announces. Underneath, a PHOTOGRAPH of Quaid's wrecked room. WE CLOSE IN on the photograph, and catch a glimpse of Harry, standing looking at the chaos. CAMERA. MOVES DOWN to the text beneath, and on to the name "Harry D'Amour." ON SWANN, pensive as he studies the paper. DOROTHEA (V.O.) (softly) Hey... He looks up, startled. DOROTHEA The sun's shining out there. Dorothea is dressed in a white robe now. She literally brings light into this gloomy room. On the shelves behind Swann are a number of art brut figurines, vaguely recalling the idols outside Nix's "temple." DOROTHEA Bad show last night? SWANN (wearily) The usual. Full house. Standing ovation. I tell them it's magic... DOROTHEA (distastefully) ... they believe you. SWANN Yeah. (a beat) Remember Quaid? DOROTHEA Sure. SWANN Somebody killed him. DOROTHEA Oh God. SWANN (disturbed) I just saw him. A difficult silence. Then Swann crosses to the door. SWANN I'm putting in a new illusion tonight. Will you be there? DOROTHEA Sure. You want me to find out about Quaid? I mean, the funeral? SWANN No. (superstitiously) I'm not going near him. INT. SWANN'S MANSION - LOBBY - DAY VALENTIN is overseeing the hanging of a new piece in Swann's collection: a huge, framed POSTER from a late nineteenth century magic spectacular. Valentin is fifty or so, his gray hair combed back close to his scalp. Immaculately dressed in a distinctively European fashion. Precise. Cautious. Elegant. He orders the TWO PICTURE-HANGERS in a clipped fashion. VALENTIN Higher. Another inch. The left hand side's too low. Dorothea descends the stairs, dressed for the day. DOROTHEA Valentin? VALENTIN (to Hangers) Good. There. (to Dorothea) Yes? DOROTHEA (gives him the newspaper) You saw this? Valentin nods. They walk back through the house together, while the picture-hanging goes on behind them. DOROTHEA I want you to find this man D'Amour for me. She passes the newspaper to Valentin. He looks down at it. ON NEWSPAPER. C.U. of Harry's blurred PICTURE. INT. HARRY'S HOTEL ROOM - DAY Harry is sprawled on the bed, in his under shorts. A shaft of sun darts between the drapes, missing his face by inches. Somebody is knocking on the door, hard. HARRY (waking) What...? He rolls over. The sun strikes his eyes. He winces. HARRY Shit. VALENTIN (V.O.) Mr. D'Amour? HARRY Go away. VALENTIN (V.O.) It's one in the afternoon. HARRY What are you, my mother? VALENTIN (V.O.) I need to speak to you, Mr. D'Amour. About last night. Harry gets up and stumbles to the door. He opens it a little. The face of VALENTIN is visible through the crack. HARRY Whatever I said, I didn't mean it, okay? I get a few drinks inside me -- VALENTIN We've never met. HARRY Then what do you want? VALENTIN I'm here to offer you a job. HARRY I'm going back to New York in-- (consults his watch) Shit! I'm outta here. VALENTIN Have you got a job that'll pay you five thousand a day? A beat. Then Harry takes the chain off the door. HARRY Do I get lunch? CUT TO: EXT. SANTA MONICA BLVD. - DAY A white SEDAN glides along the boulevard. At the wheel, Valentin. Beside him, Harry. INT. SEDAN - DAY Harry is eating a burrito and sipping coffee. HARRY Whose is the car? VALENTIN Mine. HARRY Nah. You're driving it too carefully. VALENTIN (sparring) Maybe I just bought it. HARRY Somebody's been smoking in here for months. He pulls open the ashtray. Pulls out a cigar-butt. HARRY Havanas. You're not the smoker. So who is? VALENTIN (laughs) You could almost pass for a detective, D'Amour. (a beat) I work for the best illusionist in the world. HARRY Philip Swann? VALENTIN You know of him? HARRY I saw him in Vegas once. VALENTIN Are you a gambling man? HARRY When I can afford to lose. Swann's quite a magician. VALENTIN Never call him that. He's strictly an illusionist. HARRY What's the difference? VALENTIN Illusions are trickery. Magicians do it for real. EXT. HOLLYWOOD CEMETERY - GATES - DAY The sedan turns into a driveway. EXT. HOLLYWOOD CEMETERY - DAY The sun beats down on a pristine panorama of palms and white marble tombs. Harry and Valentin walk towards a large mausoleum. HARRY Any movie stars buried here? VALENTIN Probably. HARRY It's not a bad place. Warm. Great view. VALENTIN I don't think the dead much care. HARRY Are you sure? VALENTIN Are you a believer, then? Valentin gives him an inquisitive look. HARRY I've signed on for them all in my time. Hindu. Catholic. You can't have too many saviours. Harry's gaze is on the mausoleum now; or rather on the woman in white standing in its cool shadows: Dorothea Swann. She wears a wide-brimmed hat. HARRY Who is she? VALENTIN Swann's wife. CUT TO: VALENTIN sitting on the mausoleum steps reading a book. He glances up. Harry and Dorothea are wandering between the graves, deep in conversation. DOROTHEA I want you to help me help my husband. I know he's in some kind of trouble. And it's something to do with the man you saw murdered. HARRY Did your husband know Quaid? DOROTHEA Yes. They weren't close, but they saw each other once in a while. I think Philip believes all that stuff with the tarot cards. HARRY You don't? DOROTHEA I think we make our own futures. Harry makes an approving MURMUR. HARRY What's the connection? DOROTHEA (covering now, but well) I don't exactly know. Philip doesn't like to talk about the past. HARRY Why not? Dorothea stops talking. Takes off her sunglasses. Her gaze is troubled, but direct. There is an attraction between the two of them that simmers beneath the dialogue. DOROTHEA He's a secretive man. HARRY And you don't ask questions? DOROTHEA We don't share our lives the way a lot of people do. HARRY Does that mean...? DOROTHEA We haven't slept in the same bed for years. HARRY But obviously you still care what happens to him. DOROTHEA We wouldn't be having this conversation if I didn't. Swann's one of the most remarkable men alive. Harry, frowns. DOROTHEA You don't believe me. HARRY He's an illusionist. It's not exactly brain surgery. Dorothea stares at him. HARRY Sorry. You asked. DOROTHEA No. You're right. He could have been something more. Maybe a lot more. But people get lost. Even good people. Too much fame. Too much money, HARRY Where do I sign? Dorothea LAUGHS lightly. DOROTHEA Will you take the job, Mr. D'Amour? HARRY Harry. DOROTHEA Harry. HARRY I'm no bodyguard. DOROTHEA That's not what I'm asking for. I want somebody who can find out what Philip saw in those damn cards. And stop it from happening. HARRY When do you want me to start? DOROTHEA Come to the show with me. Tonight I want you to see him with an audience. They love him. HARRY Do you? The question catches Dorothea off guard. DOROTHEA I didn't marry him for love, Mr. D'Amour. Tonight? HARRY Sure. Dorothea makes a little smile, and walks away. Harry watches her go, exhaling an appreciative breath at the sight of her departing figure.CUT TO: INT. HARRY'S HOTEL ROOM - DUSK Harry's talking on the phone while he dresses for the theatre. HARRY You're not listening to me, Loomis. CUT TO: INT. LOOMIS' OFFICE - MEW YORK - NIGHT LOOMIS, a slob of a man, is in his office, eating pizza. INTERCUT PHONE CONVERSATION LOOMIS The case is closed. Harry. Tapert's given us a full confession. Get your ass back to Mew York. HARRY No. I'm taking a couple of weeks' vacation. LOOMIS You never took a fucking vacation in your life, Harry. What's going on? HARRY I got to go. I'm late. LOOMIS Call me tomorrow. HARRY There's other guys as good as me, Loomis. LOOMIS Yeah. But not as cheap. Call me. HARRY A couple of weeks. LOOMIS One question. HARRY What? LOOMIS Who is she? Harry can't help but smile to himself. LOOMIS I thought so. 'Night, Harry. Click. Harry puts down the phone. Glances at himself in the mirror. Raises a rueful eyebrow. CUT TO: EXT. WILTERN THEATRE - NIGHT CRANE DOWN from a looming STANDEE of Swann, perched above the theatre marquee. SPOTLIGHTS rake the skies. The sidewalk below is jammed with AUDIENCE MEMBERS, STAR-SPOTTERS and PHOTOGRAPHERS. This is a flashy, prestigious event. LIMOS are disgorging scantily- dressed STARLETS and smiling MONEY MEN; a NEWS TEAM is interviewing audience members as they file in. The atmosphere is noisy and excited. Amid the throng, Harry. He makes his way inside. INT. WILTERN THEATRE - AUDITORIUM - NIGHT The atmosphere, is closer to a rock concert than a conventional stage show. Security people with walkie- talkies roam the aisles; the audience buzzes with barely controlled hysteria. Harry heads down the aisle, eyes on the stage. A star-lit CURTAIN covers it. Six rows from the stage is Dorothea, already in her seat. She smiles lavishly, happy to see him. DOROTHEA I'm glad you could make it. Harry takes a seat beside her. HARRY Hey, this is a big deal for me. You know what seats like this cost in New York? INT. WILTERN THEATRE - STAGE - NIGHT Center-stage, behind the closed curtains, Swann is ready for the opening of the show. TECHNICIANS buzz around him like flies. SWANN Valentin! Valentin emerges from the wings, patting the PANTHER that is waiting there. SWANN (irritated) Valentin! VALENTIN I'm here. SWANN The guy with Dorothea. Is that who I think it is? Valentin nods. ON SWANN, his expression unreadable. SWANN He's young. MUSIC strikes up. A dramatic, Wagnerian chord. Valentin hurries away. Swann's expression becomes very focused. 1ST TECHNICIAN (to Swann) Ready? SWANN Ready. Swann rises up into the flies. 1ST TECHNICIAN How the fuck does he do that? 2ND TECHNICIAN It's wires, man. 1ST TECHNICIAN I never seen no wires. 2ND TECHNICIAN (sarcastic) So what is it? Magic? INT. WILTERN THEATRE - AUDITORIUM AND STAGE - NIGHT The LIGHTS are DIMMING. Harry glances across at Dorothea, whose gaze is intent. The LIGHTS go OUT. The MUSIC SWELLS, and the CURTAINS fly apart. A spectacle worthy of Seigfried and Roy is about to blast our senses! Magic for the 90's: a wild, erotic ride into mystery. SWANN (V.O.) Ladies and gentlemen. You are standing on the threshold of a miracle... A vortex of SMOKE and LIGHT swirls in the middle of the stage. The vortex BLAZES -- And suddenly Swann SWEEPS DOWN out of the flies, as the floor of the stage opens and the head of a glittering, razor toothed DRAGON emerges in a cloud of CRIMSON SMOKE. Swann raises his hands above his head and a SPEAR miraculously appears in his grasp. He descends on the dragon. It's a classic image: St. Michael smiting the Devil. Swann drives the spear down the throat of the dragon. The theatre SHAKES at its dying ROARS. Then the head cracks open, and out of the dragon's mouth emerge a dozen scantily dressed DANCERS, male and female. Swann throws down the spear, and where it strikes the stage his PANTHER appears. A ROAR of APPLAUSE from the audience. Swann's plain white tunic falls away from him as he descends. By the time his feet touch the stage he is dressed in a star- shot TUXEDO. The PANTHER licks his hand in welcome. The MUSIC comes to a crescendo. The DANCERS freeze in their erotic dance. In the sudden hush, Swann speaks in a whisper. SWANN My friends ... come with me...into the Great Beyond. A barrage of LIGHTS and MUSIC erupt. The AUDIENCE APPLAUDS wildly. ON HARRY and Dorothea. HARRY He's good. DOROTHEA You haven't seen anything yet. INT. WILTERN THEATRE - LOBBY - NIGHT The doors SQUEAK as a gust of WIND blows through them. Butterfield stands in the lobby, listening to the muted SOUNDS of MUSIC and APPLAUSE. Then he offers his ticket to the TICKET-COLLECTOR and steps inside. INT. WILTERN THEATRE - AUDITORIUM AND STAGE - NIGHT A new musical motif hangs in the air: MUSIC announcing danger. The AUDIENCE watches intently, nervously. ON HARRY and DOROTHEA. DOROTHEA (a whisper) This is the new illusion. ON STAGE, Swann is bound to a spinning WHEEL, while the DANCERS, dressed like Boschian DEMONS, cavort around him, somersaulting and leaping over eruptions of yellow FLAME. It's a scene from Daniels Inferno. Above him. a dozen glittering SWORDS - six feet long - are descending. He struggles to free himself. The MUSIC gets more exciting as the wheel spins faster and faster. Suddenly, a sword DROPS. It falls between Swann's outstretched legs, skewering the wheel. Then ANOTHER, close to his head. ON HARRY. He's tense. Excited. BACK TO STAGE. Swann is free I He throws off the last shackle and uses it to thrust into the mechanism of the wheel. There's a theatrical BLAZE of white-hot SPARKS. The wheel slows. He starts to step off it, as another of the the swords DROPS. The AUDIENCE GASPS. Swann smiles, and TRIPS. As he FALLS, the sword runs through the middle of his back, carrying him down to the still-spinning wheel, and pinning him there. Some of the DANCERS continue to cavort. Some stop. More GASPS from the audience. ON HARRY, having a -- FLASHBACK: Harry's hand turns over the final tar of card. The scene on the stage is that image coming to life. HARRY There's something wrong... ON Swann, as a second sword FALLS, skewering his thigh, and a third, running through his buttock, and a fourth and fifth, until TEN SWORDS have entered his body. ON THE AUDIENCE, not certain whether this is a trick or not. The MUSIC has stopped. In the silence, somebody GIGGLES nervously. A couple of PEOPLE break into APPLAUSE, but it dies away in a matter of moments. ON DOROTHEA AND HARRY DOROTHEA No. . . ON THE STAGE, Swann raises his head and looks out at his wife, his eyes already glassy with imminent death. He reaches out towards her, and then sags on the wheel, dead. There are GASPS now from the audience. Murmurs of disgust; sobs of horror. 1ST AUDIENCE MEMBER What happened? 2ND AUDIENCE MEMBER It's a trick. 3RD AUDIENCE MEMBER Somebody help him. The curtains start to close. ON Dorothea, tears of shock filling her eyes. DOROTHEA (to Harry) I've got to get to him! The AUDIENCE is rising now, as the horror of what they've seen sinks in. There is panic. A few people have fainted. One or two are even praying. Harry carves out a path down to the stage for Dorothea against the flood of the exiting crowd. HARRY Out of the way! Out of the way! He helps Dorothea onto the stage, and lifts the curtain so she can duck beneath it. INT. WILTERN THEATRE - STAGE - NIGHT Chaos. PEOPLE running, sobbing, puking; some simply standing watching. Valentin is already at the body, with the STAGE MANAGER at his side. VALENTIN (to Stage Manager) Get then out of here, for God's sake -- STAGE MANAGER You heard him! It's not a fucking show! He starts to physically push the crowd back. Harry grabs his arm. STAGE MANAGER Who are you? Harry uses his grip to gently but efficiently move the STAGE MANAGER out of Dorothea's way. She goes to Swann's body, which has been removed from the wheel. INT. WILTERN THEATRE - AUDITORIUM - NIGHT The audience is clearing now. But Butterfield is coming towards the stage, with an ambiguous look on his face. Is he enraged? Or puzzled? Or both? MILLER Psst! Miller stands at an open door, leading below the stage. Butterfield enters. INT. WILTERN THEATRE - STAGE - NIGHT Dorothea kneels at Swann's side. A few yards from her, Harry examines the mechanism of the wheel. DOROTHEA (softly) Swann... A DOCTOR appears. DOCTOR I'm a doctor. Let me through. The Doctor checks Swann's body. DOCTOR (to Dorothea) I'm sorry... Harry has discovered a CABLE snaking down beside the device. He's suspicious. He slips round to the back of the mechanism, and climbs down beneath the stage, tracing the cable as he goes. WILTERN THEATRE - BELOW STAGE - NIGHT It's an eerie, shadowy space, filled with the PROPS that are used in the show, including the DRAGON we saw at the beginning. From above we hear FOOTSTEPS and VOICES, muted and echoing. The cable ends in bare wires. Whatever was here has been taken. A NOISE, behind Harry. He swings round. Sees a shadowy FIGURE ducking away. HARRY Hey! He gives chase. Loses the man in the shadows. Stops and listens for movement. Suddenly, Miller steps out of the shadows with a plank of wood and smashes it into Harry's face! Harry reels back. Falls to his knees, BLOOD running from his nose. Miller pulls Harry's GUN out of his jacket. MILLER Got you, fucker! Harry is facing the dragon's head, dazed. And now, out of the dragon's mouth, comes Butterfield. BUTTERFIELD Who did this, D'Amour? Who killed Swann? Harry is barely holding on to consciousness. HARRY You did. (a beat) Didn't you? BUTTERFIELD Why would I do that? HARRY Beats me. Butterfield is a foot from Harry now. BUTTERFIELD You don't have a clue what you're into, do you? HARRY Deep shit? Butterfield hits him. BUTTERFIELD Who did this? HARRY I told you -- Butterfield hits him again. BUTTERFIELD Who did this? HARRY (raises his hand) All right. It was... Butterfield comes a little closer. HARRY (feigning a near collapse) ... it was... Butterfield leans in. And Harry grabs him by the balls -- literally -- rising as he does so. BUTTERFIELD Aah! Harry THROWS Butterfield aside. Butterfield hits the ground in agony, and Harry swings round to protect himself from Miller, who's leveling Harry's gun. He FIRES once, missing Harry by inches. Harry catches hold of a ROPE underfoot and pulls it, tripping Miller, who TOPPLES backwards into the mouth of the dragon. The GUN GOES OFF again, the bullet BLOWING APART the dragon's JAW MECHANISM. Miller starts to sit up, his body splayed between the dragon's steel teeth. He has Harry in his sights. -- something CREAKS. He looks up. The dragon's jaw is closing, FAST. He starts to scramble to his feet. Too late! The teeth SLAM CLOSED on his body. Sudden death. Harry looks round to see Butterfield retreating into the shadows. Then he's gone. Harry looks down at Miller's BLOOD, which is pooling around his feet. HARRY Deep shit... FADE OUT FADE IN INT. POLICE STATION - EDDISON'S OFFICE - NIGHT Harry sits at Eddison's desk, looking exhausted and bruised. Eddison has just finished taking his statement. EDDISON And this Butterfield guy-- HARRY --vanished. EDDISON (frustrated sigh) Another fucking magician. Jesus. Harry looks past Eddison and sees an ashen, tearful Dorothea being taken into another office. HARRY Are you finished with me? EDDISON For now. Are you planning to go back to New York? HARRY (watching Dorothea) No. Not yet... INT. POLICE STATION - OTHER OFFICE - NIGHT Dorothea sits alone, staring at the wall. Harry enters. HARRY Are they treating you okay? DOROTHEA (nods) I heard what happened. It looks like somebody murdered him. HARRY I'm sorry I got into this too late. But if you want me to stick around, maybe dig where the cops don't look... DOROTHEA I don't know where you'd start. HARRY Well... how about some of the other illusionists? DOROTHEA They won't tell you anything. HARRY I can be very persuasive. DOROTHEA (a beat) Yes. I think you probably can. (another beat) We'd need to talk about your fee. HARRY Forget the fee. If I find Butterfield, maybe we'll talk about money. If I don't... (he shrugs) ...my gamble. Either way... I get to spend some time... here. The way he says this, it's plain "here" doesn't mean L.A., it means near -Dorothea. And by the tiny smile on her face, it's also plain she knows it. CUT TO: EXT. MAGIC SHOP - HOLLYWOOD BLVD. - DAY Noon. Bright sun. Busy street. Harry, now wearing a bandage on his cut face, enters. INT. MAGIC SHOP - DAY A wonderland for illusionists. Books, props, masks, tricks, etc. Two or three CUSTOMERS browse. Harry glances at them all, then targets a MAN in late middle age, who is browsing through books, one-handed. His other hand constantly manipulates a card, concealing and revealing it in a dozen ways. He doesn't even look at his hand. His name is WALTER WILDER. Harry stands beside him. Scans the shelf. HARRY Where'd you learn that? WILDER What? HARRY (points) That. WILDER At birth. I don't know you -- HARRY Harry D'Amour. WILDER I know all the kids coming up. Got to stay ahead of the game. But I don't know you. HARRY I'm in from New York. I came to see Swann. WILDER What a tragedy. It was just a matter of time, of course, but it's not good for the business. HARRY Was he taking a lot of risks? WILDER You don't know the half of it. I'm Walter Wilder, by the way. HARRY Not the Walter Wilder? Walter beams. WILDER The one and only. He hands Harry a card. WILDER Want to try? Harry tries to emulate Wilder's card manipulation through the rest of this conversation. WILDER You know Vinovich? HARRY (not a clue) Sure. Vivovich. WILDER He knew Swann way back. He says there were a lot of drugs, a lot of crazy shit. HARRY I'd love to... you know... hang with some of you guys. WILDER People are pretty cagey. Who do you know? HARRY For what? WILDER For an introduction. HARRY Well... nobody. Wilder takes a moment to assess Harry, who is attempting to manipulate the card he's been given with charming ineptitude. WILDER (magnanimously) You do now. EXT. MAGIC CASTLE - DUSK The castle is faux, of course, but it has a Gothic charm. Harry and Walter wander towards the front door. Harry is knotting a newly-bought tie. HARRY I only wear ties for funerals. WILDER You don't get in without one. It's like a gentlemen's club for illusionists. Except most of us aren't gentlemen. INT. MAGIC CASTLE - CORRIDORS - NIGHT The interior is murky and atmospheric, the walls covered with illusionists' posters. Walter leads the way through the long corridors, past rooms where illusionists are performing close-up magic for audiences of well-heeled patrons. Walter nods and waves to half a dozen people on their way through the house, up the stairs and towards the bar.HARRY Are they all in the business? WILDER It's not a business. Harry. It's a vocation. Wilder points to a locked door. WILDER That's what they call the Repository. Every magic secret known to man's locked up in that room. HARRY Have you been in? WILDER No. There's only three keys. Vinovich has got one, of course. (beat) He's a little crazy, by the way. And he's a mean drunk. Otherwise, he's a real charmer. CUT TO INT. MAGIC CASTLE - BAR - NIGHT Later. A drunken VINOVICH is holding court. He's in his 40's: a flamboyant and loquacious man with a heavy (and fake) middle-European accent. At the table - besides Harry and Walter - are: Vinovich's starlet/nymphet girlfriend LAURA; an Asian-American illusionist called BILLY WHO; and two of Vinovich's adoring courtiers, an overblown, overdressed female illusionist - DEBRA DEVINE - and a thin, waspish fellow in a spangly suit: the AMAZING QUENTIN. In the conversation that follows we go back to Harry repeatedly as he studies this extraordinary group. VINOVICH It's more than entertainment. We're opening people's heads up. Putting miracles back into their boring little lives. BILLY But they're fake miracles. VINOVICH Houdini believed he had spirit guides. HARRY You believe that? VINOVICH I think we walk a narrow path, between... between... HARRY Heaven and Hell? Vinovich stares hard at Harry, trying to figure out whether he's being sarcastic or not. VINOVICH Trickery and divinity. HARRY Are you saying that sometimes the miracles are real? VINOVICH No. I'm saying they were always fake. The saints, the messiahs, they were just illusionists. HARRY So could you walk on water? VINOVICH (deadly serious) I could reproduce any miracle that's ever been performed, with a little preparation. HARRY What about Swann's miracles? The smug smile on Vinovich's face dies. Furtive glances are exchanged around the table. Only Billy Who makes a tiny smile. VINOVICH They weren't worth a damn. HARRY (goading) I heard he was the best. VINOVICH If he was so good why's he so dead? Vinovich begins to look suspicious. HARRY You tell me. No? I thought you'd maybe have a theory. VINOVICH Oh, I've got plenty. HARRY I'd like to hear them. Vinovich rises. VINOVICH I'm not saying another word. (to Wilder) You damn fool. He's a journalist. HARRY Just tell me about Swann. Or are you too scared? VINOVICH He was a freak. Everything he did was tainted. Harry rises. Looks straight at Vinovich, unintimidated. HARRY With what? VINOVICH Evil. He was evil. (to Laura) Come on. She rises. VINOVICH (to the rest) Say nothing to this man if you wish to keep my company. He stalks away. Harry calls after him, across a now- silenced bar. HARRY Great accent, by the way. Is it Brooklyn? VINOVICH (pure Brooklyn) Fuck you. EXT. MAGIC CASTLE - PARKING LOT - NIGHT Harry heads to the car. BILLY (V.O.) Harry! Harry turns. Billy approaches, glancing behind him to see that he's not being watched. BILLY I gotta be careful. If Vinovich sees me talking to you. He's an asshole, but he's a powerful asshole. HARRY They go together. BILLY (lowered voice) I've heard a name. Someone they talk about in whispers. HARRY Who? BILLY Nix. HARRY Nix? BILLY Like in nothing. Nobody. Nix. HARRY Who is he? BILLY I think maybe he taught Swann. (hands Harry a card) This is me. See ya around. Billy hurries away. CUT TO: INT. HARRY'S HOTEL ROOM - NIGHT Harry lies on his bed, dozing. The CAMERA CREEPS IN on him. DOROTHEA (V.O.) ... I want somebody who can find out what Philip saw in those damn cards... Harry frowns in his semi-doze. DISSOLVE TO: FLASHBACK - QUAID'S ROOM BUTTERFIELD Ever watched a man die? The image darkens, and fades up a beat later on Quaid. QUAID Please... I wasn't there... Ask Pimm. BUTTERFIELD Pimm's dead. Jennifer Desiderio's disappeared... BACK TO: INT. HARRY'S HOTEL ROOM - NIGHT Harry is still asleep. CUT TO: FLASHBACK - QUAID'S ROOM QUAID I'm not afraid to die. There's something terrible... coming home... A long silence. SUDDENLY, a telephone RINGS. BACK TO: INT. HARRY'S HOTEL ROOM - NIGHT HARRY sits up, shocked awake. HARRY Shit! He picks up the receiver. HARRY This is D'Amour. CUT TO: INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT She sits up on her bed, dressed in a silk robe, and nothing else, drinking a SCOTCH, talking on the phone. The primary source of illumination is the massive T.V. set in the wall opposite the bed. DOROTHEA Harry... I know it's late. INTERCUT PHONE CONVERSATION There should be a subtle eroticism pervading this exchange. Both of them on beds, in different bedrooms. Each aroused by the other's voice, and frustrated not to be able to see and touch them. HARRY That's okay. As he speaks, Harry scrawls Jennifer Desiderio on the title page of the Gideon's Bible beside the bed. DOROTHEA How did it go today? HARRY I went up to the Magic Castle. You were right. He didn't have a lot of fans up there. CUT TO: INT. SWANN'S MANSION - KITCHEN - NIGHT Valentin, on the kitchen PHONE, is listening in. DOROTHEA (V.O.) They were jealous of him. HARRY (V.O.) Why? Because he had you? BACK TO: INTERCUTTING: HARRY - DOROTHEA - VALENTIN DOROTHEA He... didn't have me.. I told you- HARRY You didn't marry him for love. DOROTHEA'S BEDROOM She's a little uncomfortable now. HARRY So why did you marry him? DOROTHEA That's my business. Harry. HARRY Just curious. (a beat) Back to business. Ever heard of a man called Nix? (silence) Dorothea? DOROTHEA Yes... I'm here. And no. I don't know the name. HARRY What about Jennifer Desiderio? DOROTHEA It doesn't ring a bell. I have to go. HARRY Okay. I'll keep digging. DOROTHEA (uneasy) Yes. You do that. She puts down the phone, and swallows a mouthful of scotch. She's shaking. She gets up. Paces the room. Then she picks up the phone again. INT. HARRY'S HOTEL ROOM - NIGHT On the pad beside the bed, Jennifer's name, surrounded by Harry's doodles. The phone RINGS. CUT WIDE: The room is empty. EXT./INT. QUAID'S OFFICES - STAIRWELL - NIGHT The Tarot Card and Crystal Readings sign is dark now. Harry heads up the stairs, past the PHOTOGRAPHS, to the door of Quaid's Waiting Room. It has been locked and taped by the police. Harry has come prepared. He takes out a small crowbar and levers off the locks. INT. QUAID'S OFFICES - WAITING/FORTUNE TELLING ROOMS - NIGHT Harry enters, FLASHLIGHT on. He crosses the Waiting Room and enters the Fortune-Telling Room where Quaid died. On the TRACK -- a remote, eerie presence -- we hear Quaid's SOBS, Miller's SHOUTS, and, as Harry's flashlight illuminates the blood-spattered table: BUTTERFIELD (V.O.) If you watch very closely, you can sometimes see the soul escaping. Harry is spooked. He starts to search the room, opening cabinets and drawers. Quaid's hordes of mystical bric-a-brac are stashed everywhere. Boxes of crystals, religious statues, elaborate cards, incense, etc. He pulls open a drawer, and notices that a rosary is wedged in a niche at the base of the drawer. He pulls the drawer out, empties its contents on the table, and examines it. Using the crowbar, he forces the drawer apart. It has a false bottom. HARRY (smiles) Yes... In the secret compartment, some papers and an address book. He flicks to "D." HARRY (CONT'D) Desiderio... There it is. Jennifer Desiderio, and an address. He pockets the book. Then, sensing a presence behind him, he pulls out his gun and whirls around, his flashlight beam revealing -- -- Valentin! HARRY (CONT'D) What the fuck are you doing here? VALENTIN Looking for you. I tried the hotel. HARRY Why'd you come here? VALENTIN You're a detective, with no clues. Where else are you going to look? I'm going to keep this brief. (he takes out an envelope) Here's thirty thousand dollars. HARRY What for? VALENTIN A ticket home, HARRY You didn't hire me. She did. If she wants me off the job, I want to hear it from her. VALENTIN She doesn't want to see you. She's had enough pain. Enough churning over the past. She wants it all left alone. HARRY Left alone? Somebody's been murdered. VALENTIN Yes. It's regrettable HARRY Fuck regrettable! I want to know why. VALENTIN What for? You need to stay busy? HARRY (a confession) I like to know why things happen. VALENTIN Why people die? (shakes his head) Give it up, D'Amour. Go home. HARRY No. Harry crosses to the door, brushing past Valentin. VALENTIN Don't try and see her, D'Amour. Just leave her alone. Let her heal. He glances back at Valentin. HARRY Lock up, will you? CUT TO: EXT. ST. LUKE'S SANITORIUM, PASADENA - DAY ON THE ADDRESS BOOK, in Harry's hands. Harry looks up - with some surprise - not at a house but at a building, the sign on which reads, "St. Luke's Sanitorium". INT. ST. LUKE'S SANITORIUM - DAY The place is bland and functional throughout, the walls decorated with sun-faded reproductions of great paintings. Nothing disturbing. Harry is talking to D.A. TOFFLER - black, fortyish, softly spoken - and a Nurse. TOFFLER Jennifer's only ever had one visitor. HARRY A Mister Quaid? TOFFLER Right. And he's dead, isn't he? I saw it on the news. Jennifer doesn't know. And frankly, this isn't the best tine for her to be told. HARRY I won't say anything. INT. ST. LUKE'S SANITORIUM - CORRIDORS AND WARD - DAY Toffler excorts Harry through -the place. There are distressing scenes on every side. Nothing melodramatic no screaming, no fits. Just a subtle, pervasive air of despair. Blank, empty FACES in blank, empty rooms. TOFFLER Jennifer's been with us four years. She was coming on nicely. But just the last month or so, she's worse than ever. HARRY What's her problem? TOFFLER She has no real grip on reality. HARRY (a joke) Does anybody? TOFFLER (deadly serious) Oh yes. We have to agree what's real and what's not. That's what holds us together. HARRY And what does Jennifer think's real? They've come to french windows, which are wide open. Sitting outside in the sun is Jennifer, with her back to us. TOFFLER (quietly) Jennifer thinks the Devil's coming for her. (louder) Jennifer? Jennifer turns. She looks terrible. EXT. ST. LUKE'S SANITORIUM - GROUNDS - CITY STREET - DAY Harry and Jennifer walk amongst the flower-beds, with the Nurse keeping a watch from a discreet distance. Throughout the scene we HEAR the SOUND of earth being dug, which steadily gets louder as they walk. JENNIFER Have we met before? HARRY No. JENNIFER Only I forget. They give me pills, you know, to keep me... even... and... I forget things, HARRY Well, you didn't forget me. I just came because I wanted to know if you knew a man called Butterfield. JENNIFER Maybe... I... don't... HARRY What about Philip Swann? JENNIFER I knew Swann. (sudden vehemence) He's a fucking liar. A WORKMAN saunters past, carrying pipes. HARRY Why's that? JENNIFER He said he knew how to protect us. But he didn't know anything. He made us think it was over and done with. HARRY What is? JENNIFER (tears nearing) I don't want to think about it. If I think about it he'll hear me. He'll find me. HARRY Swann? Ahead now, the site where the workmen are digging a hole, laying pipes. The CAMERA doesn't focus on this action, but we're aware of it. JENNIFER I told you. I don't -- She stops. Looks ahead of her. Her face is suddenly ashen and clammy. Harry follows her gaze to: The hole. Somebody is in it, digging. Earth emerges in shovelfuls, piling up beside the hole. JENNIFER (CONT'D) (screaming) God no! Oh God no! She backs away from the hole. The Nurse grabs hold of her. NURSE Calm down! She delivers the Nurse a backhand SWIPE. The Nurse is flung back. JENNIFER He's not going to get me! She races down towards the street. Harry goes after her. JENNIFER (CONT'D) He's not! He's not! HARRY Who's not? He catches up with her. JENNIFER Nix! Nix! HARRY Is he the Puritan? JENNIFER Yes! Yes! HARRY And he's dead? JENNIFER No. He's coming back. He's digging his way out! The Nurse appears behind Harry. NURSE I'll take care of her now. Jennifer struggles in Harry's grip. NURSE Let go of her, Mr. D'Amour! The Nurse breaks Harry's hold on Jennifer, who slips away instantly, racing towards the street. HARRY Jennifer! She scrambles up over a wall, and flings herself from the top. There's a SCREECH of brakes, then the smashing of metalwork and glass. Harry gets to the wall before the Nurse. Hoists himself up onto it. Looks down. HARRY'S P.O.V. OF STREET Jennifer is dead in the middle of the street, beneath the wheels of a car. The DRIVER is out, and yelling incoherently. HARRY Jesus. He slips back down the wall, and leans against it. He looks towards the hole. The Workman has stopped digging. His mud-encrusted hands emerge, and for a moment, before his head appears, the image is eerily like somebody climbing from a grave. Harry closes his eyes. HARRY (very quietly) Jesus. EXT. LOS ANGELES - DUSK The sun is setting, the city giving way to night. INT. HARRY'S HOTEL ROOM - DUSK Harry's on the phone. HARRY I want to speak to Dorothea. VALENTIN (V.O.) I'm afraid she's not in. HARRY When will she be in? INT. SWANN'S MANSION - STUDY - NIGHT Valentin on the phone in the study. DOROTHEA Who is it? Valentin puts the phone down. VALENTIN Crank call. I'll get the number changed. DOROTHEA No word from D'Amour? Valentin shakes his head. VALENTIN It's better he's gone. He would have done more harm than good. DOROTHEA Harm to whom? Me? I don't think, so. Try him again at the hotel. VALENTIN I left three messages already. Dorothea nods, plainly sad at Harry's desertion. She turns and leaves the room. INT. HARRY'S HOTEL ROOM - NIGHT ON BILLY WHO'S CARD, in Harry's hand. HARRY (on phone) Billy? It's Harry. Suppose I wanted to get into the repository at the Magic Castle? CUT TO: INT. MAGIC CASTLE - SKYLIGHT ROOM - NIGHT THE PLACE IS EERIE BY NIGHT: ALL MASKS AND SHADOWS. PAN UP TO THE SKYLIGHT. HARRY IS CUTTING AWAY A PANE OF GLASS. BILLY'S BEHIND HIM. THE PANE STARTS TO FALL. WITH LIGHTNING REFLEXES, BILLY REACHES THROUGH AND CATCHES IT. HARRY You've done this before. BILLY I've had my moments. INT. MAGIC CASTLE - HALLWAY OUTSIDE REPOSITORY - NIGHT Harry's manipulating the lock. BILLY I'm sure they'll have this place rigged. HARRY How? BILLY It'll be something hokey. CLICK! The door opens. BILLY Houdini'd been proud of you. INT. MAGIC CASTLE - REPOSITORY - NIGHT Undusted shelves piled high with manuscripts, old books, and posters in every direction. BILLY (impressed) Whoa... On the wall, plaster LIFE-MASKS. In glass cases, the tools of the great magicians: KNIVES, KEYS, GUNS, WANDS, even an IRON MAIDEN. Billy is in awe. He wanders around wide-eyed while Harry scans the shelves. The dialogue runs as they investigate. BILLY I hear Mrs. Swann's quite a babe. HARRY You heard right. BILLY You ever been married? HARRY Yeah. She was killed in a car crash. Her lawyer was driving. She was filing for divorce. BILLY Why? HARRY My life was too weird for her. BILLY (grinning) I love weird. Harry has seen a small SIGIL carved onto one of the shelves. HARRY Billy? This was on Miller's forehead. Any idea what it is? BILLY Nope. Harry presses it. The entire bookcase opens up, CREAKING. BILLY What did I tell you? So fucking hokey. Inside, there is a small shelf. On it, FILES and PAPERS. HARRY What have we got here? Ever-eager, Billy steps into the recess. And -- two spiked, latticed gates close on his arm! Harry grabs the gates before they snap closed, inches from skewering Billy's flesh and bone! He keeps them open, his sinews straining. HARRY Grab the files! Billy reaches in and pulls out a handful of the files. As he steps out of range. Harry lets go and the gates close with a CLANG! BILLY Jesus! He slams the files down. He's trembling. BILLY I could have lost my fucking hands. HARRY That would have kept you out of the Magic Circle. (he studies the files) Which was presumably the idea. (a beat) These are about Nix. Harry takes a sheaf of papers, and hands them to Billy. HARRY You go through these. Go on! Reluctantly, Billy does so. Harry picks up a faded PHOTOGRAPH of the doorway to Nix's HOUSE (with the sigil painted on it) and BUTTERFIELD the child standing in the sun. There are other CULTISTS standing around. And in the DOORWAY -- a barely visible figure (and all the more intimidating for that) - is NIX. HARRY Wait a minute... He stares at the boy's face. The eyes are clearly different colours. HARRY That's Butterfield... BILLY (points to nan in) doorway) And who's that? ON HARRY, staring at the ambiguous presence. ON THE PHOTOGRAPH of the shadowy figure. HARRY At a guess? The Puritan. Nix. Billy picks up an ETCHING, water-stained and dirty. It shows a horror we recognize: a man's HAND pressed into the FLESH of another man's HEAD. BILLY Take a look at this. HARRY (looking at it) A Nix specialty? Billy is getting subtly spooked now. He puts the etching down and starts to go through others in the series. We glimpse them as he does so. In one, a MAN regurgitates a serpentine form made of FLAME. In another, a MAN stares at his own HAND which is STRIPPED OF FLESH. There is no bone beneath. Only a form of solid blackness. In a third, we see a HEAD with a slit in the middle of the brow, emanating DARKNESS. BILLY I don't know any of these tricks... Harry studies the etchings. HARRY (a slow burn) Maybe they're not tricks. BILLY (mystified) I mean, there's no instructions-- (realizes what Harry said) What do you mean, they're not tricks? HARRY What did Vinovich say? Something about walking a path between -- BILLY Trickery and divinity. Yeah, he says that all the time. HARRY That's because he knew. He'd seen these files and knew. BILLY Knew what? Out of the corner of his eye. Harry sees a motion between the book-stacks. Billy frowns. Harry puts his fingers to his lips. Gestures for Billy to take cover. Billy backs away. Harry slowly turns in the direction of the motion. Something eerily sepulchral is gliding between the stacks. A figure in a straight-jacket with his head bowed. Harry takes out his gun. Billy disappears around the back of one of the stacks. Harry goes after the apparition. The TRACK is completely silent. Suddenly, the creature appears behind Billy! It looks up, its face that of a psychotic: burning eyes, manic smile. It tears open its straight-jacket and reaches for Billy, who backs away. BILLY Harry! Books tumble on top of Billy as he stumbles against the shelves. BILLY Where the fuck are you? Harry appears, and puts his gun to the PSYCHO'S head. HARRY Okay. Hold it right there. The gun goes through the Psycho's skull, as though it's made of smoke. Harry waves his hands through it. It's completely ethereal. But it's still terrorizing Billy. BILLY (in mortal terror) Get it off me! Harry glances around. Sees a LIGHT flickering between some books. FIRES at it. The light goes out. The "Psycho" vanishes. Billy is left hyper-ventilating on the ground. HARRY Hokey enough for you? BILLY I'm out of here, man! Are you coming? Harry picks up a handful of papers from the Nix file. HARRY I'm coming. Billy is already out of the room. For a moment. Harry pauses to look back at the other files, sealed behind the spiked gates. As he does so -- -- the proiector sparks into life one last time, and the "Psycho" appears --ROARING - at Harry's shoulder. HARRY Ah, shaddup! He FIRES at the projector a second time. On the GUN SHOT -- CUT TO: EXT. MAGIC CASTLE - NIGHT Billy and Harry are parting. HARRY Thanks, Billy. BILLY Hey, anytime. (a beat) Actually, no. This was enough. They shake, and part. EXT. SWANN'S MANSION - FRONT DOOR - NIGHT Harry waits on the doorstep. Valentin opens the door. VALENTIN (quietly) I can't let you in. HARRY (stepping in) Yeah, I know. VALENTIN You want more money, is that it? Harry pushes him aside. INT. SWANN'S MANSION - VARIOUS - NIGHT Harry starts to go through the house, opening doors. HARRY Dorothea? He sees candle-light through a partially open door. Starts towards it. VALENTIN Leave her alone -- HARRY Shut up! He pushes open the door. INT. SWANN'S MANSION - CASKET ROOM - NIGHT The room is a museum of Swarm's career. Posters, and memorabilia everywhere. And in the middle of the room, Swann's sealed CASKET, surrounded by flowers and candles. Dorothea is standing beside it, head bowed. DOROTHEA This is the way he wanted it... no autopsy, no embalming. Nobody meddling with his body... Harry approaches, slowly. DOROTHEA Flesh is a trap. That's what he used to say. Flesh is a trap and magic sets us free. (a beat) Why did you come back? HARRY I didn't leave. I was just digging around. Dorothea looks up at him. DOROTHEA (uneasy) What did you find? HARRY Jennifer Desiderio, for one. (he watches her for a response) She threw herself in front of a car this afternoon. Dorothea can't disguise her distress. DOROTHEA Oh Christ. HARRY (a beat) Why don't you tell me the truth? INT. SWANN'S MANSION- STUDY-- NIGHT- Dorothea pours herself a drink, while Harry spreads the PHOTOS and the PAPERS from the repository on the table. HARRY Nix ran some kind of cult, right? Some kind of Charlie Manson deal? DOROTHEA It was more than that, I think. HARRY He was the real thing, right? DOROTHEA Swann said he could do stuff, yes. HARRY Stuff? DOROTHEA He could get into people's heads. Make them see things. Terrible things. And he could levitate. Juggle fire. HARRY He taught all this to Swann? DOROTHEA Some or it. INT. SWANN'S MANSION - HALLWAY OUTSIDE STUDY - NIGHT Valentin is listening at the door. INT. SWANN'S MANSION- STUDY-- NIGHT- HARRY So Swann was performing magic. not illusions? (Dorothea nods) And what? You thought he should be using it to cure cancer, not making millions. DOROTHEA I told you -- HARRY Too much fame. Yeah, I guess that'd turn anybody's head. Including yours. DOROTHEA No. HARRY You said you weren't with him for love. DOROTHEA I wasn't. HARRY What then? DOROTHEA I was grateful to him. I owed him my life. And he loved me. He couldn't always show it, but he felt it. HARRY He thought Nix was coming back, didn't he? Dorothea is pouring herself another drink. The glass slips from her hand. It SHATTERS. Harry goes to help her. They stoop together, very close. The sexual attraction is almost palpable. Dorothea cuts herself on a shard of glass. DOROTHEA Shit! They are very close to each other. HARRY (reassuring) It's okay. DOROTHEA No it isn't. You can't help me. HARRY (tenderly) I'm here, aren't I? He kisses her. She kisses him back, hard. HARRY Nothing's going to happen to you. DOROTHEA (seductive) Nothing? HARRY (smiles) Nothing you don't want. They kiss again, passionately. INT. SWANN'S MANSION - LOBBY - NIGHT Valentin breaks into the shadows, as Harry and Dorothea cross the darkened lobby and head upstairs. Then Valentin crosses to the phone and dials. INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT A room of illusions. Walls lined with mirrors, and warm, flattering lighting, bathing the naked forms of Dorothea and Harry as they make love, sitting on the floor. It is a deeply passionate, but slow, sensual coupling. INT./EXT. SWANN'S MANSION - LOBBY - NIGHT Valentin opens the front door. There's a wind blowing. The palms churn against the night sky... INTERCUT Roiling, wind-filled pains with the glistening, urgent bodies of Harry and Dorothea. INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT Harry cradles Dorothea in post-coital languor. DOROTHEA (whispers) I was so afraid. HARRY Don't be. Nix can't hurt you now. DOROTHEA Are you sure? HARRY I'm sure. (kisses her) He's dead. DOROTHEA I know. I'm the one who shot him. ON HARRY. He's startled, to say the least. DOROTHEA I was twelve. Nix took me hostage, to get Swann to come to him. HARRY (realizing) And they all came... DOROTHEA Yes. HARRY Quaid and Jennifer-- DOROTHEA And Pimm and Swann. Only Nix was ready for them. There's a NOISE downstairs. DOROTHEA (nervous) What was that? HARRY It's okay. Harry slips out of bed. INT. SWANN'S MANSION - STAIRS - LOBBY - NIGHT Harry descends the stairs, buttoning up his trousers (which is all he wears). He has his gun. HARRY Valentin? Dorothea appears behind him. DOROTHEA Harry? Wait! Harry's at the bottom of the stairs now. Across the hall, in a passageway, an eerie SILHOUETTE. We can make out no detail of clothing or face. HARRY What the hell-? Suddenly, the shadowy FIGURE comes at Harry. A BLAST of ENERGY bursts against Harry's face. As it breaks against his skin, we see (for three frames or so) a glimpse of Harry's skull. HARRY (in pain) Aah! Harry FIRES at the figure. The shadows fold up around the Stranger like an origami puzzle. He's gone. DOROTHEA It's him! It's Nix! Harry goes out into the passageway. HARRY Valentin! Get some lights on! As if in reply to the command, a burst of vivid white FIRE erupts behind Harry. He swings round to see the Stranger "unfolding" out of the shadows again, defying physics and physiology to do so. The FIRE is at his feet, like a serpent writhing on the ground. It comes at Harry. Harry FIRES at it, but it comes at him faster still, rising to burn Harry's leg. He retreats, the FIRE racing after him. He makes for a door, and flings it open. He's in -- INT. SWANN'S MANSION - CASKET ROOM - NIGHT The FIRE follows him across the ground and STRIKES his hand. Harry drops the GUN. Looks up to see the Stranger in the doorway, arm raised to will the fire-serpent on. But then, he hesitates. Harry glances round, and sees that the Stranger - whose face is still a dark smear - is staring at the CASKET. HARRY Somebody you know? Dorothea appears behind the Stranger. Sees Harry, burned and sweating, cornered against the casket. DOROTHEA Oh my God! The Stranger looks round. Harry snatches up the GUN, supporting his burned hand with -his good hand. Levels the gun at the Stranger. The FIRE raises its head, like a cobra. HARRY Which goes first? My face or your heart? The Stranger draws a deep breath. The Fire-Serpent withers and dies. DOROTHEA Who in God's name are you? She reaches for the Stranger, who simply folds up again; gone into darkness. The WIND blows through the house, masking his exit. DOROTHEA Are you all right? HARRY Find Valentin! Find him! Get him in here! Dorothea disappears. Harry takes one of the candle-holders and jams it under the casket lid. Wood splinters. He starts to force off the lid. Valentin and Dorothea enter. VALENTIN What are you doing? This is sacrilege. He starts towards Harry. Dorothea goes after him and catches hold of his arm. Her expression is a mingling of fascination and dread, as Harry gets his fingers under the casket lid and pulls. Inside, Swann's corpse. VALENTIN Are you satisfied now? HARRY No. Harry holds Valentin back with one hand, and puts his finger into the corpse's mouth. DOROTHEA Harry? HARRY It's all right. It's not hurting... He now has four fingers in Swann's mouth and seizes hold of his lower jaw. It cracks -- -- and comes away in a little rain of plaster and latex. HARRY ...plaster doesn't bleed. He tosses the jaw to Valentin. HARRY (to Dorothea) It looks like you're not a widow after all. INT. SWANN'S MANSION - STUDY - NIGHT Harry interrogates Valentin in a white fury, while Dorothea binds Harry's hand. HARRY You rigged the illusion to fail, right? VALENTIN Yes. HARRY You paid off the doctor. You set up the fake body. Yes? VALENTIN Yes. HARRY And then... because I was getting too close to something -- (at Dorothea) --or someone, you called Swann VALENTIN I tried to pay you off. HARRY Was that Swann's idea? VALENTIN No. It was mine. I didn't want any more bloodshed. That's why we went to all this trouble, so there'd be no one for Nix to come after. HARRY Nix is dead and buried, for fuck's sake. VALENTIN Haven't you seen enough to know that doesn't matter? ON HARRY. He looks as though he's beginning to think maybe Nix's resurrection is plausible. HARRY I want to see Swann face to face. VALENTIN Why don't you leave this alone? Let everybody think it's over? DOROTHEA What about me? VALENTIN Nix was never interested in you. It was always Swann. A beat. HARRY (to Dorothea) Maybe Valentin's right. We should let it alone. A BELL starts to TOLL- HARRY (con't.) He went to all that trouble to be dead. Maybe we should let him stay that way. The TOLLING carries over into EXT. HOLLYWOOD CEMETERY - DAY WE CRANE DOWN from a high angle on a GRAVE, surrounded by MOURNERS. The graveside service has just ended, and the Mourners are beginning to disperse. Dorothea is there amongst them, of course. So are several faces we recognize: Vinovich, Wilder, Billy Who, Swann's Stage Manager, his Dancers, his Technicians. There are also several members of the PRESS, and thirty or fourty other Mourners, some of whom, to judge by their dress and manner, are also illusionists. Harry stands some distance from the crowd, watching (hidden) from the doorway of a mausoleum. His eyes are on Dorothea as she goes amongst the Mourners, receiving unheard words of condolesence. EXT. WILTERN THEATRE - DAY The standee of Swann is being demolished by two WORKERS. They are taking hammers to it, smashing it to pieces. INT. WILTERN THEATRE - STAGE - DAY The stage is starkly lit with working lights, the auditorium in darkness. Swann's equipment - including the partially dismantled Dragon's head - is heaped on the stage. Valentin wanders through the boxes to the place where Swann "died." He stares down at the BLOOD on the stage. EXT. WILTERN THEATRE - DAY THE 1st WORKER throws the cut-out head of Swann's standee down into the street. 1ST WORKER Watch out! On the HEAD, as it strikes the sidewalk at somebody's feet. We don't see who. EXT. HOLLYWOOD CEMETERY - DAY Harry catches sight of somebody close to the gates of the cemetery. Dark glasses, a beard, an anonymous black suit. Harry smiles slightly, and slips off between the mausoleums. EXT. HOLLYWOOD CEMETERY - PARKING LOT - DAY The BLACK-COATED MOURNER gets into his car. On Harry, as he gets into his. INT. WILTERN THEATRE - STAGE - DAY Valentin hears something in the auditorium. Looks up. VALENTIN Who's there? He reaches into his jacket to draw a GUN. There's a NOISE. He swings round. Too late. Butterfield has a scalpel at his throat. He kicks Valentin to the ground. BUTTERFIELD (conversationally) I've sometimes thought, if I'd had another profession, I would have been a surgeon. On Valentin, staring up in terror. Valentin's P.O.V.- of Butterfield, upside down, above him, the scalpel glittering. BUTTERFIELD To be able to heal with one little cut. On Valentin again, as Butterfield's blade touches his cheek, just beneath his eye. VALEMTIN No. . . BUTTERFIELD Let's say those eyes of yours were giving you trouble. VALENTIN Please. BUTTERFIELD I could scoop them out. VALENTIN Don't. BUTTERFIELD So tell me where Nix is buried. VALENTIN I don't know. Butterfield pushes the blade into Valentin's skin. CUT WIDE, as Valentin thrashes, his face obscured by Butterfield's body. VALENTIN Wait! On Valentin again. There is a small cut beneath his eye, but that's all. VALENTIN I'll tell you. BUTTERFIELD You'll do more.than that. EXT. L.A. STREET - SEMI-DERELICT BUILDING - DAY A bad neighborhood, to judge by the state of the streets. Harry gets out of his car and crosses to a gate, topped with barbed wire. He peers through the bars. Harry's P.O.V. of the STRANGER from the funeral disappearing into the building. He glances back towards the street. We get a glimpse of a bearded face beneath the brim of his hat. Harry slides out of sight. Waits until the Stranger has gone inside. Then he's up, over the gate, braving the barbed wire. INT. -SEMI-DERELICT BUILDING - DAY It's been a hospital. Now the echoing corridors and wards are deserted, littered with reminders of old suffering. Rotting mattresses; spilled boxes of surgical supplies. Harry explores this tiled labyrinth, looking for some sign of the Stranger. He enters a shadowy room. Birds fly UP into his face! As he retreats, another SOUND, a little distance from him. GUN in hand, he heads towards it, and steps into INT. SEMI-DERELICT BUILDING - OPERATING THEATRE - DAY Narrow shafts of light through the circular viewing window fall on an operating table, and looming pieces of discarded equipment. Eerie. Disturbing. Harry scans the shadows as he advances into the room. HARRY I knew you wouldn't be able tn stay away. Silence. Harry notices the beard and glasses on the operating table. HARRY You had to see who wept for you the most. Silence. HARRY A lot of people are going to be really pissed off when they discover you're still alive. SWANN (V.O.) They'll never find out. Harry looks up. Svanrt is hovering in the air above him. The veins in his temples bulge and throb. This trick requires a lot of concentration. HARRY Look, Ma, no wires. SWANN You shouldn't have followed me, D'Amour. HARRY How the fuck do you do that? SWANN Now I'm going to have to kill you. HARRY I don't think so. You need me alive. SWANN Why? So you can fuck my wife? Swann swoops down towards Harry, who levels his gun. HARRY Be careful. Funerals make me trigger-happy. Swann stops, inches from the ground. HARRY You know, it's such a fucking waste. You can do shit most of us can only dream about, and you go around pretending it's some trick. SWANN Illusionists get. Las Vegas contracts, D'Amour. Magicians get burned. HARRY Or murdered, like Nix. SWANN He deserved it. HARRY Maybe he doesn't see it that way. Maybe he's digging his way out of the hole you put him right now. That's what you're hiding away from, isn't it? SWANN I did it for Dorothea. HARRY Oh yeah? SWANN Now that I'm dead, the spotlight's off her. Harry grabs Swann, literally pulling him down to earth. Now they're face to face. Eye to eye. Swann, for all his posturing, is afraid. HARRY So Nix won't come looking for her? SWANN It's me betrayed him. HARRY And she shot him I I think that'd piss me off if I were Nix. SWANN (despairing) I don't know what else to do. HARRY Help me. On Swann, his face a churning mass of rage and fear. HARRY Listen. If he's back from the dead, then he is some kind of god. And he'll find you, wherever the fuck you are. And if he's just another phony Messiah, then you can stage the greatest come-back in history. ON Swann. This doesn't sound like such a terrible idea. EXT. NIX'S HOUSE - LATE AFTERNOON A car comes to a halt outside the house, where six vehicles are already gathered. The SNAKE-HANDLING Cultist gets out. SNAKES seethe out of the open car door. INT. NIX'S HOUSE - VARIOUS - LATE AFTERNOON We MOVE THROUGH the shadowy interior, catching sight of several CULTISTS as we go. They all have looks of barely suppressed ecstasy on their faces. We are moving towards the Sanctum, and it's getting darker. A MATCH is struck, and an OIL-FLAME sputters into life. We see NORMAN'S gleaming face. On the wall is a PICTURE of Nix, floating over a scene of apocalyptic destruction. Norman brushes away thirteen years' accrual of DIRT. Beneath, Nix's expression is as rabid and terrifying as ever. Norman grins. CUT TO: EXT. LIQUOR STORE - LATE AFTERNOON A small, garishly-lit liquor store. Harry's car pulls into the lot. Swann gets out, his disguise back on. Heads into the store. Harry, agitated and impatient, follows him. INT. LIQUOR STORE - LATE AFTERNOON Swann is at the cashier's desk, with a bottle of cheap brandy. SWANN Is this the best brandy you've got? CASHIER If that's what's on the shelves. Swann produces a thousand dollar bill out of thin air. SWANN Can you change a thousand for me? CASHIER (amazed) You're shittin' me. HARRY Can we go? Swann starts to COUGH. A QUARTER falls from his mouth. HARRY Oh Jeez. SWANN Will that do? No? Swann coughs again. Puts his hand to his mouth. A DELUGE of QUARTERS runs between his fingers. SWANN That better? The Cashier gapes. CUT TO: EXT. SWANN'S MANSION - POOLSIDE - GROUNDS - DUSK The house could not look more reassuringly calm. A SWAN struts beside the pool. A long, HUSHED MOMENT... SHOCK CUT TO: DOROTHEA'S DREAM A BABOON SHRIEKS, its mouth filling the frame. CUT WIDE, to reveal the Baboon, racing around Nix's Sanctum, crazed. Hanging on the sculpture that swings from the roof is a shadowy figure. Is it Nix? We can't quite see. Black BLOOD runs from the figure and splashes on the ground. NOW WE SEE DOROTHEA, being pulled by the Cultists towards the falling gouts of dark fluid -- -- she struggles, SOBBING -- CUT TO: INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT She tosses around on the bed BACK TO: DOROTHEA'S DREAM -- Dorothea has a GUN in her hand. The Cultists shake it from her grip, and pull her directly under the BLOOD -- as it SPLASHES on her upturned face -- INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT A SOUND. Dorothea wakes, distressed by the dream. She gets up and goes out onto -- INT. SWANN'S MANSION - LANDING - DUSK Looks down the stairs. DOROTHEA Who's there? Silence. Then, Valentin speaks behind her. She jumps. VALENTIN I'm sorry. BLOOD runs from his cut face. DOROTHEA Jesus. Valentin. What did you do to your face? BUTTERFIELD (V.O.) It was me. She turns. He's on her in a heartbeat, pressing her back against the wail. BUTTERFIELD Guess who we're going to see? INT. HARRY'S CAR - DUSK Harry drives. Swann takes a throatful of brandy. Then he stares at Harry. SWANN You think I'm an asshole. HARRY Didn't know you read minds. SWANN (a warning) I can do a lot of shit, D'Amour. But you know that. (an apology) So I like playing games with people. Gives them something to wonder about... HARRY Is that all? SWANN I distract them from their banality for a few minutes. It's like a public service. It doesn't mean much in the end. They're all going to die. HARRY And you're not? Silence for a moment. SWANN Oh, I was going to discover the secret of the universe. That's why I liked Nix. He promised me all these explanations. HARRY And he didn't have them? SWANN He had something. He showed me how to bend the rules. A little levitation. A few fireworks. HARRY Is that all? SWANN No. (a beat) At the end... when we had him cornered, he got into my head. He showed me what we really look like, when the veneer's gone. Jelly. Shit... HARRY And you believed him? SWANN I saw it with my own fucking eyes! See, that's his best trick. No illusions. Just the truth. (he looks at Harry) Are you ready for that? Harry grabs the brandy bottle from Swann. SWANN Hey! Harry drinks. SWANN Thought not. EXT. SWANN'S MANSION - NIGHT PAN DOWN from the palms to Harry's car, outside the front door. INT. SWANN'S MANSION - VARIOUS - NIGHT Harry puts his head in the study, the library, the bedroom. HARRY Dorothea? Now he's on the landing. Swann's below. SWANN She's not here. Harry spots Valentin's BLOOD on the carpet. HARRY Did she know where Nix was buried? SWANN No. HARRY Who else did? Did Valentin? SWANN Yes. HARRY Jesus! EXT. DESERT HIGHWAY - NIGHT Butterfield's SEDAN crosses the desert, under a sky full of stars. INT. BUTTERFIELD'S SEDAN - NIGHT Valentin drives. Butterfield and Dorothea are in the back. Dorothea is handcuffed. He has a bag open at his feet. One by one he takes out a series of extraordinary instruments. Dorothea looks on, confounded. BUTTERFIELD Like the look of these? I made them myself, to set him free. DOROTHEA Why did you wait so long? BUTTERFIELD I didn't have the skill to resurrect him. I had to teach myself. And that took time. DOROTHEA And you think he'll be in a fit state to resurrect, after thirteen years? BUTTERFIELD If he was just a man like me, then no. But he's not. DOROTHEA What is he? BUTTERFIELD Maybe he'll show you. ON DOROTHEA, terror in her eyes. EXT. NIX'S HOUSE - NIGHT Now there are a dozen vehicles parked around the house. Through the windows, the flickering of oil-lamp FLAMES. There is a low, ominous CHANT floating from the house. It has no words, but it is steadily BUILDING in intensity. We DRIFT towards the front door. INT. NIX'S HOUSE - PASSAGEWAY - MEDITATION ROOM - NIGHT Now we move down the passageway to the Meditation Room. Inside, SEVENTEEN CULTISTS kneel in a circle. They are all CUTTING OFF THEIR HAIR, and throwing it into the FIRE that blazes in the centre of the circle. They hack indiscriminately, with KNIVES, SCISSORS and RAZORS, their eyes wild. BLOOD runs down their faces and necks from nicked ears and scalps. And still the CHANT BUILDS, and BUILDS... NORMAN He will come! He will come! He will come! EXT. DESERT - NIX'S GRAVE - NIGHT Wide. A few rocks, and emptiness. The headlamps of Butterfield's sedan burn in the darkness, illuminating the dig. Valentin is in the grave, digging. ON Butterfield, as he stands at the edge of the hole, watching the work. Dorothea stands a yard or two behind him. BUTTERFIELD Anything? VALENTIN (V.0.) Not yet. Butterfield squats at the edge of the hole and suddenly reaches out for Valentin, hauling him close. BUTTERFIELD If you've lied to me to me -- VALENTIN I swear... this is the place Swann told me about. The rocks... On Dorothea, who uses Butterfield's distraction to take a few steps back towards the open car door. Dorothea's P.O.V. of Butterfield, back to her, interrogating Valentin. BUTTERFIELD Five more minutes. Hear me? And you'd better not -- A SOUND behind him. Butterfield wheels round. On the ground beside the open car door, the instruments. BUTTERFIELD What the fuck are you playing at? He goes to pick them up. Dorothea steps from behind the door, with the sharpest in her hand. She slashes at him. Opens a WOUND across his arm. BUTTERFIELD Aah! He comes at her suddenly, striking the instrument from her hand, and slamming her against the car. He hits her. Once. Twice. Then -- VALENTIN (V.O.) Butterfield! Butterfield goes to the edge of the grave, picks up the flashlight and trains the beam on Valentin. VALENTIN (blinded) In the corner... The beam goes to the corner of the grave. A mummified HAND is sticking out of one of the walls. BUTTERFIELD (to Valentin) Keep away from it. Butterfield jumps down into the grave, and goes to the hand. The TRACK is silent, but for Butterfield's shallow breath. He reaches out to touch Nix^s fingers... Closer... Closer... He touches the hand - and the wall of sand comes down with a ROAR! He jumps back as Nix's corpse, his head still sealed by the mask rolls into view. VALENTIN Oh Christ! Oh Christ! BUTTERFIELD (reverentially) It's him... it's him. On Dorothea, sliding down the car in despair. CUT TO: INT. HARRY'S CAR - NIGHT The car is static; the engine still running. HARRY They got here before us. SWANN Looks that way. EXT. NIX'S GRAVE - NIGHT Harry gets out of the car and starts towards the open grave. HARRY'S MOVING P.O.V. OF THE GRAVE Harry reaches the grave's-edge. It's totally dark. He peers in. On his heel, as the ground CRUMBLES beneath his weight. Harry slides into the grave. HARRY Shit! He's in darkness now. He gets to his feet, and starts to try and scramble out. HARRY Swann? Swann! Silence. Suddenly, a hand is laid on his shoulder! Harry swings round. It's Valentin. He has been badly cut up. VALENTIN D'Amour -- HARRY Shit... VALENTIN Help me. He collapses into Harry's arms. HARRY Swann! INT. HARRY'S CAR - NIGHT Indecision is written all over Swann's face: to help or not to help? HARRY (V.O.) Swann! He decides. Gets out. EXT. NIX'S GRAVE - MIGHT Swann goes to the graveside, terrified. HARRY Give me a hand. I got Valentin. Together, Harry and Swann lift Valentin out of the grave and lay him in the blaze of the headlamps. VALENTIM He's got Dorothea. SWANN And Nix? VALENTIN Him too. HARRY We've got to get you to a hospital. VALENTIN Don't bother. HARRY Shut up. We've lost enough lives already. VALENTIN I'm sorry, D'Amour... HARRY What about? VALENTIN ... Looks like you're going... to lose... one more. Valentin dies. HARRY (despairing) ... no... SWANN He's better off this way. HARRY (furious) Nobody's better off this wav! SWANN You don't get it, do you? We're shit. D'Amour. He puts his foot beneath Valentin's body. It rolls back into Nix's grave. SWANN That's where we're all going. HARRY In my time, and nobody else's. ON THE EMPTY GRAVE, as we HEAR the SOUND of Harry and Swann getting into the car. The doors SLAM. The CAR LIGHTS retreat. The grave is left to DARKNESS. EXT. NIX'S HOUSE - NIGHT The house is silent now. INT. NIX'S HOUSE - PASSAGEWAYS - NIGHT We TRACK through the house. The CULTISTS, all Seventeen of them, stand in the passageways, looking toward Nix's sanctum. ON THE SANCTUM DOOR. Butterfield emerges. He is wearing WHITE now. BUTTERFIELD Do you wish him to be amongst us? CULTISTS Yes... BUTTERFIELD Will you come to him on your knees? CULTISTS Yes... BUTTERFIELD Be ready. Now we see that the Cultists have BOTTLES in their hands. With looks of ecstatic fervour on their faces, they SMASH the bottles to the ground at their bare feet. Then they pick up MORE BOTTLES, and SMASH them, littering the ground with razor sharp pieces of GLASS. ON Butterfield, smiling. He steps back into the Sanctum. INT. NIX'S HOUSE - SANCTUM - NIGHT HIGH, WIDE SHOT of the room, as Butterfield approaches the BODY of Nix. It lies on a table, surrounded by bowls of OIL. Bandages, soaked in oil, are laid over its limbs. Beside its head, Butterfield's INSTRUMENTS are laid out. ON Dorothea, crouched in the corner of the room, terrified as she watches Butterfield remove the multi- part MASK screwed into Nix's face. He works with surgical precision. DOROTHEA Listen. You've got everything you want. You don't need me. .. A piece of the mask comes away from the cheek. A subtle POWER plucks at dust around the room, disturbing it minutely. We CUT CLOSE to Dorothea's face throughout this sequence (on occasion her eyeball fills the screen) as she sees these signs of disturbance in the ether, growing in magnitude. BUTTERFIELD No, but he will. After what you did to him. He pulls a piece of the mask from Nix's mouth. BUTTERFIELD He'll want vengeance. Simple PS that. INT. NIX'S HOUSE - PASSAGEWAYS - NIGHT The bottle-breaking has ceased. The Cultists stand, breathless with anticipation. INT. NIX'S HOUSE - SANCTUM - NIGHT On Nix's emaciated mouth. The lips TWITCH. On Dorothea. The DUST moves around her. And Nix DRAWS BREATH. On Butterfield, TEARS in his eyes. BUTTERFIELD Oh my Lord. He's coming home... INT. NIX'S HOUSE - PASSAGEWAY - NIGHT The whisper runs through the congregation: CULTISTS He's coming home... he/s coming home... INT. NIX'S HOUSE - SANCTUM - NIGHT ON Dorothea, eyes wide. DOROTHEA Christ in Heaven. ON Nix, as his body starts to thirstily soak up the oils. His withered flesh starts to REHYDRATE; his veins start to THROB. Butterfield is watching the process in amazement. Nix's HANDS move up to his face, where the last portion of the mask is still screwed over his eyes. BUTTERFIELD He's with us... INT. NIX'S HOUSE - PASSAGEWAY - NIGHT CULTISTS He's with us... He's with us... INT. NIX'S HOUSE - SANCTUM - NIGHT Unnoticed by Butterfield, who has his eyes on Nix, Dorothea gets to her feet and creeps away to the door. Very quiet TRACK. Suddenly, the snake-handling Cultist steps into view, snakes coiled around his face and fingers! DOROTHEA Oh God! Butterfield looks up. BUTTERFIELD Hold her! On Nix, as he starts to pull at the mask on his face. It comes away with a moist, WRENCHING SOUND. At last, we see his eyes. NIX'S P.O.V. The candle-lights blaze, BLINDING his sensitive eyes. NIX (fury to agony) Aaarrrgh! He gets up and flings himself around the room, knocking over all the lights but two. Then he strikes Butterfield to the ground, and slams his foot on Butterfield's neck, knocking him unconscious. It's a terrifying, almost demoniacal display of instant physical superiority. Throughout, he literally ROARS in rage. INT. NIX'S HOUSE - PASSAGEWAY - NIGHT The Cultists SCREAM in sympathy, letting out years of repressed frustration. Many of them are dancing on the shards of glass now, crazed. CUT TO: EXT. DESERT NEAR NIX'S HOUSE - NIGHT Harry's car is parked a quarter mile from Nix's house. He is getting out. Swann stays put. The SOUND of SCREAMING is carried towards them on the wind. HARRY (spooked) Jesus... what the hell's going on in there? SWANN At a guess... they just resurrected him. HARRY Fuck. Harry starts towards the house. After a beat, Swann gets out of the car and follows. INT. NIX'S HOUSE - SANCTUM- - NIGHT On Butterfield, as Nix removes his foot. Butterfield is out for the count. On Nix, as he stops screaming. His face is grotesquely disfigured by the mask, the flesh stained and corrupted. The SCREAMING of the Cultists is dying away. NIX Children... INT. NIX'S HOUSE - PASSAGEWAY - NIGHT The Cultists all face the Sanctum door, awaiting instruction. NIX Will you suffer to come unto me? One by one, the Cultists fall to their knees. We never see flesh pierced by broken glass. But we HEAR IT, and see the agony on the Cultist's faces. They start to sob. Then, Nix appears in the doorway, mostly hidden by shadow. NIX I've come back to share the wisdom of the grave. Will you hear it? CULTISTS Yes... yes... NIX Follow me then. He steps out of the doorway. The Cultists let out sobs of adoration. Nix locks at Dorothea. NIX Do I know you, child? He reaches for her. Pulls her close to his body. Dorothea keeps her self-possession; but only just. NIX Oh yes... I do, don't I? No gun this time, child? (a beat) Where's Swann? DOROTHEA I don't know where he is. Nix picks her up, so that her feet are inches off the ground. NIX He'll come. We've got unfinished business, he and I. Then he carries her down the passageway to the Meditation Room, walking on the glass, apparently indifferent to the wounds he's receiving. The Cultists follow. INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT Nix strides into the middle of the room. NIX (whispered to Dorothea) Something terrible's going to happen. But if you hold on to me, very tight, you may live a little longer. The Cultists enter the room, knees and hands BLOODY. NIX (to Cultists) Are you ready for my wisdom? CULTISTS Tell us... tell us... INT. NIX'S HOUSE - SANCTUM - NIGHT Harry pushes open the window, and climbs in. Swann follows. He is frozen by the memory of what happened here. ON SWANN, as the TRACK fills with eerie ECHOES of that terrible event. Nix's SCREAMS. The GUN-SHOTS. The sound of the SCREWS GRINDING into Nix's flesh. SWANN (in terrified awe) This is where we killed him. HARRY (looking at table) You didn't try hard enough. SWANN I can't... I can't go any further... Harry nods, and gently detaches his arm from Swann's panicked grip. He crosses to the door. Suddenly. Butterfield reaches out of the darkness, and catches hold of Harry's leg. throwing him to the ground. He has one of the INSTRUMENTS in his hand. He STABS at Harry, striking the ground between Harry's legs. INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT NIX Here is my wisdom. He stamps on the ground. CRACKS spread from his foot in all directions. ON THE CULTISTS, amazed by this manifestation of power. BARBARA Show us. Puritan. NORMAN Yes, show us! ALL Show us! Show us! With a ROAR, a PIT four or five feet across opens up beneath Nix and Dorothea. Nix HOVERS over it. It's utterly dark; perhaps bottomless. Dorothea SCREAMS! INT. NIX'S HOUSE - SANCTUM- - NIGHT Hearing Dorothea's CRY, Harry looks back towards the passageway. Butterfield pulls the instrument out of the ground and stabs at Harry a second time. But Swann catches hold of his arm. SWANN (to Harry) Whatever he's doing to her, stop him! And Harry's up and away -- INT. NIX'S HOUSE - PASSAGEWAY - NIGHT -- he dashes over the glass -- INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT On Nix, Dorothea clasped close to him. He REVOLVES as he floats over the chasm below then. NIX (to unseen Cultists) You see, I escaped the grave. So I have to give something to the grave in return. On the Cultists, listening to their lord with love in their eyes. A SLIT OPENS in the middle of Nix's forehead, above the bridge of his nose (this is an image we saw in the prints in the library), and from it comes a WAVE OF DARKNESS. As Nix REVOLVES, the darkness STRIKES the GROUND around the Cultists. At first they don't realize what's going on. They think this is some kind of bizarre blessing. Then the ground starts to LIQUIFY beneath them. NORMAN What's happening? NIX I have to give something back. So I'm giving you. They're starting to SCREAM now as they sink into the ground. They struggle, of course, but the earth seems to be hungry for them. They are dragged down, THRASHING as they SINK. BARBARA (sobbing) Why? Why? NIX You're not worthy. None of you. Only Swann was worthy. You just waited like lambs. Harry appears in the doorway. Nix, still swinging round, has his back to Harry. NIX Well I'm not your shepherd. Harry surveys the horrific scene in front of him. The ground is now re-solidifying around the Cultists, some of whom have disappeared from view completely, some of whom still reach up out of the dirt. The scene has a surreal beauty to it despite its horror. SCREAMING FACES locked in the solid ground. TWITCHING HANDS the same. Harry starts towards Nix and Dorothea, GUN levelled. So far, he has avoided Nix's gaze. INT. NIX'S HOUSE - SANCTUM - NIGHT Butterfield and Swann are locked in a life-or-death struggle. They tumble back against the table upon which Nix was resurrected. It collapses under them, and for a moment Swann is stunned. Butterfield snatches up one of the instruments and STABS at Swann, who rolls out of the way in the nick of time. The BLADE catches him in the arm, however. SWANN Aah! BUTTERFIELD Go on, bleed. (he slashes at Swann again) Go on! Go on! Butterfield comes after him, and Swann backs off against a wall. He SPITS out a serpentine FLAME, which races across the floor and leaps at Butterfield's face! BUTTERFIELD (screaming) No! He falls backwards, his face ON FIRE. Swann doesn't wait to watch him die, but races out into the passageway, BLOOD running from his wound. INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT Harry is staring up at Dorothea as he very gingerly crosses the still-sticky ground. He's a yard from the edge of the pit now. Nix swings round. NIX You're not Swann. Who are you? (a beat) ) Oh... I know what you want. He lets Dorothea slip from his arms. Harry flings himself towards the hole and CATCHES HOLD of Dorothea's arm before she falls away into the abyss. His GUN goes spinning across the ground, back towards the door leading to the passageway. DOROTHEA Oh God! HARRY Hang on! Nix reaches down to torment Harry. But before he can make contact SWANN (V.O.) Nix! Nix looks up. NIX There you are. Suddenly, Nix isn't interested in Harry and Dorothea. He steps onto solid ground, and walks towards Swann, his tone suddenly conversational. NIX I've had a lot of time to think about you. Where I went wrong... With Nix's back turned, Harry pulls Dorothea back out of the chasm. SWANN And? NIX I should have been honest with you, right from the start. I wasn't born to show people the error of their ways. I was born to murder the world. ON HARRY, as he leads Dorothea to the door. Harry glances back into the room. NIX You could still help me do that. SWANN Why would I want to? NIX Because you've got nothing else to live for. SWANN Not true. NIX The woman has a new love in her life. Your friends are dead. Nobody's left to save you, but me He lays his hands on Swann. Draws him into an embrace. ON HARRY and Dorothea. HARRY (to Dorothea) I've got to help him. DOROTHEA You can't. HARRY Nix has got to have a weak spot. Everybody's got a fucking weak spot. A NOISE. He turns, and suddenly -- Butterfield is there! His face is horribly burned, but he's still very much alive. BUTTERFIELD Bastard! He launches himself at Harry, driving them both back into the BROKEN GLASS. A FIGHT ensues, carrying them out into the Passageway. Nix has Swann in a bear-hug. NIX Will you help me? A beat. Then Swann nods. SWANN Yes. Nix lets him go. NIX You know I'll kill you when we're done. I have to. SWANN Yes. NIX But until then... it's you and me... the way it always was. SWANN Yes. Dorothea, at the doorway, watches this bizarre exchange. Swann's eyes flicker towards her. Nix turns. NIX Wait... you still feel something for that bitch? SWANN No! NIX Liar! Nix makes a gesture, and Swann is flung against the wall, pinned there like a fly, legs off the ground. NIX Will! You! Never! Learn!? With each word, Nix almost casually throws a gesture in Swann's direction, and though there is six feet between them, they have the force of terrible blows. One to the ribs. They CRACK. One to the face. It BLEEDS. One to the legs, one to the arms. They all BREAK. Then Nix turns towards Dorothea. NIX She's just flesh, Swannnie-boy. I'll show you! He moves towards Dorothea. Swann falls to the ground, broken. SWANN Harry! INT. NIX'S HOUSE - PASSAGEWAY - NIGHT The fight between Butterfield and Harry continues. SWANN (V.O.) Harry! Stop him! Harry looks up. Sees Dorothea retreating from the door, and running off into the darkness. Butterfield comes at Harry again. Harry's got no more time for this creep. He delivers Butterfield a backhand swipe, and Butterfield lands face down in the glass. We don't see the impact. HEARING it's enough. Harry looks down at the body. Then -- NIX (V.O.) Where is she? Harry turns. Nix is on him like a luoaernaut. treading on Butterfield's body as he comes at Harry! NIX Where did she go? Nix GRABS hold of Harry's head with one hand and PRESSES the fingers of -the other hand against Harry's TEMPLES. He struggles to get free, but Nix is simply too powerful. Nix's fingers slowly SLIDE BENEATH the skin of Harry's temples. As before, there's no blood. NIX You've got Swann's disease. You think a little courage, a little love, and it'll all be all right. Wrong! His fingers slide all the way in! HARRY Oh God! Harry wrests himself free of Nix, and stumbles away. His eyes are BLOOD-RED. Nix is a few yards behind him. NIX Tell me where she is... and I'll make it go away... Harry is reeling around in the grip of a nightmare. HARRY'S P.O.V. The apocalyptic images on the walls seem to move! A face SCREAMS! FIRE blossoms! ON HARRY, verging on insanity. HARRY Oh God... oh God... HARRY'S P.O.V. Harry sees a WOMAN, wrapped in the sickly-sensual embrace of some glistening, barely visible OBSCENITY. We can't see her face. Only her mouth is visible in the coils of her devourer. ON HARRY as he approaches the wall, on which this woman is painted. Reaching out for the image. HARRY'S P.O.V. The Woman reaches for Harry. WOMAN Help me. ON HARRY as he touches the wall. HARRY Dorothea! He starts to SCRATCH out the plaster on which the image is painted. HARRY Dorothea! Dorothea! HARRY'S P.O.V. Darkness swallows the image of the woman. She is still screaming when she disappears. INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT ON SWANN, dragging his broken body to the door. INT. NIX'S HOUSE - PASSAGEWAY - NIGHT ON HARRY literally beating his head against the wall! HARRY No! No! No! DOROTHEA (V.O.) Harry... Harry stops. Dare he believe this is truly her voice? DOROTHEA It's not real, Harry- Harry turns around. Dorothea is there. HARRY'S P.O.V. For a moment, he sees Dorothea as she is. ON HARRY, relief flooding his face. Then -- HARRY'S P.O.V. -- the image MORPHS. Dorothea's beauty is replaced by primeval muck. ON HARRY, appalled. Dorothea grabs hold of him. DOROTHEA Harry. Listen to me. Whatever's good between us, believe it. Harry's face is deathly white, and pouring SWEAT. He's fighting the delirium. Or doing his best. HARRY ... oh... God... DOROTHEA I'm here, Harry. HARRY ...yes? DOROTHEA Yes. Nix steps from the shadows of the doorway behind Harry. NIX (to Dorothea) There you are, child. Harry starts to look round. DOROTHEA Don't look. HARRY I... have... to. NIX Come on, child. I want Swann to see you die. Harry turns and looks at Nix. HARRY'S P.O.V. Nix's face darkens as it MORPHS. And the flesh in the middle of his brow UNFOLDS, revealing a dark, pulsating THIRD EYE. NIX (to Harry) What are you looking at? ON DOROTHEA, who has gone to the door of the Meditation Room and now slips inside. ON HARRY, staring up at Nix. ON DOROTHEA, re-emerging from the Meditation Room. In her hand, Harry's GUN. Harry looks round at her. HARRY (points to his brow) There... there! ON NIX, as he looks up at Dorothea. ON DOROTHEA, as she raises the GUN. She FIRES. The bullet STRIKES Nix's FOREHEAD. He sinks to his knees, BLOOD pouring down his face from the hole where his third EYE used to be. ON HARRY, as Nix's mind-hold falters. He leans against the wall, shaking. DOROTHEA Harry? HARRY I'm okay. I'm okay. Harry opens his eyes. Looks up at her. HARRY'S P.O.V. The last of the MORPHING fades. He sees Dorothea as she actually is. Dorothea goes down to comfort him, and they embrace. Suddenly, a ROAR from Nix. They look towards him -- -- it isn't over. One last, terrifying transformation is overtaking Nix as he kneels in the GLASS. His sallow flesh is running in STREAMS up his body towards the DARK HOLE in the middle of his forehead -- NIX One... last... illusion... -- his humanity is disappearing, vanishing into the vortex of the bullet wound. DOROTHEA Oh my God. Harry and Dorothea start to get up... Nix is no longer human. He is a shape of gleaming DARKNESS, stripped of features. He opens his mouth, the only visible element on his body is his toothed maw, which looses an utterly inhuman SHRIEK! SWANN (V.O.) ... D'Amour... Harry glances through the door into the Meditation Room. Swann is on the threshold. Nix RISES now. He is a terrifying spectacle, his bulk somehow more intimidating than ever in this simplified form. He comes at Dorothea, who has no choice but to back away into the Meditation Room. INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT The pit still yawns in the middle of the floor. Dorothea is backed towards it by Nix. When Nix SPEAKS, his voice is not remotely human. It is DEMONIACAL. NIX I am the purest of the pure. I am the darkest of the dark... Harry is at the door now, starting towards Nix. SWANN Harry. You can't kill him. Harry crouches beside Swann. HARRY (whispers) He did something with the ground. SWANN Yes? HARRY Can you do it? SWANN I don't know. HARRY Try. ON DOROTHEA. She's a couple of yards from the pit now. NIX (V.O.) I'm beyond Heaven. I'm beyond Hell. Suddenly, Harry lunges at Nix, grabbing hold of his legs. Nix topples. ON SWANN, who puts his hands on the ground. Closes his eyes. A wave of LIQUIFICATION runs through the ground from Swann's broken fingers -- -- the Cultists' bodies MOVE in the softening ground, like corpses in surf, and ROLL towards the pit, their dead faces resurfacing -- Barbara's body floats past Nix, and disappears over the edge of the pit. HARRY (to Dorothea) Get out of here! The ground is very liquid now, and the corpses are lodging around Nix as they're all carried towards the pit. So's Harry, of course. Nix tries to get up, but he's too late. The corpses weigh him down, the ground is too fluid for him to get a proper hold, and Harry still clings to his legs. NIX No! No! No! He's at the edge of the pit. DOROTHEA (V.O.) Harry! Harry looks round. Dorothea's behind him, risking the flowing ground to offer him a hand. Nix starts to fall into the pit. At the last minute, he reaches for Harry, as -- -- Harry is pulled out of reach bv Dorothea. Together they stumble to THE DOOR, where Swann still lies. They look back to see NIX, as he goes over the edge of the pit and FALLS SCREAMING. At the door, Dorothea lifts up Swann's head. He's dead. She closes his eyes. CUT TO: INT. THE PIT What we are about to witness is the longest fall-to-his- death by any villain in the history of cinema... Nix is falling through rock. Still SCREAMING. He CRASHES against a layer of stone, which his body smashes to smithereens. And as he falls -- INT. NIX'S HOUSE - PASSAGEWAY - NIGHT DOROTHEA Is it finished? HARRY I think so. No it's not. Nix keeps falling, breaking through another layer of rock as he descends deeper and deeper into the earth. And now... there's a hint of FIERY LIGHT below. He's approaching MAGMA. INT. NIX'S HOUSE - PASSAGEWAY - NIGHT DOROTHEA Come on... She puts her arms around him. Kisses him, sobbing with relief. INT. THE PIT Nix hits a layer of molten rock, and, SCREAMING, he disappears. A BURST of dark, roiling ENERGY erupts from the spot where he sank, and starts up the pit -- INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT The room TREMBLES. There's a ROAR in the earth. INT. NIX'S HOUSE - PASSAGEWAY - NIGHT HARRY What the fuck? DOROTHEA Harry-? HARRY Out! Out! They race for the front door -- INT. THE PIT -- the wave of ENERGY, like a howling, dark WIND, ascends at a breath-taking rate INT. NIX'S HOUSE - PASSAGEWAY - NIGHT Harry and Dorothea race for the open air, as INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT The ENERGY ERUPTS from the pit. EXT. NIX'S HOUSE - FRONT DOOR - NIGHT Harry and Dorothea stumble out, into the night -- INT. NIX'S HOUSE - VARIOUS - NIGHT The ENERGY howls from room to room, ERODING the images off the walls, BLOWING out the doors, DESTROYING all the resurrection equipment in the Sanctum -- EXT. NIX'S HOUSE - DESERT - DAWN Harry and Dorothea stumble to the car. They look back at the house, as the cacophony of destruction dies down. ON THE RIM OF THE SUN, as it peeps over the desert horizon. INT. NIX'S HOUSE - VARIOUS - DAWN The SUNLIGHT creeps through the rooms as the DUST settles. INT. NIX'S HOUSE - MEDITATION ROOM - DAWN The hole in the floor CLOSES UP, and is SEALED... SILENCE reigns. EXT. NIX'S HOUSE - DESERT - DAWN Harry and Dorothea get into the car. Harry glances back at the house. Nothing. HARRY (quietly) It's finished. EXT. NIX'S HOUSE - FRONT DOOR - IDOLS - DAWN ON THE IDOLS and the FRONT DOOR, virtually destroyed by tine. WE DRIFT THROUGH THEM, INTERCUTTING WITH: EXT. HARRY'S CAR - DESERT ROAD - DAWN Harry's car speeds away, leaving a plume of dust as THE CREDITS ROLL \ No newline at end of file diff --git a/unformated_scripts/Script_Lord of War.txt b/unformated_scripts/Script_Lord of War.txt new file mode 100644 index 0000000000000000000000000000000000000000..4a39065de1d6ef7674be1ee0d4309c4ab5a2b157 --- /dev/null +++ b/unformated_scripts/Script_Lord of War.txt @@ -0,0 +1 @@ + LORD OF WAR Written by Andrew Niccol FADE UP CLOSE UP on the face of YURI ORLOV. Late-thirties, maybe the wrong side of forty, cigarette dangling from his fingers, wearing a conservative suit and tie. Black smoke wafts in front of his face. He speaks matter-of-factly, directly into camera. YURI There are over 550 million firearms in worldwide circulation. That's one firearm for every twelve people on the planet. The only question is... (taking a draft and stubbing out the cigarette) ...how do we arm the other eleven? The camera zooms away from his face, revealing: Yuri alone on a battlefield surrounded by the charred carcasses of armored military vehicles and other equipment, discarded weapons and ammunition, desert floor stained with what appears to be blood. The faint sound of gunfire, some distance away, carries to us on the wind. CUT TO: A TITLE SEQUENCE FOLLOWS - A CONTINUOUS SHOT FROM A CAMERA MOUNTED ON THE BACK OF A BULLET CASING - ILLUSTRATING THE LIFESPAN OF THE BULLET. - Gunpowder is poured into a metal casing, lead slug mounted on top. A BULLET is born. A perfect 39mm. - The BULLET travels along a conveyor belt with thousands of identical siblings in a Ukrainian factory so grey it's monochrome. - The BULLET, picked up by a ham-fisted UKRAINIAN FACTORY WORKER, is tossed into a crate. - The BULLET, lying in its open crate, rolls down a chute where it's inspected by a UKRAINIAN MILITARY OFFICER holding a manifest. He seems to stare directly at our BULLET. UKRAINIAN OFFICER (to his SUBORDINATE carrying a manifest, in Ukrainian) Call it "agricultural machinery". - The BULLET's crate rattles around in an open-bed truck along an industrial road, passes a decapitated statue of LENIN. - The crate containing our BULLET is placed on a ship in the cold grey Odessa harbor. A container door closes, plunging the bullet into darkness. - The door re-opens. The BULLET, still in its crate, now basks in bright, tropical sunshine, surrounded by an azure sea. - The crate is removed by a pair of slim, dark hands, revealing a glimpse of the bustling, weathered port of Abidjan in the Ivory Coast. The crate is one of dozens unloaded from the ship. - BULLET's POV from another open-air truck, now slogging through a mud-clogged road in lush rainforest. - The BULLET is unloaded from the truck in Freetown, Sierra Leone - immediately grabbed by the young HAND of a RUF soldier. - The BULLET is loaded into a 30-round magazine which is inserted into an AK-47 machine gun. - The BULLET waits - in the gloomy chamber. Suddenly, from outside, the sound of raised voices and gunfire. - The BULLET and its neighbors start to rise quickly up the magazine towards the chamber as the Kalashnikov is fired. - Our hero BULLET is next. Will it see action? - Smack. The gun's bolt strieks the explosive cap, gunpowder ignited, the BULLET driven out of the barrel. - Shed of its casing - now only a slug - the BULLET emerges into bright sunshine. It is flying down the main street in Freetown. - The BULLET gives us a perfect point-of-view of the bullet ahead of it. They are both flying towards their intended target - a wild- eyed CHILD SOLDIER, a boy no more than twelve, firing an AK-47 almost as tall as he is. - The leading bullet narrowly misses, whistles past the boy's ear, striking the whitewashed wall behind - one more pock-mark in a building riddled with pock-marks. - Our BULLET, following close behind, finds its mark, slamming into the boy's forehead just above his left eye - his expression, oddly relieved. - The BULLET carves through the lobes of the boy's brain where it is enveloped in blood, finally plunged into darkness - the bullet's final resting place. CUT TO BLACK EXT. ODESSA - MAIN STREET. DAY. "Towards A Brighter Socialist Future", reads a billboard in the main street. Odessa, U.S.S.R - 1980 Fifteen-year-old YURI walks into frame. He spies a long line snaking away from the door of a barren grocery store. YURI (V.O.) I was born Yuri Orlovitch in the city of Odessa in a country that no longer exists. You might have heard of it - a little place called the Soviet Union. A YOUNG COMMUNIST sits in the shadow of a statue of Trotsky in the Soviet-style plaza, jacket and neckerchief removed in the summer heat, poring over a Communist text. Yuri approaches, pretends to be interested in the statue, glances to the Young Communist's book. YURI (in subtitled Ukrainian, looking over the idealist's shoulder) All property is theft. The Young Communist nods at this kindred spirit. Yuri pats his comrade on the back, taking the opportunity to steal the boy's red neckerchief and Lenin pin. INT. GROCERY STORE. DAY. Now wearing the pin in his own jacket along with the neckerchief and a stern expression, YURI strides to the front of the line in the store. YURI (V.O.) Where I grew up, everyone was equal. Some were just more equal than others. The female STORE CLERK is about to order Yuri to the back of the line when Yuri flashes the pin. Intimidated, the Clerk smiles and pulls a special tray from under the counter. In contrast to the meager offerings on the shelves, the tray contains bags of sugar, coffee, bananas, even Pepsi. INT. APARTMENT - ODESSA. DAY. A Soviet-style apartment building. Front door opens - YURI enters, shopping bag in hand. His mother, IRINA, pokes her head out of the kitchen. Yuri holds up a banana. YURI (in subtitled Ukrainian) Shortages? What shortages? Irina shakes her head in amazement. INT. APARTMENT - LIVING ROOM. DAY. While a parade of weapons in Red Square plays silently on the state- controlled TV, father ANATOLY and Military Cadet older brother VITALY, shoulder bandaged, sit at a tiny table, drinking cheap vodka and listening intently to an illegal shortwave radio - coat hanger for antenna. YURI (V.O.) My father was a wounded hero of World War Two, my younger brother was wounded in Afghanistan - a war without heroes. I'd gotten out of military service due to a heart problem - it wasn't completely a lie. YURI joins them, careful not to interrupt the broadcoast. He goes to pour himself a glass of vodka. Without looking away from the radio, his father's hand grasps Yuri's in a vice-like grip, preventing him from lifting the bottle. RADIO ANNOUNCER (impossibly upper-crust British accent) --Finally, in response to human rights protests and in an effort to encourage the United States to sell grain to the Soviet Union after two successive crop failures, it is reported that the politburo has consented to permit a limited number of Jews to emigrate from the Soviet Union to Israel. (beat) And that concludes this edition of news from the BBC World Service. Anatoly, deep in thought, switches off the radio. IRINA enters, puts Yuri's "feast" on the table. They speak Ukrainian, subtitled. ANATOLY (incredulous) Trading Jews for grain. VITALY (reaching for a banana) It's good P.R. - for the Moscow Olympics. IRINA (shrugs) Good for the Jews. YURI And us. All eyes to Yuri, family confused. YURI (cont'd) (matter-of-fact) We're Jewish. VITALY (scoffing) We're not Jewish. YURI (shrug) We're Jewish if we say we're Jewish. The stunned family stares at him - out of the mouths of babes. Anatoly finally breaks the silence, pours Yuri a drink. ANATOLY Mazeltov. Yuri and the family drink to their new identity. EXT. CEMETERY, ODESSA. DAY. A sea of Jewish gravestones. YURI and ANATOLY bribe the cemetery CUSTODIAN. YURI (V.O.) There have been few occasions in the twentieth century when it's been an advantage to be a Jew. Under his father's watchful gaze, Yuri takes a rubbing from one of the headstones - "ORLOV". INT. UKRAINIAN GOVERNMENT OFFICE. DAY. ANATOLY, with YURI at his side, presents the rubbing along with other crudely forged paperwork confirming their Jewish ancestry to a CLERK. "ORLOVITCH" now "ORLOV". YURI (V.O.) The rubbing from the Jewish headstone was my first forged document. Little about my life has been kosher ever since. The Clerk gives Anatoly and Yuri the once-over, then stamps an emigration visa. INT. APARTMENT, BEDROOM. NIGHT. Suitcase in hand, YURI surveys his bedroom for the last time. A car horn. He glances through the window to the communist-style plaza below. ANATOLY beckons impatiently to Yuri. VITALY and IRINA load overstuffed suitcases into an old Russian sedan driven by an old Russian Military Officer, UNCLE DMITRI. Yuri stares at himself in the mirror. He replaces his stolen Soviet pin for a necklace - a Star of David. INT. BEN GURION AIRPORT - TEL AVIV. DAY. CLOSE UP on a heavily-retouched photograph of GOLDA MEIR. She's still not pretty. YURI stares up at it. YURI (V.O.) We Russian Jews were supposed to be headed for Israel but I didn't see much of the country on that first trip. We reveal he is standing in a jam-packed, standing-roam-only "TRANSIT" lounge. YURI (V.O.) Real Jews or fake Jews, eighty-five percent of us ended up in that other "promised land". The Pan American destination board reads: "PA 447 to NEW YORK". EXT. BRIGHTON BEACH - "LITTLE ODESSA". DUSK. In the distance, a roller coaster in Coney Island, silhouetted against the afternoon sky. "Little Odessa", New York - 1984 The camera travels off the coaster to a restaurant, apartment above it. YURI (V.O.) We congregated in New York's Brighton Beach because of its similarity to the Crimean Sea. I've always thought it's appropriate we moved next door to the circus. INT. "CRIMEAN RESTAURANT" - LITTLE ODESSA. DAY. A typical Jewish establishment with all its paraphernalia - menorah on the mantle, etc. The family sits in a small dining room attached to the restaurant. ANATOLY reads the Torah as he waits for dinner with YURI and VITALY. YURI (V.O.) I had no idea my father would take his assumed identity so much to heart. I guess he just stayed in character. YURI, older, as we now know him, studies school work. Long-haired VITALY watches "Band Aid" on TV. IRINA puts a plate of mussels in front of Anatoly. ANATOLY (glaring at the plate, incredulous) How many times--I can't eat shellfish. It's "treyf". IRINA You're not Jewish. ANATOLY I like it. (picking up his felt fedora) I like the hat - to remind us there's something above us. I like that. Anatoly dons his hat. ANATOLY (cont'd) I'm going to temple. IRINA You're not going to temple. You go to temple more than the rabbi! Vitaly begins eating his father's plate of mussels. Yuri watches his father exit. YURI (V.O.) I was suffering an identity crisis of my own. We focus on orientation booklets from a careers fair. Yuri shuffles between the eagle of the CIA and the dove of the U.N. YURI (V.O.) My gift for languages made me highly sought after. The C.I.A. and U.N. were both heavily recruiting Russian immigrants. Yuri settles on the dove. EXT. UNITED NATIONS. DAY. The idealistic YURI, ill-fitting suit, full of optimism, approaches the United Nations Building. YURI (V.O.) Naturally, I went with the U.N. They were paying more. He strides past Luxembourg's gift to the U.N. - a sculpture of a gun with its barrel tied in a knot. Never gives it a look. He is greeted at the entrance by an attractive female U.N. Official, VIVIAN CARLISLE. She likes what she sees. INT. ARMORED PERSONNEL CARRIER. DAY. The blue helmeted YURI is seated in a white U.N. armored personnel carrier, the background behind him morphs from one Third World location to another: Third World desert to Third World rainforest to Third World slum. YURI (V.O.) The fastest way to find out you can't change the world is to actually go there. EXT. NRFL REBEL HEADQUARTERS - NORTHERN LIBERIA. DAY. Poolside at a recently-captured Southern-style colonial mansion, a long way from Georgia. Gbamga, Liberia - 1985 YURI (V.O.) West Africa's Liberia, or "land of the free", was originally established in the 1800's as a homeland for freed American negroes. It's been enslaved by one dictator or another ever since. They even copied their masters' Southern architecture. A tatty pile of weapons - some from World War II - sits in front of a long negotiating table. YURI, blue beret, observes the CHIEF U.N. ENVOY at the table opposite warlord ANDRE BAPTISTE, leader of the National Revolutionary Front of Liberia (NRFL). Baptiste, 40's, is an imposing figure. In full uniform despite the heat, he wears a jacket one size too small as if he cannot admit his extra few pounds. His THIRD WIFE stands next to him, wiping the sweat from his brow like an intermittent windscreen wiper. YURI (V.O.) It was my first meeting with the American- educated Andre Roosevelt Baptiste. While the warning signs were all there, no one had any idea what a monster he would eventually become. I certainly didn't think he would become my friend. Baptiste has a U.N. document in front of him, awaiting his signature, clearly enjoying his moment in the sun. U.N. ENVOY (referring to the meager pile of weapons) --With all due respect, Mr. Baptiste, you don't seriously expect us to believe that this represents your entire arsenal. Baptiste shrugs. U.N. ENVOY (cont'd) This is making a nonsense of the embargo ratified by all five permanent members of the Security Council. The escalation in the build up of arms jeopardizes not only order in the region but ultimately world order. Baptiste smiles. BAPTISTE (playing to the gallery) --World order? You say we jeopardize world order? Baptiste's Third Wife wipes his brow. BAPTISTE (cant'd) Your idea of world order is when you're giving the orders to the world. The Envoy has no response. Baptiste rises from the table, leaving the unsigned document sitting there. BAPTISTE (cant'd) Excuse me. Baptiste is accompanied by two armed BODYGUARDS. Yuri's commanding officer, CAPTAIN VIVIAN CARLISLE, motions for one of her detail to follow - Yuri. BAPTISTE (irritated by Yuri's presence) I am only going to the restroom. YURI (shrug) Orders. They reach the door marked, "MEN". BAPTISTE (aside to his bodyguards as he enters) This is what they mean by U.N. Observer? Yuri winces at the remark. INT. PRESIDENTIAL MANSION RESTROOM. DAY. BAPTISTE pisses at a urinal. YURI and the BODYGUARDS hang back a respectful distance. BAPTISTE (taunting Yuri) Aren't you going to help me hold my cock? YURI (glancing towards the urinal) Doesn't look like a job for two men. The BODYGUARDS stiffen at the insult. Baptiste stares Yuri down for a moment, then suddenly bursts into laughter. The TWO BODYGUARDS also start to laugh - cautiously. Baptiste washes his hands, stares at Yuri in the mirror, smiles. BAPTISTE You know you are fighting a losing battle, my young friend. War is nature. If you take away the guns, we will kill each other with knives. Take away the knives, we will kill each other with sticks. Take away the sticks, we will kill each other with your peace treaties. (turning to face Yuri) You cannot stop this bath of blood. YURI It's not "bath of blood". It's, "blood bath". BAPTISTE Thank you. But I like it my way. Baptiste smiles and exits, leaving the words ringing in Yuri's head. EXT. U.N. COMPOUND - MONROVIA. DAY. A pep rally for the mostly male U.N. PEACEKEEPERS. A stage has been erected in the rundown Embassy grounds. They chant and stamp their feet impatiently. A U.N. OFFICER, acting as M.C., approaches the microphone. M.C. (battling the microphone's feedback) And now, we have a surprise for you. The 83rd West African Peacekeeping Corp is proud to present, all the way from El Salvador, the newly crowned Miss World, Ava Cordova. From behind a jerry-rigged curtain appears the vision that is AVA CORDOVA. She wears a dress that appears to have been sewn onto her. She is obscenely beautiful in the squalid setting. The peacekeepers roar and whistle their approval. YURI, near the front of the stage, is hypnotized. Standing closer to Yuri than necessary, despite the crush, is CAPTAIN VIVIAN CARLISLE (attractive in her own right but pales in comparison with the Goddess on stage). She catches Yuri's reaction. U.N. PEACEKEEPERS (chanting to Ava) Take it off, baby! Take it off! Ava steps up to the microphone. AVA (referring to the sea of U.N. berets) Baby blue. My favorite color! A roar of approval from the men. AVA (cant'd) I suppose I could give you the speech about "my hope for world peace" but I have a feeling you don't want to hear that today. U.N. PEACEKEEPER (calling out) My hope is for a piece of your ass! They roar again. AVA (laughing it off) I don't know if you'll be taking me to bed tonight, darling, but you can take her. Ava unfurls a life-size poster of herself in a swimsuit, flirtatiously holding it up against her body. She tosses other posters to eager hands. AVA (cant'd) You're all doing a great job - keep it up. Enjoy the show! On stage, a generic-looking ROCK GROUP starts to play a cover from the 80's - Tears For Fears' "Shout". Ava dances enthusiastically, provocatively. Ava appears to make eye-contact with Yuri - blowing a kiss in his direction. He is paralyzed. LATER BACKSTAGE, YURI and other Peacekeepers observe AVA escorted towards a huge, American car. An inebriated U.N. PEACEKEEPER tries to get her attention. U.N. PEACEKEEPER Ava! Ava! As the young man reaches out to her, a slick, handsome BUSINESS MANAGER shoves him aside. MANAGER Don't touch what you can't afford. The Manager slips into the car beside Ava. The U.N. Peacekeeper and Yuri watch the car roar away. U.N. PEACEKEEPER (regretting indulging the fantasy) Let's get drunk. EXT. DOWNTOWN MONROVIA - BAR. NIGHT. YURI and two other U.N. PEACEKEEPERS get loaded on local beer with local PROSTITUTES - one of the peacekeepers pouring beer down a prostitute's throat. From the shadows across the street, a LIBERIAN MAN observes the group. Yuri's colleagues toss some Liberian dollars at a waiter and stagger drunkenly away from the bar, leaning for support on the PROSTITUTES. YURI remains at the verandah, exchanges a smile with a YOUNG PROSTITUTE, at least two years from legal. He's tempted. He knocks back his drink. He approaches the girl - presses a few bills into her hand. She picks up her purse, makes to leave with him but he motions her to stay. MONROVIAN GIRL (referring to the money) What's this? YURI (explaining the tip) For the smile. Yuri exits alone. The Liberian Man, across the street, follows. EXT. DOWNTOWN MONROVIA - STREET. NIGHT. YURI walks down a poorly-lit sidestreet. He feels something in his back - stops abruptly. His hand reflexively goes to his holster. Empty. He turns. The young LIBERIAN MAN is holding him up with his own gun. YURI (mixing English and French) Fuck, no, no, no, no--fuck, no. Money? You want money? (going through his pockets, he starts pulling out loose bills) Fuck, no. Don't shoot. Don't shoot me. Fuck. U.S. dollars. (referring to the face on a five dollar bill) President Lincoln. The Liberian puts his finger to his lips to hush Yuri. The Liberian appears more interested in the gun than the hold-up. LIBERIAN MAN (in flawless English) Glock .45. The Liberian produces a crisp U.S. twenty dollar bill of his own, offers it to Yuri. LIBERIAN MAN (cont'd) (referring to the face on a twenty dollar bill) Jackson. YURI What? Yuri stares at the money, bewildered. LIBERIAN MAN President Jackson. He shakes his head. YURI No. LIBERIAN MAN (misinterpreting him) You are driving a hard bargain. He hands Yuri a second twenty. YURI (flabbergasted) No, keep it. Keep the money. Keep the gun. LIBERIAN MAN (offended) What do you take me for - a thief? The Liberian stuffs the money in the pocket of the bewildered Yuri. LIBERIAN MAN Demand and supply. (referring to the gun) There is more I am thinking where this comes from. YURI (incredulous) You want more Glocks? LIBERIAN MAN And the Heckler & Koch G-3 assault rifle. YURI What makes you think I'll do that? LIBERIAN MAN (quizzical) I will come back and shoot you with the Glock. (checking the magazine, referring to the bullets) By the way, do you have the hollow point cartridges? Yuri stares at the man. YURI (facetious, nodding to the gun) You got any color preference for that? LIBERIAN MAN (missing the sarcasm, regarding the gun) Kelly green. (meeting Yuri's eye) I will find you. The Liberian walks away, still admiring his new weapon. Yuri stares after him. YURI (V.O.) He'd come to the right place - peacekeepers are armed to the teeth. And nothing but premium product. The U.N. mostly buys from Switzerland - where else? INT. CAPTAIN CARLISLE'S PRIVATE QUARTERS. NIGHT. CLOSE ON two blue helmets lying beside each other. YURI and CAPTAIN VIVIAN CARLISLE are under the mosquito netting of a bed in her private quarters - trying to get each other out of their respective clothes as fast as possible - mouths and hands everywhere. Even in the heat of the moment, VIVIAN is unable to completely let go of her work. VIVIAN (between heavy breaths) What are we doing here, Yuri? YURI (kissing her nipple) Whatever you want. VIVIAN You know what I mean. Here, in this country. Are we doing any good? YURI (finally telling her what she wants to hear) Would nothing be better? Satisfied with the answer, she completely gives in to the throes of passion - pulls him to her. LATER VIVIAN, satiated, dozes amongst the rumpled sheets, backside exposed. YURI uses the opportunity to take an impression of the key attached to her belt. EXT. EMBASSY COMPOUND. NIGHT. A white armored personnel carrier sits unattended. The LIBERIAN MAN and two COLLEAGUES approach the carrier's door. It opens with their newly-made key. The men start to unload the weapons inside the carrier, spilling a box of ammunition in their haste. The camera drifts off the carrier to reveal YURI, behind the barracks, counting a thick wad of U.S. dollars. Spying a lone BULLET on the ground, Yuri picks it up. We sense he has made a decision from which there is no return. EXT. INT. "THE CRIMEAN" RESTAURANT - BRIGHTON BEACH. DAY. The BULLET has been turned into a pendant, replacing Yuri's Star of David. YURI, wearing a sharp, new suit, enters the family restaurant. One table of CUSTOMERS - not exactly a thriving concern. YURI (V.O.) The starting salary for a U.N. interpreter back then was $32,000. I made fifty K on "misplaced" weapons on that one trip alone. I doubt the Secretary General noticed. The U.N. spends more on lunch. Yuri kisses father and Maitre d', ANATOLY, who is adding more Jewish decoration to the window. He bear hugs mother, IRINA, nearly causing her to drop the plates she is carrying. YURI (V.O.) My tour as a peacekeeper was the perfect preparation for war. Irina notices the change in her son's appearance. IRINA (calling after him) Who are you? You're not my son. My son doesn't own such a suit. Yuri flashes his killer smile in response. Out of their sight, he slips a hundred dollar bill into the cash register and breezes into the kitchen. INT. "THE CRIMEAN" RESTAURANT - KITCHEN. DAY. VITALY, now chef in the family business, prepares a Russian borscht in a kitchen unlikely to pass a health inspection. YURI tastes the food, pretends to gag, spits it out in the sink. Vitaly affectionately cuffs his older brother - the joke obviously a familiar ritual. Yuri takes his brother to the kitchen's rear door. EXT. "THE CRIMEAN" RESTAURANT. DAY. At the back of the restaurant, YURI and VITALY sit on the steps amongst the garbage cans. YURI You know who's going to inherit the earth? Vitaly looks at him blankly. YURI (cont'd) Arms dealers - because everybody else is too busy killing each other. YURI plonks a glossy arms brochure in front of Vitaly. He takes in the contents. VITALY (regarding his brother) It's a hell of a fucking career move. YURI That's the point. I've seen how the world's coming apart. VITALY And you want to help with that? YURI You can't stop it. (warming to his theme) It's a basic human need - we eat, sleep, sleep with each other and what else? Fight. The oldest human skeletons have spearheads in their rib cages. Vitaly is still skeptical. VITALY What do you know about guns? YURI (joking darkly) I know which end I'd rather be on. (adopting a serious tone) Every day there are people shooting at each other. I think to myself, what guns are they using? Why not mine? VITALY (hesitant) I don't know. YURI (pressing his argument) Vitaly, I've tasted your borscht, you're no fucking chef. I can eat here for free and I still don't eat here. You're doing nothing with your life. VITALY Maybe doing nothing's better than doing this. (referring to an image of a gun) Yuri, I've actually fired one of these things. Yuri puts his arm around his brother's shoulder. YURI That's why I need you. (coaxing) Brothers in arms. Vitaly smiles, looks sold. EXT. ISRAEL CENTRAL TEMPLE - BRIGHTON BEACH. DAY. ANATOLY makes his way to the synagogue. YURI, hastily adjusting his yarmulke, falls into step. ANATOLY (pleasantly surprised) Finally getting in touch with what's important, my Son? YURI (simply) Yes. However, instead of the synagogue, he is fixed on another distinguished Jewish man, ELI KURTZMAN, on a street corner also on his way to temple. YURI (V.O.) It wasn't God I was trying to get close to. Anatoly introduces Yuri to Eli, who regards Yuri warily. YURI (V.O.) Dad's contacts at synagogue landed me my first Israeli-made Uzis and an introduction to the biggest of the big guns. CLOSE ON THE UNDERCARRIAGE OF A TWA 747, TAKING OFF FROM JFK. INT. CONVENTION CENTER - PARIS. DAY. A platoon of attractive YOUNG WOMEN in camouflage mini-dresses show off the latest sniper rifles and grenade launchers. An ASIAN BUSINESSMAN pitches hardware to YURI. VITALY is more interested in the girls. ASIAN BUSINESSMAN (brochure in hand) --I can get you the shoulder-fired SA-7 surface-to-air missiles. The older Chinese model. Not so effective against modern military aircraft but deadly if used against a commercial airliner. I'm giving them away at eight-fifty. Yuri notices that his vendor's attention has wandered to a suave older gentleman, SIMEON ZAHAROFF, surrounded by eager VENDORS of all nationalities. The Asian man joins the enthusiastic throng. YURI (V.O.) It was the eighties and the Cold War was far from thawed. Most of the deals were government-to-government. There were some go- betweens - freelancers - but it was a mostly private club with a lifetime club president. Yuri drags Vitaly away from the sales girls. YURI That's him. The guy Eli told me about. Simeon Zaharoff. Brokered deals in the Iran/Iraq war - both sides, sold missiles to Argentina in the Falklands. Hets a fucking legend. I've got to talk to him. Yuri pushes past Zaharoff's entourage. YURI Simeon! Simeon! A BODYGUARD tries to step between Yuri and Zaharoff. VITALY (stepping between the bodyguard and Yuri) They're talking. Zaharoff, irritated, nonetheless humors Yuri. SIMEON May I help you? YURI A mutual friend, Eli Kurtzman from Brighton Beach Import-Export said to contact you. I have a business proposal. Perhaps we can discuss it - over a drink. Simeon looks him up and down. SIMEON You're in the wrong place my young friend. This is no place for amateurs. Simeon walks away without another word. Vitaly shrugs. Yuri fumes. YURI (under his breath in Ukrainian) Yob tvayu mat. (Subtitled - Motherfucker.) Yuri watches Simeon go, surrounded by flunkies. YURI (V.O.) Curious how you always revert to your native tongue in moments of extreme anger... INT. HOTEL ROOM - PARIS. NIGHT Camouflage minidress and beret are now discarded on the floor - a contrast to the blue helmet seen earlier. YURI (V.O.) ...and ecstacy. YURI and VITALY are getting it on with two SALES GIRLS. We pan from one couple in the living room, Vitaly, to the one in the bedroom, Yuri. We focus on Yuri, in the midst of the act - hears his brother's moans in Ukrainian. VITALY (O.C.) Boh...Boh. Oh, Boh! (Subtitle: God...God. Oh, God!) Yuri smiles at Vitaly's cries. Something catches Yuri's eye on TV. CLOSE UP OF A TV SCREEN showing images of the aftermath of the suicide bombing at the U.S. barracks in Lebanon. YURI (V.O.) Vitaly and I found our niche in under-the- counter gunrunning - regimes suffering under sanctions. EXT. STREET - BEIRUT, LEBANON. DAY. A street lined with shelled buildings. Beirut, Lebanon - 1986 Through one of the shell holes, we glimpse YURI and VITALY with a LEBANESE CUSTOMER. YURI (V.O.) The job wasn't so different trom the U.N. I was just as neutral working for the ununited nations. An equal opportunity "merchant of death", I supplied every army but the Salvation Army. We track with them, only getting occasional glimpses through the holes as they make their way through the war-torn streets of Lebanon. YURI (V.O.) We got our start in Lebanon after the suicide bombing. They enter a building carrying a crude rendering of a Coke sign - "Taste Life." The model drinking the Coke is Ava Cordova. INT. BEIRUT WAREHOUSE. DAY. Inside the warehouse is a ten foot high, unruly pile of junked weapons. YURI (V.O.) When the United States leaves a war zone, they generally don't take their munitions. It costs more to bring it back than buy new stock. YURI and VITALY usher the CUSTOMER over to an industrial scale loaded with assorted weapons. YURI I sell by the kilo. The CUSTOMER checks the combined weight of the weapons. YURI (cont'd) (shrug) They're second-hand weapons but they're still okay. Both men pullout calculators and start haggling over the price. YURI (V.O.) For all my language skills, I soon discovered that what talks best is money. As long as you can speak dollars, dinars, drachmas, rubles, rupees, pesos, escudos, lira, krones, kwanzas, trancs, guilders, deutshmarks, yen and pounds-fucking- sterling, you can communicate anywhere in the world. Money is finally exchanged. Yuri and Vitaly leave the Customer with his munitions pot-pourri. EXT. BEIRUT WAREHOUSE. DAY. CLOSE ON a row of military decorations on an army jacket. U.S. Army Officer, COLONEL OLIVER SOUTHERN, in dress uniform, adjusts the ribbons on his chest in the side mirror of a U.S. armored personnel carrier. YURI approaches. In full view, he hands the Colonel a cut of the money. The Colonel places the money in the same pocket decorated with ribbons. EXT. STREET - BEIRUT, LEBANON. DAY. YURI and VITALY walk back along the shelled street, Yuri recounting what's left of the money. YURI (irritated by the meager amount) This is bullshit money, Vit - small fucking potatoes. VITALY What do we do, go more legitimate? YURI No. More illegal. Vitaly nods thoughtfully. VITALY What I'd give right now for a plate of red cabbage and potatoes. The wall explodes with gunfire. Yuri and Vitaly drop to the ground, money flying. The machine gun fire subsides, a shower of dust, fragments of brick and hundred dollar bills still floating to the ground. Vitaly, first to recover, draws his own handgun, sneaks a look through a shell hole. On the other side of the wall, a firing squad of MILITIAMEN has executed one group of MEN, lying contorted, slumped against the wall. Their bound hands and feet give the bodies a macabre awkwardness. Yuri is scrabbling in the dust for the cash. The Militiamen prepare to execute another six men. Men? We focus on one HANDSOME YOUNG LEBANESE BOY, barely in his teens. Vitaly, gun poised, goes to intervene. A HAND, stuffed with cash, stops him. Yuri. The brothers' eyes meet. YURI (whisper, motioning for them to leave) It's not our fight. Vitaly's eyes well with tears. After one look back to the teenage boy, Vitaly reluctantly complies - running with Yuri, heads down, away from the scene. As they run, the wall explodes again with gunfire. CLOSE ON RONALD REAGAN - a cardboard cut-out planted in a sand dune. YURI and VITALY carry a crate from a taxi onto the desert floor in Somalia. A group of MUSLIM FREEDOM FIGHTERS eagerly surround the crate - Yuri hands the Leader an Uzi machine gun. YURI (V.O.) I sold Israeli-made Uzis to Muslims. The Muslim Leader tests it - shooting up the cardboard REAGAN. His fighters applaud, Yuri and Vitaly slightly embarrassed. EXT. HIMALAYAS. DAY. A helicopter strains in the thin air to land on the Siachen Glacier in the Himalayas. YURI and VITALY, in thick parkas, emerge from the helicopter into near-blizzard conditions. YURI (V.O.) I sold to both Pakistan and India in their fight tor the most inhospitable land on earth. INDIAN TROOPS, unseen at first due to their white camouflage uniforms, descend on the chopper - eager to unload the new guns and ammunition. Yuri gasps for breath in the thin air. An INDIAN SOLDIER gives Yuri a hit of oxygen as Vitaly supervises the unloading. YURI How's it going? INDIAN COMMANDER (admiring a new gun) We're making terrific progress - most casualties from avalanches and frostbite. YURI (uncertain smile) Make sure you thaw out the guns before you fight. Yuri nods, takes another hit of oxygen. EXT. BORDER TOWN - CONGO. DAY. The town is deserted. YURI and VITALY are confused as they prepare to unload an arms consignment from a truck. YURI (V.O.) We had our set-backs. It's not called gunrunning for nothing. Up the street, a celebration is taking place - a band, balloons, confetti, dancing. Finally, a Congolese man, JOHN "CANNIBAL" NGAWE, appears at the warehouse. The conversation is in French. YURI (from the boat) Cannibal, what's going on? CANNIBAL Cease fire, man. Cease fire. It's over. YURI What?! What do you mean it's over? CANNIBAL Truce. We're friends, man. YURI (looking to his unopened crates, more and more agitated) Friends?! You can't be fucking friends. Last week I spoke to you on the phone. You said you would not rest until every last rebel was dead. You called them vermin. You said would piss in their mouths, you said you would exterminate them like cockroaches. Just last week, you said this! CANNIBAL (shrug) That was last week, man. Cannibal starts to walk away. YURI Cannibal, don't you fucking walk away from me! Cannibal flashes Yuri a peace sign. CANNIBAL Peace, man! YURI Fuck you, Cannibal!! Yuri looks to Vitaly. VITALY (referring to the truck) Maybe we can offload it - the Balkans. YURI (nodding in agreement) At least when they say they're going to have a war, they keep their word. EXT. NORTHERN AFGHANISTAN. DAY. YURI and VITALY stand at a checkpoint in the rugged mountains. Guns and ammunition are strapped to donkeys tended by MUJAHIDEEN FIGHTERS. An AFGHANI OFFICIAL inspects the cargo. YURI (V.O.) I even shipped cargo to Afghanistan when they were still fighting fellow Russians. But I never sold to Osama bin Laden. Not for any moral grounds. Back then he was always bouncing checks. AFGHANI OFFICIAL I hope you're not thinking of selling these, Mr. Orlov. YURI (shakes his head) Personal use. AFGHANI OFFICIAL There's a hundred thousand bullets here. YURI I'm kind of trigger happy. Vitaly hands the Official his documentation - clipped to it, a thick wad of bills. The Afghani Official smiles. He returns to his mud-brick border station beside the confiscated merchandise. Yuri focuses on a swimsuit calendar hanging on the mud wall - Miss May is AVA CORDOVA. YURI (V.O.) And everywhere I went, Ava Cordova kept following me around. We were as international as each other. EXT. FREIGHTER SHIP. DAY. We tilt up from the water to find YURI on the deck of a freighter, ploughing the ballpoint blue seas off the coast of Colombia. North of Barranquilla, Colombia - 1989 YURI (V.O.) Operations like mine provided the only way for certain regimes to conduct a respectable war. VITALY holds onto a railing trying to stave off seasickness, not helped by standing downwind from Yuri's cigarette smoke. YURI (V.O.) The freighter I was standing on carried 113 tons of weapons and ammunition for delivery to one of the poorest nations in Latin America in direct contravention of half a dozen international arms embargoes. Yuri makes a call on his cell phone. YURI (V.O.) To keep authorities in the dark, I often spoke in code. Rocket launchers were "mothers", the rockets "children". Assault rifles were "apples". The AK-47 was "the Angel King". YURI (into phone) The Angel King will arrive tomorrow...Hallelujah to you too. Yuri hangs up. His phone rings with an incoming call. YURI (cont'd) (into phone) Yes?...Slow the fuck down--what do you mean, tipped off? They know where we are?! Where are they?! Yuri grabs a pair of binoculars. On the horizon, a fast-approaching speed boat - INTERPOL AGENTS visible on the racer's deck. YURI (cont'd) (hanging up) Forget it. VITALY and the CAPTAIN, also spying the Customs Boat, join Yuri at the railing. CAPTAIN Do we run? VITALY We have to get out of here. YURI No, no-one's going anywhere. (to the Captain) Slow--dead slow. Buy me time. Yuri swings into action, frantically dials another number on his satellite cell phone. YURI (cont'd) (barking an order to a CREWMAN, referring to the Panamanian flag) Get that fucking rag down! The CREWMAN hastily complies. Yuri's call is answered. YURI (cont'd) (trying not to sound too desperate) It's Yuri. I need another handle for this tub...something in our weight class. (to an elderly Latin PAINTER, pointing to the stern) You, over the side! (the painter hesitates) Now! The terrified PAINTER makes for the stern where he's hurriedly winched over. Yuri returns to the phone call. YURI (cont'd) Yes, it's got to check out...you got a shorter name!...what?--Kono? How do you spell that?...K-O-N-O. That's good! He hangs up. YURI (cont'd) (to the PAINTER, already blacking out the name, KRISTOL) Kono! K-O-N-O. The PAINTER, nods nervously from his precarious perch, starts to paint. Yuri sneaks another look through his binoculars. The Customs Boat is closing fast. YURI (cont'd) (back into phone) What are we flying?...Dutch? Later. (hanging up, to Vitaly) Vit, get me a Dutch flag! Yuri checks the Customs Boat again. YURI (cont'd) Damn, they're hauling! He checks the Painter's progress. YURI (cont'd) (agitated, grasping the line of the scaffold) Faster! Or I send you in! (checking the binoculars again) Faster...and better! The Painter's hand is shaking. VITALY (O.C.) (panicked) Yuri! Vitaly is frantically rummaging through a trunk containing dozens of national flags. VITALY (cant' d) I don't have Dutch. YURI What?! VITALY I've got Belgium. YURI What the fuck use is that?! (panicked, gesturing to the stern) He's painting a name registered in the fucking Netherlands! Vitaly winces. YURI (cont'd) (mind racing) You got France?! VITALY (confused, finding the tricolor) Yes, why? YURI Turn it on its side. Vitaly turns the flag sideways - now a makeshift Dutch flag. Vitaly nods, impressed. Yuri looks forward. The Customs Boat has almost reached the bow of the freighter. The flag is hoisted. The Painter, barely completing the last "O" of "KONO", is hauled back on deck. YURI (cont'd) That's it! Everybody look innocent--now! The CREW resume their normal duties as the Customs Boat slows to a crawl itself, at close quarters with the freighter. The heavily-armed INTERPOL AGENTS eyeball the rusted vessel. YURI focuses on the senior agent - JACK VALENTINE. While the other agents wear sunglasses, long hair, tattoo or personalized uniform, Valentine is completely by the book. His Interpol windbreaker clean and zipped to the neck. YURI (V.O.) They say every man has his price - but not every man gets it. Interpol Agent, Jack Valentine, couldn't be bought, at least not with money. For Jack, glory was the prize. The Customs Boat ominously circles the freighter like a hungry shark. EXT. INTERPOL BOAT. DAY. VALENTINE never averts his eyes from the ship. VALENTINE Not exactly "The Love Boat". Another AGENT hands him a phone. VALENTINE (cont'd) (into phone) It's clean?...It doesn't look clean. I'm boarding. EXT. FREIGHTER / INTERPOL BOAT. DAY. From the railing, YURI watches the Interpol boat draw alongside the freighter. He surreptitiously makes another phone call. YURI (anxious whisper into phone) It's Yuri. Phone in a sighting of the Kristol south of Aruba. The boat is secured to the ladder that runs down the side of the freighter. VALENTINE checks his sidearm, climbs the ladder. EXT. DECK - FREIGHTER. DAY. Yuri spies a life ring emblazoned with the word "KRISTOL". He flips it around as Valentine and the other agents board. Valentine strides past Yuri to a container, nods to an agent to open it. The large metal door opens to reveal a large container full of grain - grain spilling onto the deck. Valentine is about to plunge his hand into the grain when a mobile phone rings. A CREWMAN calls to Valentine from the bridge of the Interpol boat. AGENT (referring to the phone) Sir, sighting of the Kristol due north. Valentine hesitates, returns to the ladder. As the agents go, they fail to see the pile of grain shift in the container exposing a crate of assault rifles hidden there. EXT. RAILING - FREIGHTER. DAY. Yuri and Vitaly watch the Interpol boat leap away. On the FREIGHTER, we focus on the terrified PAINTER standing beside Yuri - a pool of urine appears from the trouser leg. Yuri pretends not to notice, slaps the Painter on the back. YURI Nice job. CLOSE ON the word, "KONO". From the "O", a paint drop runs down the stern. EXT. BARRANQUILLA HARBOR, COLOMBIA. DAY. YURI and VITALY supervise the unloading of the freighter from the dockside. They are alerted by the sound of a battle raging somewhere on the outskirts of the docks. A Jeep, full to overflowing with heavily-armed NARCO-GUERRILLAS suddenly appears at the far end of the dock and speeds towards them. A military vehicle full of COLOMBIAN SOLDIERS chases the Guerrillas several hundred yards behind. The Jeep full of Guerrillas screeches to a stop by the freighter. The NARC LEADER grabs a box of unloaded ammunition. YURI (in Spanish) Hey, pay before you play. NARC LEADER (in Spanish) You're late. The Leader smashes the box on the concrete - bullets spilling everywhere. VITALY Hey, fuck you! NARC LEADER (jamming his handgun in Vitaly's eye socket) Fuck you! Yuri tries to play peacemaker. YURI (reasoning with the Narc Leader) No, you don't fuck him-- The Narc Leader turns and shoots Yuri in the side. Yuri shudders with the impact. The enraged Vitaly lunges towards the Leader but Yuri, despite his wound, holds him back. YURI (cont'd) No, Vit. No. (to the Leader, referring to the bullets) Help yourselves. Free sample. Vitaly nurses Yuri to the ground. The GUERRILLAS ignore them, frantically re-load just in time, immediately start shooting at the approaching government vehicle. The government vehicle throws a vicious 180, almost toppling over. The Guerillas, now back in business, take off after the government troops. Yuri lies on the dock, genuinely surprised by the sight of his own blood. YURI (V.O.) The first and most important rule of gunrunning is never get shot with your own merchandise. INT. WAREHOUSE - BARRANQUILLA, COLOMBIA. DAY. YURI, now heavily bandaged around the waist, and VITALY keep a watchful eye as the NARC LEADER inspects crates of machine guns and other ammunition. YURI (V.O.) The second rule is always ensure you have a foolproof way to get paid. Credit card, check, cash. Preferably in advance, ideally to an off-shore account. It's why I choose my customers so carefully. Say what you like about warlords and dictators, they tend to have a highly developed sense of order. They always pay their bills on time. The Narc Leader nods his approval. NARC LEADER (referring to Yuri's wound) I apologize for earlier. YURI (slight wince) I understand. WORKERS start loading the crates into a truck. The Narc Leader hands Yuri the suitcase. NARC LEADER It's all there. Yuri snaps open the suitcase - inside six kilos of cocaine. YURI What is this? NARC LEADER Six keys of pure. YURI (incredulous) I can't hand this to my fucking bank teller at Chase Manhattan. NARC LEADER (hair-trigger temper flaring again) You should be thanking me. (waving his cell phone) Have you checked the street price today? With the seizures at the border last week, it's jumped thirty percent. YURI I sell guns. I don't sell drugs. NARC LEADER (shrug) Diversify. The Narc Leader walks away. YURI (calling after him) I've got standards. The Narc Leader ignores him, climbs in his Jeep and drives off. The truck, loaded with munitions, also exits. Yuri and Vitaly are left alone in their warehouse. VITALY (staring at their "remuneration") Now what? Yuri shrugs, slices open one of the packs of cocaine. He takes a bill from his pocket, rolls it into a tube. He goes to hand Vitaly the tube but his brother has already rolled his own. Vitaly dips his tube into the coke - snorts, keeps snorting - a longer inhale than should be possible for a human being. INT. HOTEL ROOM - BARRANQUILLA, COLOMBIA. NIGHT. Six kilo-sized coffee cans. YURI, still bandaged, is pouring the coffee down the toilet and replacing it with the bags of cocaine, mumbling Ukrainian profanities as he works. The last bag is missing. YURI (sighs, exasperated) Vit. INT. HOTEL HALLWAY. NIGHT. In the hotel corridor, YURI discovers the door to the adjacent room wide open. Inside, the room is vacant. INT. BOLIVIAN BUS. DAY. YURI, clearly fuming, is standing in a standing-roam-only Bolivian public bus along with an assortment of PEASANTS, MIGRANTS and FARMYARD ANIMALS. On the wall of the bus Yuri notices a cellphone ad featuring AVA CORDOVA. YURI (V.O.) I found Vitaly twelve days, two thousand miles and 150 grams later in a Bolivian boarding house. INT. VITALY'S ROOM - BOARDING HOUSE. LA PAZ, BOLIVIA. DAY. The outline of Ukraine drawn with cocaine. VITALY, out of his mind, pupils the size of nickels, humming a Ukrainian folk tune, is putting the finishing touches to the map from his badly depleted bag of cocaine. with him, two BOLIVIAN PROSTITUTES, who appear to have passed out or worse. A pounding on the door. YURI (O.C.) Vitaly! Open this fucking door! Vitaly, absorbed with the task at hand, appears not to notice. Yuri breaks in the door. VITALY (happy - way too happy) Yuri! (to the comatose prostitutes) It's my brother, Yuri. He's my big brother. Yuri stares at the cocaine map. YURI What the fuck is that? VITALY Ukraine. (indicating the direction he is going to snort) I start in Odessa, work my way to the Crimea-- YURI (staring at the map, appalled) --You'll be fucking dead before you reach Kiev. Yuri opens a window, the cocaine blows off the table. VITALY You fuck! Vitaly freaks out, slams the window so hard it shatters. (The Hookers still don't rouse.) VITALY (cant'd) You fucking fuck! Vitaly desperately tries to snort the cocaine out of the shag pile carpet - the straw constantly clogging with carpet fibers. Blood oozes from Vitaly's nostril. Yuri gazes down at his pathetic brother. EXT. ST. JOSEPH'S DRUG REHAB CLINIC. DAY. An exclusive rehab center. A title appears: Upstate New York - 1989 YURI's car pulls up outside, Vitaly in the passenger seat. YURI Get out of the car. Vitaly doesn't budge. YURI (cont'd) I promised our parents. VITALY (desperate eyes) Please. YURI Vitaly, you're going to have a good time. This is a top place. Two Ford models checked in last week and that cute weather girl's been here since July. VITALY Please. Yuri relents, pours a gram onto the dashboard. Vitaly snorts it off the dash. VITALY (as he wipes his nose) You're a good brother. Vitaly kisses Yuri. Two ORDERLIES open the car door, escort Vitaly away. Yuri watches his brother in the rearview mirror - shepherded up the path. YURI (V.O.) I never understood what separated the recreational drug user from the habitual, the functional addict from the dysfunctional. But for the grace of God, it could have been me snorting lines as long as the Belt Parkway. INT. CATHOLIC CHURCH - BRIGHTON BEACH. DAY. IRINA lights a candle in front of the Virgin Mary. YURI (V.O.) Vitaly never got completely clean despite the prayers of my mother... INT. SYNAGOGUE - BRIGHTON BEACH. DAY. ANATOLY prays in front of the menorah. YURI (V.O.) ...and father. In fact, my younger brother was the only reason my father ever had to question his new religion. INT. AIR MAROC JETLINER. DAY. An EXECUTIVE sits in his Business Class seat. On the tray table in front of him, calculator and spreadsheets. YURI (V.O.) After Colombia I became a one-man-operation. A sole proprietor as you say on your tax return - that is if you're foolish enough to fill one out. He exchanges a collegial smile with YURI who has similar entrepreneurial paraphernalia in front of him. YURI (V.O.) By then I'd mastered my craft. Selling arms is not so different to selling vacuum cleaners. You advertise, pound the pavement, take orders. The businessman's smile dissolves when he catches a glance at the brochure lying next to Yuri's "Day-Runner" - glossy photos of GRENADE LAUNCHERS. A MONTAGE OF SCENES - ILLUSTRATING THE ANATOMY OF AN ARMS DEAL. It takes place in an unidentified country in North Africa. YURI (V.O.) Of course, a good arms dealer also has to be a political scientist. I go by a seven-step approach. YURI gets off a plane. YURI (V.O.) One: identity a government and an opposition where the opposition is ignored. YURI immediately picks up a newspaper, eager for the latest news. YURI (V.O.) Two: Wait for a radical group to break away from the opposition. YURI is buoyed by the front page news, over-tips the NEWSPAPER SELLER. YURI (V.O.) Three: Immediately approach the radical group and offer them arms. YURI meets a group of REVOLUTIONARIES in a backstreet bar, shows them an arms catalogue. YURI (V.O.) Four: Whether they buy or not, inform the government that the radical group approached you and offer the government arms. YURI meets a GOVERNMENT OFFICIAL in the parliament buildings, shows him the same catalogue. YURI (V.O.) Five: Whether they buy or not, re-approach the radical group and offer them more arms but now at a higher price. Increasing tension is a means of generating demand and the ideal situation is to sell to both sides. YURI meets the REVOLUTIONARIES a second time in the same bar - this time they are more enthusiastic and Yuri has his calculator out. YURI (V.O.) Six: If they start shooting at each other, the escalation is underway. YURI, now accompanied by bodyguards, is escorted into the government buildings, where he's given a fat envelope. Back at the bar, YURI is given an even fatter envelope. YURI (V.O.) They are consuming small arms and ammunition and the cash register is well and truly ringing. YURI stands at his hotel window, sneaking a look through grimy venetian blinds. A street battle is taking place. However, in Yuri's mind the sound of the gunshots is gradually replaced by the sound ot a cash register. Each time a gun is fired, the register rings. Yuri shuts the window. YURI (V.O.) Seven: Don't forget that the success of a radical group in one country can inspire a radical group in a neighboring country. Yuri boards a plane, taking off for a new conflict zone. INT. AIR MAROC JETLINER. DAY. YURI leans back in his Business Class seat - eyes closed. They suddenly blink open. He feels someone watching him. Sure enough, he is face-to-face with AVA CORDOVA - staring at him from a magazine cover in the seat pocket next to him. INT. MODEL AGENCY. DAY. A gallery of MODELS from the late-eighties on VOGUE, HARPER'S BAZAAR, ELLE magazine covers, blown-up and framed on a white wall. An AGENT with a window-office overlooking Park Avenue talks on the phone. In front of her, the headshot of AVA CORDOVA. AGENT (into phone) --There's really no one else you'd consider? Christie and Brooke are both available...not the right look? It's just that Ava doesn't generally do print. The agent examines an envelope stuffed with cash. AGENT (cont'd) However, since you are willing to double her rate and pay cash in advance. She loves working with Herb and you say the campaign will only be seen in Asia? (examining a first class plane ticket Destination: St. Barts) I certainly can't see her objecting to the location. (inspecting an itinerary) What is the product again...? INT. ARMS SHOW CONVENTION HALL. DAY. YURI talks on a phone as he browses at an arms show. He stops at a display of handguns. YURI (into phone) The product? Er,...Colt .45. (a beat) The beer. INT. EDEN ROCK HOTEL - ST. BARTHELEMY, FRENCH CARIBBEAN. DAY. An idyllic beachfront hotel. AVA CORDOVA enters an empty reception area. The RECEPTIONIST hands her a fax - Ava's face falls. YURI sits by the deserted pool, observing her entrance. YURI (V.O.) It cost me twenty for the fake booking, another twelve to buy out the hotel. You can't force someone to tall in love with you but you can sure make ita damn sight easier. INT. HOTEL RESTAURANT. DUSK. A large restaurant overlooking the ocean. AVA and YURI are the only guests, both eating alone. They make eye- contact - exchange polite smiles. EXT. PRIVATE BEACH. DAY. AVA strolls down to the beach, deserted, save for YURI - sunbathing some distance away on one of the hundred empty sunbeds. Ava dives into the water. Behind his sunglasses, Yuri watches her. LATER Towelling off on a sunbed of her own, Ava glances over to Yuri. It seems crazy not to speak to each other. Ava breaks the ice. AVA (calling to Yuri) Popular hotel, huh? Yuri smiles. Ava approaches, extends a hand. AVA (cont'd) Ava Cordova. YURI Yuri Orlov. What brings you to St. Barts? AVA A photo shoot. At least, that was the plan. But the photographer's plane got stuck in Miami. Hurricane - though there was nothing in the news. YURI (gazing out at the ocean) Those things can come out of nowhere. AVA The job's cancelled and there's no flight back to New York 'til Tuesday. Yuri pretends to ponder her predicament. YURI You can hitch a ride with me if you like. Ava regards him cautiously - likes what she sees. YURI (cont'd) (picking up his own camera) In the meantime, why don't I take your picture? Ava smiles, poses playfully for him. YURI (V.O.) In my experience some of the most successful relationships are founded on lies and deceit. Since that's where they usually end up anyway, it's a logical place to start. EXT. ST. BARTHELEMY AIRPORT. DAY. A limousine approaches a Lear jet parked on the tarmac of the one- runway airport. YURI and AVA exit the car. YURI (V.O.) I nearly went broke trying to convince her I was anything but. I knew Ava was not the kind of woman to be seduced by a ride in a private jet unless you owned the jet. CLOSE ON the tail of the jet - the name "ORLOV AIR". AVA (holding her skirt in the wind to protect her modesty) This is your plane? YURI (shrug) That is my name. They enter the plane. YURI (V.O.) Of course I was lying. The plane was a rental, like the car and even the suit I was standing in. At the last minute, I bribed the crew for the paint-job. As the plane picks up speed on the runway, the name "ORLOV" smears. YURI (V.O.) Luckily, by the time we landed, Ava wasn't looking anywhere but in my eyes. INT. LEAR JET. DAY. YURI and AVA sit beside each other on a white leather sofa in the customized cabin drinking Cristal champagne. Yuri glances through Vogue magazine - a photo spread on Ava. Ava takes in the plane's sumptuous appointments. YURI (pretending to be impressed with the photos) I had no idea. He hands her back the magazine. YURI (cant'd) I'm sorry I didn't recognize you. You must think me very rude. AVA Don't apologize. I put on clothes for a living. YURI (wry grin) At least you aren't taking them off. AVA (smiling at his irreverence) I would be if half the photographers had their way. (shrug) But I can't complain. I'm paid to say, "Cheese". (meeting his gaze) What about you? YURI Nothing so glamorous. I'm in transport - international air freight mostly. AVA What, like UPS or something? YURI Something like that. AVA (glance to her champagne flute) Business is good. YURI Like you, I can't complain. They both drink. A thought occurs to Ava. AVA But if you did? YURI Well...I don't know. (reluctant admission) It's just that I travel all around the world but I can't help feeling sometimes that I'm going nowhere. Ava regards him closely. He's echoed her thoughts. Yuri pours Ava another drink. YURI (cont'd) Here's to... (raising his glass) ...a hurricane. They toast. YURI (cont'd) Without it, I'd never have met you. She meets his eye. AVA This is no accident, is it, Yuri? Yuri freezes - doesn't answer. AVA (cont'd) It feels like fate. YURI (never averting his eyes) I don't believe in fate. AVA What do you believe in? Yuri gazes at her a moment - he answers her question with a kiss. Ava does not pull away. INT. LEAR JET - BEDROOM. DAY. CLOUDS rush by the faces of YURI and AVA, heads close to the plane's oval windows. They make love in a wall-to-wall bed built into the rear of the jet. The camera moves past the couple through one of the plane's windows, and the clouds begin to rain. EXT. ISRAEL CENTRAL TEMPLE - BRIGHTON BEACH. DAY. Confetti. YURI and AVA run through the paper shower as they descend the steps of a synagogue in Brighton Beach. YURI (V.O.) We married in a synagogue to make my father happy. In the eyes of my Catholic mother, it was worse than living in sin. Yuri and Ava kiss his parents, ANATOLY and IRINA. As the happy couple reaches the limousine, VITALY - out of rehab and out of his mind - fires an AK-47 into the air as a salute. The GUESTS drop to the ground - the only ones left standing are Yuri and Vitaly. Yuri stares daggers at Vitaly, helps Ava to her feet. YURI (explaining to the guests) It's traditional. VITALY (meekly echoing the remark -joke badly misfired) Traditional. The guests nod, uncertain. YURI (cant'd) One more time, Vitaly. Vitaly lets go another burst. YURI (cont'd) (reassuring word as he whisks Ava into the car) I'm sorry. I should have said something. INT. UPPER EAST SIDE APARTMENT. DAY. YURI carries AVA over the threshold of their new home to cheers of the assembled GUESTS. ANATOLY and IRINA gape in amazement at the grand house. They draw their son aside. ANATOLY (touching his yarmulke) Always remember, son, there's something above you. YURI (looking up, gently joking) Sure, Dad. A forty-thousand dollar crystal chandelier. Anatoly forces a smile. Irina presses a gift into Yuri's hand. YURI (cont'd) Mom, we don't need anything. IRINA You need this. Irina takes Anatoly's arm, they walk away. Yuri, alone for a moment, opens the package - a small Roman Catholic Bible, conveniently bookmarked at the Ten Commandments. DISSOLVE TO: INT. UPPER EAST SIDE APARTMENT. DAY. A newborn baby boy, NICOLAI, plays in the wrapping paper of opened gifts beneath an extravagantly-decorated Christmas tree. New York - December 25, 1991 YURI (V.O.) I was still living way beyond my means, mortgaged to the hilt, using one credit card to payoff another. Anything to keep Ava in the style to which she had, thanks largely to me, become accustomed. Then suddenly all my Christmases came at once. A family Christmas - Anatoly, Irina and Ava open gifts. Baby Nicolai wriggles on a blanket, trying to reach a piece of tinsel. ANATOLY (to Irina, regarding a nativity scene on a Christmas card) Jesus was Jewish. You're worshipping a Jew. Irina ignores him. She regards a gift - a silver goblet set from Tiffany's. IRINA Ava, this is too much. AVA Yuri likes to spoil you. Nicolai crawls an inch. AVA beams proudly. AVA Nicki! You did it. Good boy! ANATOLY That's my grandson. Ava looks around for Yuri. AVA (calling out) Yuri. Don't you want to see what your son is doing? No reply. Ava wraps the piece of tinsel around the baby's head. A loud shout from the other room. YURI (O.C.) Tak! Tak! Tak-fucking-tak! (subtitle: Yes!) Ava scoops up the baby. With Anatoly and Irina, they go to investigate. On the television, MIKHAIL GORBACHEV, is making his famous speech, officially ending the Cold War. Yuri kneels in front of the TV as if it is an altar. ANATOLY What the hell's the matter? YURI It's over! It's over! AVA What's over? YURI The Cold War, the Soviet Union, the Evil Empire. Mikhail's saying "no mas". He's throwing in the towel. It's over. Yuri kisses Ava, Nicolai, Anatoly, Irina, kisses the TV. AVA That's nice. (referring to Nicolai) Your son is crawling. Yuri's too busy kissing Gorbachev's birthmark. He gazes at the TV, revelling in the plan taking shape in his head. LATER In the living room, AVA and IRINA play with NICOLAI. YURI and ANATOLY drink Johnnie Walker Black label. ANATOLY (contemplating the day's events) At least there'll be religious freedom. YURI I think I'll go back for a visit. (trying to sound casual) Do you stay in touch with Uncle Dmitri? ANATOLY (face lighting up) Dmitri Volkoff? Now and then. YURI How is he? ANATOLY The luckiest man alive. You know he was one of the first men at Chernobyl. Off-duty, at his daughter's wedding, he was roaring drunk. He was the only one who survived. Later they found that alcohol in your blood resists radiation. YURI He's still a General in the army? ANATOLY Major General. He got promoted. Two of his rivals were also there that day. I told you - he's the luckiest man alive. YURI He may be luckier than you think. Yuri goes to pour himself a drink. Anatoly grabs his son's hand the way he did many years earlier. ANATOLY (lowering his voice) We're not fools, Yuri. What's between you and your wife is your own business but I don't think you're going to Odessa to open a McDonald's. (meeting his son's eye) Is this how you want to be remembered? YURI (shrug) You're only remembered when you're dead. Yuri knocks back his vodka, tries to lighten the mood. YURI (cont'd) I'll bring you back some caviar. ANATOLY It's not kosher. A crash. VITALY and a call-girl, ANGEL, dressed in a low-cut fairy dress, stumble through the front door - both the worse for drink and drugs. VITALY Merry fucking Christmas! Angel laughs. The family gazes at Vitaly and his friend, appalled. ANATOLY (paternal) Vitaly, who is this? ANGEL Angel. VITALY Her name really is Angel. She's a fairy. (hoisting Angel) Let's stick her on top of the Christmas tree. Vitaly and Angel laugh. No one else does. Vitaly collapses on the floor. Nicolai cries. VITALY (cont' d) (at a loss for anything better) I love you all. Yuri firmly escorts Angel to the door and pays her off. EXT. ST. JOSEPH'S DRUG REHAB CLINIC - UPSTATE NEW YORK. DAY. YURI drops VITALY back at the exclusive rehab center. By now Yuri knows the routine. He pours a gram onto the dashboard. YURI I'm going back to Ukraine. Vitaly snorts it off the dash. VITALY (maudlin) I miss Odessa. I miss you. YURI I miss you too. Vitaly kisses Yuri. VITALY (cont'd) (meeting his brother's eye) Be careful, Yuri. Those things you sell, kill... (tapping Yuri's chest where his heart should be) ...inside. Two ORDERLIES open the car door, escort Vitaly away. Yuri stares after Vitaly. INT. UPPER EASTSIDE APARTMENT. DAY. AVA and NICKI kiss YURI goodbye. EXT./INT. PUBLIC STORAGE FACILITY - MANHATTAN. MORNING. YURI enters a public storage facility, opens a locker with a combination lock. YURI (V.O.) There's no problem leading a double life. It's the triple and quadruple lives that get you in the end. He produces several passports from the locker, shuffles the passports like playing cards. YURI (V.O.) Back then I carried a French, British, Israeli and Ukrainian passport and a student visa for the U.S., but that's another story. The locker also contains five identical briefcases - presumably he can tell them apart. YURI (V.O.) I also packed five different briefcases depending on the region of the world I was visiting. EXT. BORDER CHECKPOINT - IZMAYIL, UKRAINE. DAY. Light snow falls. YURI, driving a brand new Mercedes, waits in a long line of cars at the border. Izmayil, Ukraine - January, 1992 YURI (V.O.) The end of the Cold War was the beginning of the hottest time in arms dealing. The Wall had fallen. The arms bazaar was open. Those forty-five years had generated the highest weapons build-up in history. The Soviets had tanks and guns coming out the demon hole - huge stockpiles and now no enemy. A Border Guard approaches Yuri's car window. BORDER GUARD (in English, checking Yuri's passport) Visa? Yuri hands the Guard his passport. Inside, a credit card emblazoned, "VISA". The guard smiles. BORDER GUARD (cont'd) Cash or check only. Yuri smiles, hands him several U.S. bills. Yuri's passport is promptly stamped. He is waved past the line of cars. YURI It's good to be home. EXT. ODESSA MILITARY BASE. DAY. YURI, briefcase in hand, meets his Uncle DMITRI at a barracks. (NB: Dmitri always carries a hip flask of vodka as if there is a constant threat of radiation poisoning.) DMITRI Nephew, come here and hug the luckiest man alive. The General gives him a great bear hug. Dmitri registers the apprehensive look on Yuri's face. DMITRI (cont'd) What? Did you think I'd be glowing? Don't worry. You can't catch it. Yuri kisses Dmitri on the cheek to reassure him. Over his shoulder, Dmitri notices the car. DMITRI (referring to the car) This is the SLK? YURI 0 - 60 in 4.8. Dmitri is impressed. INT. ODESSA MILITARY BASE - OFFICE. DAY. YURI has a stack of VCR's, cartons of cigarettes, Johnnie Walker Black Label on the table in front of DMITRI who drinks from his hip flask throughout the conversation. DMITRI I can't just sell you government property, Yuri. I have to report-- YURI --Report to who? Moscow? As of last week Moscow is in a foreign country. DMITRI (shrug) New flag, new boss. YURI There is no new boss yet. They're too busy squabbling over who gets the presidential holiday home at the Black Sea. Dmitri can't deny it. YURI (cont'd) (talking like an evangelist) It's beautiful. The ones who know don't care any more. The ones who care don't know. (nodding to a safe built into the floor) Show me your inventory. Dmitri hesitates, knocks back his vodka, then opens the safe - produces a document. INT. ODESSA MILITARY BASE - ARMORY. DAY. Crates of machine guns from floor to ceiling. DMITRI gives YURI a tour of the armory. YURI How many Kalashnikovs do you have? DMITRI (referring to the inventory in his hand) 40,000. YURI (looking over Dmitri's shoulder) Is that a "4"? It doesn't look like a "4" to me. It looks more like a "1". DMITRI (missing the point) No, it's a "4". YURI It's whatever we say it is because no one else knows the difference. Dmitri finally gets it. Yuri examines a Kalashnikov. YURI (cont'd) 10,000 Kalashnikovs for a battalion. Your stocks are dangerously depleted, Dmitri. You should order more from the factory. This is too much for Dmitri. He stops, confronts Yuri - takes back the AK-47 Yuri is inspecting. DMITRI Someone will work this out, Yuri. What happens then? YURI (shrug) We'll cut them in. Anyway, what could happen - you're the luckiest man alive. EXT. ODESSA MILITARY BASE. DUSK. The sun sets over a grassy field. YURI sits alone - closely inspects a Kalashnikov. It is a strange moment between a man and his favorite gun. As we hear Yuri's thoughts, we are treated to lovingly shot close ups of the weapon and its features often seen in slow motion: Sun glistening off the chromed barrel. Folding metal stock arcing elegantly into place. Precise docking of the 30-round curved magazine. YURI (V.O.) Avtomat Kalashnikova, model of 1947 - more commonly known as the AK-47 or Kalashnikov. It's the world's most popular assault ritle - a weapon all fighters love. An elegantly simple nine pound amalgamation of forged steel and molded plastic. It doesn't break, jam or over-heat. It will shoot whether its covered in mud or filled with sand. It's so easy, even a child can use it. And they do. The Russians put the gun on a coin. Mozambique put it on their flag. Since the end of the Cold War, the Kalashnikov has become the Russian peoples' greatest export - after that comes vodka and suicidal novelists. One thing's for sure, no one was lining up to buy their cars. We reveal where Yuri is sitting - on the roof of a rusting Russian sedan, the Vaz 4-door. A goat is eating the upholstery. Yuri checks on the crates of AK-47's being loaded into a convoy of trucks. In the background, the armory, full a week ago, is now virtually empty. Yuri smiles a satisfied smile. His reverie is interrupted by the sound of a car horn. A commotion at the gate. Another large, black Mercedes is parked there, DRIVER leaning on the horn. YURI smiles as he sees the passenger emerge from the car - SIMEON ZAHAROFF. YURI (V.O.) Of course my idea was not entirely unique. I had rivals. Simeon angrily confronts the SOLDIER at the gate. DMITRI puts on his cap, about to investigate. YURI stops him. YURI He's a friend of mine. Dmitri shrugs and complies. Yuri strides towards the gate. EXT. ODESSA MILITARY BASE - GATE. DUSK. SIMEON, flanked by two hefty BODYGUARDS, is in the face of a YOUNG OFFICER. The Officer is flanked by three SOLDIERS, Kalashnikovs resting on their hips. SIMEON Do you know who the fuck I am? OFFICER (thick Ukrainian accent) Who the fuck cares who the fuck you are? SIMEON I demand to see your commanding officer. OFFICER You don't demand shit. Simeon reconsiders his position. SIMEON Just give me back my papers. OFFICER (papers clearly visible in his hand) What papers? The Officer turns on his heel and returns to his guard station with the passport, starts watching TV. The Bodyguards make to follow but the Soldiers close ranks, barring their path. Simeon fumes. YURI (O.C.) You're late, Simeon. YURI breezes past the Soldiers with an easy familiarity. He enters the guard station as if he owns it. From beside his car, Simeon watches as Yuri jovially discusses the situation with the Young Officer. After a moment Yuri slips the Officer money in exchange for Simeon's passport. Yuri emerges from the station and returns the passport to the veteran gunrunner. YURI (cont'd) I invited you for a drink once before. Perhaps now you will accept my invitation. INT. ODESSA HOTEL BAR. NIGHT. YURI and SIMEON sit at a table near the back of the bar. Yuri flirts with the BARMAID delivering drinks and a shellfish appetizer. BARMAID (to Yuri, impressed) You sell guns? YURI Maybe you'd like to come to my room and see my bazooka. The Barmaid giggles and exits. Simeon is clearly disquieted by the change in the balance of power or maybe it's the bad early-nineties pop music. His BODYGUARDS sit at the table behind. YURI You look a little lost, Simeon. Is the world changing too fast? SIMEON I am here, aren't I? YURI Not all of you, I think. Simeon's look begs explanation. YURI (cont'd) You've gotten so rich selling for the CIA, you can't get that ideology completely out of your head. The empire was evil for too long. Simeon shrugs. SIMEON I can't deny, it takes some getting used to. Last week we were trying to beat their brains in and now we're going into business together. YURI There's no place in gunrunning for politics anymore, Simeon. I sell to leftists, rightists. I'd sell to pacifists but they're not the most regular of customers. Yuri leans forward. YURI (cont'd) Of course, you're not a true internationalist until you've supplied weapons to kill your own countrymen. Simeon regards the young man with a mixture of fear and admiration pours himself another drink. SIMEON I understand you have Ukraine in your pocket but there are the other satellite states. Bulgaria, Hungary, Poland, Belarus. Instead of cutting each other's throats, it may be more profitable to work together. What do you think? Yuri smiles - the proposal is the victory he has been seeking. YURI I think you are the amateur now. I think you suffer from a philosophical disadvantage - you have a philosophy. I think you should go with your instincts - your first instinct. Simeon is confused. YURI (cont'd) I am the same man who was not good enough for you before. I am not good enough for you now. Simeon blanches. Yuri gets up. Simeon holds his rival's arm. SIMEON The problem with gunrunners going to war is there's no shortage of ammunition. Yuri departs. INT. HOTEL ROOM - ODESSA HOTEL. NIGHT. YURI and the BARMAID never make it to the bed. Still clothed, they bang each other against the door of his hotel room. YURI (V.O.) Back then, it was all for sale... EXT. UKRAINE MILITARY BASE. DAY. Row after row of tanks, armored personnel carriers and helicopter gunships in mothballs. YURI (V.O.) Helicopters, torpedo boats, armored personnel carriers, whole tank divisions. DMITRI, flask in hand, and YURI are given a tour of the surplus hardware by one of Dmitri's brother officers. UKRAINE MAJOR (haggling over the gunships) --I'll tell you what I'll do. Buy six, you get one free. YURI What about tech support? UKRAINE MAJOR No problem. Yuri and Dmitri come upon an oily-faced BOY, perched on the cockpit of a helicopter gunship - he wears an ill-fitting uniform, several sizes too big. YURI Son, get off there before you get hurt. UKRAINE MAJOR (sheepish) He's the tech support. YURI (incredulous) He's twelve. UKRAINE MAJOR Thirteen. Almost fourteen. DMITRI (shrug) Kids grow up fast around here. UKRAINE MAJOR (nodding to the gunship) He can take it apart in his sleep. Yuri shrugs, shakes the Major's hand. EXT. HILL OVERLOOKING ODESSA HARBOR. DAY. THE POV FROM A PAIR OF BINOCULARS - in the crosshairs, JACK VALENTINE, at a surprise checkpoint, staring through binoculars of his own. YURI (O.C.) Who are you? YURI, on his belly to avoid detection, slithers back to the roadway - hands the binoculars to a YOUNG SOLDIER. DMITRI stands beside the convoy of trucks parked barely out of view of the checkpoint, including Yuri's Mercedes and a huge open-bed tractor-trailer carrying a Russian Hind helicopter gunship. YURI (cont'd) (angrily to Dmitri) I thought we were supposed to be watching for these checkpoints. DMITRI How can I? You keep selling my helicopters. You're too greedy, Yuri. YURI (anxious) We have to go back. Dmitri regards the trucks, each one longer than the road is wide. DMITRI We'll be going in reverse. We can't turn around for a mile. The YOUNG SOLDIER on lookout calls to them. YOUNG SOLDIER They're coming. Yuri grabs the binoculars. Sure enough, Valentine and his agents are climbing into their Interpol Jeeps and driving towards them. DMITRI We shoot it out? YURI (shaking his head) And start an international fucking incident - no, no, no. DMITRI So we run. YURI No. I've got paperwork. DMITRI (protesting) Not for the gunship. Yuri, you know the penalty for sanction-busting - selling a military helicopter? Yuri gazes at the Russian Mi-24V helicopter gunship, bristling with armaments. YURI It's not a military helicopter. It's a rescue helicopter. Yuri turns to the Boy referred to as "tech support". YURI (cant' d) Get to work, Son. The boy pulls a wrench from his pocket. SEVERAL MINUTES LATER The Interpol Jeeps crest the rise and pull in front of the convoy - VALENTINE and his agents exit, guns drawn. DMITRI and the UKRAINIAN SOLDIERS stiffen, their weapons also at the ready. An uneasy stand-off. YURI gestures for calm. He greets Valentine warmly - offers his hand. YURI Yuri Orlov. In reply, an Interpol Agent unceremoniously slams Yuri into the side of his truck. VALENTINE (flashing ID) Papers. Again Yuri waves off Dmitri and his men, about to come to his aid. Yuri courteously hands over his passport and other documentation to the skeptical Valentine. VALENTINE (cont'd) (regarding the photo closely) Mr. Orlov, always in the wrong place at the right time. We've met before. Off the coast of Colombia. (feigning memory loss) What was the name of that freighter - I can't remember. Was it the Kono or the Kristol? YURI (hesitates, he's actually forgotten) The crew called that vessel a lot of names - none of them repeatable in polite company. Valentine turns his attention to the helicopter - now devoid of its weapons. An Interpol Agent escorts Yuri at gunpoint. YURI (cont'd) (noting to the gun in his ribs) The new MP-5. Do you need a silencer for that? Valentine ignores the banter, inspects Yuri's documentation. VALENTINE The end-user certificate for this aircraft states Burkina Faso. Nice. Did you type it yourself? YURI It's for humanitarian missions. VALENTINE You're a humanitarian? Yuri shrugs - why not? VALENTINE (cont'd) (not buying it for a second) This is a killing machine. YURI Not any more. DMITRI (in broken English) Listen to the nephew. It's true. Yuri has had the armaments detached. YURI Didn't you get the memo? The war's over. What can they do with military hardware but convert to civilian use? DMITRI What, yes? YURI (trying to lighten the mood) The only way you could die from this baby is if a food drop hits you. Valentine's face hardens at the flippant remark. Still at gunpoint, Yuri is escorted to the smaller second truck in the convoy. Stacked inside the container are the helicopter's hurriedly removed missiles and the Boy. VALENTINE (referring to the missiles) Also going to Burkina Faso? YURI (pointing to the document) But to a different client at a different address. Valentine, incensed, throws Yuri up against the truck himself. VALENTINE What do you take me for? A complete fucking fool? YURI (eyeing Valentine's gun pressed to his throat) Not complete, Sir. And while I hesitate to tell you your job, I must point out that when shipped separately the weapons and the aircraft both comply with the current Interpol trade standards and practices. VALENTINE (incredulous) You expect me to believe this is a coincidence? YURI I can see how certain people might interpret it as suspicious but thank God we live in a world where suspicion alone does not constitute a crime. Valentine regards Yuri closely - this foe is more formidable than he imagined. Valentine looks to the gun in his hand, contemplating crossing the line. He finally holsters his gun. VALENTINE (tosses the documents on the road) Yuri Orlov. You and I are going to be seeing a lot of each other. YURI I can hardly wait. VALENTINE (climbing into his Jeep) Watch out for the time you don't see me. Yuri, Dmitri and the Boy watch Valentine speed away. BOY (perfect American accent) What an asshole. Yuri looks to the boy, askance - a Yuri in the making. EXT. ODESSA HARBOR. DAY. YURI supervises the loading of the cargo onto a freighter. Checking the empty trucks, he is just in time to see SIMEON and his HENCHMEN climb into their car, parked beside his own car, some distance away. As he drives off, Simeon and Yuri make brief eye-contact. Yuri looks for DMITRI, exiting a nearby restroom - carrying his hip flask as usual, the worse for drink. YURI (referring to the departing Simeon) What was he doing here? DMITRI (zipping his pants) Trying to beat your offer. I sent him on his way. He doesn't understand the concept of loyalty. Dmitri glances at the SOLDIERS around the docks. DMITRI (cont'd) Speaking of loyalty, too many people know. I have to make pay-offs. YURI Don't worry. There're more VCR's. I left them in your new car. Dmitri's face lights up. Yuri hands him the keys to the SKL. DMITRI Even your enemy was admiring that car. I am the luckiest man alive. Dmitri hands his hip flask to Yuri. Yuri watches Dmitri walk to the car and climb in for a test drive. A look of realization on Yuri's face. YURI (screaming to Dmitri) Dmit--!!! The car erupts as if it has been punched by a fist beneath the earth. Recovered from the blast, Yuri runs up to the burning car but is beaten back by the flames. DISSOLVE TO: EXT. DOCKS. NIGHT. CLOSE ON a bent Mercedes medallion, now worn around the BOY's neck. He regards it forlornly. YURI, numb, still carrying Dmitri's hip flask, makes a call from a payphone. INT. UPPER EAST SIDE APARTMENT - MANHATTAN. DAY. A darkened bedroom. AVA is fast asleep in her bed, curled up with NICOLAI. The phone rings. Half-asleep, Ava reaches for it. AVA (still groggy) Yes, I'll accept the charges. We cut between the two sides of the conversation. YURI Ava-- AVA Hey, baby. (glancing to a clock - 3am) You forgotten what time it is? YURI Sorry. I, er... (talking about anything other than what's on his mind) How was your audition? AVA (resigned smile) They're going in another direction. The direction of someone who can act. YURI Don't say that. You're good. AVA And you're biased. Ava grabs her robe - goes to the balcony so as not to disturb Nicolai. AVA (sensing something amiss) Where are you? Is everything okay? YURI Rough day at the office. AVA Come home. We miss you. YURI Soon. (more desperate than he intended) How's Nicki? AVA Asleep in our bed. It's lonely without you. From a bar down the street comes the sound of gunfire - MOBSTERS firing at other MOBSTERS escaping in a car. Yuri tries to cover the phone but Ava overhears. AVA (cont'd) Yuri, what's that? YURI A party. AVA It's always a party where you are. More gunfire interrupts. YURI I'd better go. I just wanted to call--hear your voice. Kiss Nicki for me. AVA I love you. But Yuri has gone. EXT. ODESSA HARBOR. DAY. The freighter slips out of the harbor. YURI (V.O.) In Ukraine since 1992, $32 billion worth of arms have been stolen and re-sold. One of the greatest heists of the 20th Century. EXT. DOCKSIDE - MONROVIA. DAY. Crates of munitions are unloaded from the freighter onto waiting trucks under YURI's supervision. YURI (V.O.) The primary market was Africa. Eleven major conflicts involving 32 countries in the past decade - a gunrunner's wet dream. Yuri sizes up the MILITIAMEN loading the arms. YURI (V.O.) My best customer was self-declared president of Liberia, Andre Baptiste. Even though we'd met before, I was in no hurry to meet him again. He'd gotten a reputation for routinely hacking off the limbs of those who opposed him. His seven-year civil war has been described as "a relentless campaign of sadistic, wanton violence unimaginable to those unfamiliar with the details of man's capacity to visit the abyss." That kind of sums up Andy for me. As the final truck door is secured, a customized Lincoln Continental convertible comes flying around a corner - stereo blaring, deliberately terrorizing the locals on the dock. The car slides to a stop beside Yuri. It contains ANDRE BAPTISTE JNR., a handsome young man with sunglasses, a mirror for an earring and a facial tattoo. Also in the car, two BODYGUARDS and a pair of LIBERIAN TEENAGE GIRLS dressed in Dallas Cowboy cheerleader uniforms. ANDRE JNR. Mr. Yuri, I am Andre Baptiste Junior. My father would like to meet you. YURI Thank him but I have other business. A busy schedule. ANDRE JNR. It is not optional. My father is easily offended. Yuri ponders for a moment. The machete in the Bodyguard's hand makes up his mind. YURI What do you know? My schedule just freed up. A bodyguard takes Yuri's suitcase. Yuri is barely in the car before it screeches away. As the car roars along the highway on the edge of control, we hear Yuri's thoughts. YURI (V.O.) But if I thought I was scared of Andre Senior, I knew I was scared of Andre Junior. Like father, like son. The guava doesn't fall too far from the tree. He was a heavy- drinker, a womanizer with a penchant for cheerleaders and a lover of fast American automobiles which he drove recklessly and with total impunity around the streets of the capital. Oh yes, he was also a cannibal. They say Andre would eat a victim's heart while it was still beating to give him superhuman strength. I could've told him he'd get the same effect from a pastrami sandwich at Carnegie's Deli. Andre announces his arrival in the main street of Monrovia with a burst of gunfire. The city, a violent clash of cultures. Goats and Gucci. YURI (V.O.) Monrovia itself was like being on another planet. Planet Monrovia. From the temperature it was obviously a planet close to the sun. I rarely saw another white man even at my hotel that was soon dubbed the "Little Kremlin". And I never left town alone. Outside town, was the edge of hell. I didn't want to even gaze into it. The car pulls up to Monrovia's premier hotel. A DEAD BODY on the ground attracts no attention whatsoever. ANDRE JNR. This is your hotel. (proudly) Two stars. A PORTER, carrying Yuri's suitcase, steps over the dead body. ANDRE JNR. (cont'd) (to Yuri) Can you bring me the gun of Rambo? YURI Part One, Two or Three? ANDRE JNR. (confused) I have only seen Part One. YURI (nodding) The M60. You want the attachable grenade launcher? ANDRE JNR. Please. And the armor piercing bullets. (revving the car) I will be back to get you in an hour...or two. It's Liberia. (mischievous smile) We left a welcoming present in your room. Yuri nods, uncertainly. INT. HOTEL AFRICA - LIBERIA. DAY. YURI enters the hotel. At the reception desk, two HOTEL PORTERS watch a small, portable TV - CNN coverage of the O.J. Simpson trial - gruesome evidence photos. HOTEL PORTER #1 (never averting his eyes from the screen) My God, he nearly cut off her head. HOTEL PORTER #2 When I get to America, I will not live in Brentwood. The CONCIERGE hands Yuri a key. INT. HALLWAY / HOTEL ROOM. DAY. YURI goes to open his hotel room door - hears music from inside, enters. Two stunning LIBERIAN GIRLS sit naked on the bed bopping to Madonna's lILike A Prayer". YURI (V.O.) In the most AIDS infested region of the globe, where one in four is infected, Andre's idea of a joke was to put a young Iman and a young Naomi naked in my bed and no condom within a hundred miles. GLORIA Hello, Mr. Yuri. FAITH We'd be happy to make you happy. The two goddesses drape themselves around him. GLORIA Don't worry, we don't have anything. YURI How do you know? FAITH Do we look like it? YURI (fending them off but with little commitment) What if I have AIDS? Don't you worry? Gloria's lips gently touch his. GLORIA You worry too much. Faith begins to unbutton his shirt. FAITH (sultry) Why worry about something that can kill you in ten years when there are so many things that can kill you today? Gloria's hands go to his belt buckle, start to unfasten it. GLORIA How can we make you happy? With great reluctance Yuri reaches behind him and opens the door. YURI By leaving. EXT. HOTEL - CORRIDOR. DAY. FAITH and GLORIA, still buck-naked, are tossed into the hallway, their clothes flung after them, door slammed shut. INT. BAPTISTE'S PRESIDENTIAL OFFICE - MONROVIA. DAY. A Glock .45, Heckler & Koch .40 and a Beretta 9mm sitm on the ostentatious mahogany desk in front of President of Liberia, ANDRE BAPTISTE - a few pounds heavier, still wearing the same size uniform. ANDRE JNR. watches over his shoulder. Andre Baptiste examines each handgun methodically. In front of him, a pensive YURI, taking in his surroundings. Half a dozen gun-toting ELITE GUARDS keep an idle watch. Several HOSTESSES tend to a refreshments table. On a nearby sofa, a LIEUTENANT flirts with one of the hostesses. Baptiste glances over to the Lieutenant, irritated. YURI (providing a commentary) --that's the Beretta, comes with a 36 cartridge, easy-operating clip-- Baptiste tests the loading mechanism. The Lieutenant on the sofa is still not paying attention. Baptiste casually points the gun at the Lieutenant and shoots him in the head - a large portion of his brain splattering across the fleur-de-lis wallpaper. YURI (cont'd) (shocked) Jesus, why did you do that? Baptiste, clearly not used to having his actions questioned, turns the gun on Yuri. He's next. BAPTISTE What did you say? Yuri, staring down the barrel of the Beretta, recovers fast. YURI (feigning anger, gesturing at the gun) Now you're going to have to buy it. (grabbing the gun from Baptiste) It's a used gun. I can't sell a used gun. Baptiste is taken aback. He suddenly bursts into laughter. BAPTISTE A used gun. That's a good one. The other Officers laugh uncertainly. The Lieutenant's body is dragged out - leaving a smear of blood across the marble floor. Baptiste, seemingly oblivious to the carnage he's wreaked, resumes talking to Yuri, in a measured way as if he's discussing the sad state of punctuality in contemporary society. BAPTISTE (cant'd) (confiding in Yuri) There's no discipline with the young boys. I try to set an example but it's difficult. I blame the MTV. Yuri nods, disguising his terror. Baptiste, checking his Rolex Oyster, rises from his desk. BAPTISTE (cont'd) Let me show you something. EXT. BAPTISTE'S PRESIDENTIAL MANSION. DAY. The camera tracks along the MILITIA - however only the very tops of their heads are visible. YURI (V.O.) I had heard of the "Boy Brigades", "Small Boy Units", "Kalashnikov Kids". The theory was that a bullet coming from a fourteen year old is just as effective as one trom a forty year old. ANDRE BAPTISTE haggles with YURI as he inspects his troops ranging from twelve to fourteen. Yuri, averts his eyes from the boys, uncomfortable reviewing soldiers a head shorter than he. OLDER SOLDIERS fill the ranks behind. BAPTISTE I can't pay your asking price, Yuri. We are not a rich people and the market is already flooded with your Kalashnikovs. In some places you can buy one for the price of a chicken. YURI You can't just look at the unit price. You forget the ancillary costs. End user certificates need to be forged and notarized, shell companies set up, insurance purchased, pilots and crews hired. Not to mention the bribes. You can't get a nut and bolt out of the Eastern bloc without a bribe. There's one bribe for the nut. Another for the bolt. This is an expensive proposition. Andre interrogates Yuri's eyes. BAPTISTE I pay in timber...or stones. Baptiste produces a handful of uncut diamonds from his pocket. Yuri's eyes widen at the sight of the very precious stones. YURI (regarding the stones) I'll take the stones. It's hard to get a tree trunk in my hand luggage. Andre smiles. He turns to his new Lieutenant. BAPTISTE (referring to the inspection) Very professional, Lieutenant. LIEUTENANT (dismissing the troops) Dismissed! Yuri and Andre watch the troops disperse. YURI I know you're planning a new offensive. If you delay a week I can get you the armored personnel carriers we talked about. They would give you a significant strategic advantage. Andre nods, grateful for the free tactical advice - regards Yuri in a new light. BAPTISTE They say I am the lord of war. But perhaps it is you. YURI (correcting him) It's not "lord of war". It's "warlord". BAPTISTE I like it my way. Andre smiles again. They are going to be fast friends. He leaves Yuri alone to examine his uncut diamonds in his hand. YURI (V.O.) Diamonds are far less bulky than hundred- dollar bills. You can get a million dollars into a cigarette box. EXT. ART GALLERY - MANHATTAN. DUSK. A GO-BETWEEN emerges from a gallery with a wrapped painting, hands it to YURI, waiting in a limo. YURI (V.O.) By the mid-nineties, my wealth had caught up to my lies about my wealth - even surpassed the lies. Yuri pays the Go-Between in cash, places the painting in the trunk. INT. LIVING ROOM - NEW YORK APARTMENT. NIGHT. YURI enters the front door, drops his luggage at the door. AVA, talking excitedly on the phone, hangs up, runs to greet him. VITALY, in the background, cocktail in hand, with another dubious- looking GIRLFRIEND, is examining another of Ava's paintings. AVA Yuri, I just got off the phone with the dealer. I sold my first painting. Yuri and Vitaly greet each other with a nod. YURI (feigning surprise) Fantastic. Who bought it? AVA Someone important. They want to remain anonymous. (asking in a way that does not expect an answer) How was your trip? YURI You know. Same old, same old. (quickly changing the subject) Where's Nicki, in bed? AVA I'm sorry. Poor darling. He tried to stay up. YURI I'll kiss him goodnight. VITALY (opening champagne) This calls for a drink. YURI What doesn't? AVA (still giddy at the news) My first painting. I'm officially an artist! He watches Ava showing off more of her paintings to Vitaly and the latest girlfriend. YURI (V.O.) I figured I was a patron of the arts and of everything else Ava had tried and failed at after modelling. Acting, her own cosmetics line. I didn't sabotage her careers but I can't deny it was convenient for me in maintaining a low profile. She was a beautiful bird in a gilded cage. INT. BEDROOM - NEW YORK APARTMENT. NIGHT. YURI kisses his sleeping son, NICOLAI, now three years old. He places a gift at the end of his bed - an expensive-looking microscope. At the same time he spies an object in Nicolai's toy box - a toy gun. INT. KITCHEN / LIVING ROOM - NEW YORK APARTMENT. NIGHT. YURI tosses the toy gun in the trash. VITALY, still in the kitchen, catches him - pretends he didn't see. YURI How are you, brother? VITALY (shrug) You know, still the resident family fuck-up. YURI Someone has to do it. They watch Ava in the living room sharing a joke with Vitaly's girlfriend. VITALY She knows, right? YURI We don't talk about it. Vitaly looks askance. YURI (cont'd) (shrug) How many car salesmen talk about their work, how many executives at cigarette companies? And both of their products kill more people every year than mine. At least mine has a safety switch. If those guys can leave their work at the office, why can't I? VITALY Shit, you're good. You almost had me convinced. (to his girlfriend, knocking back his drink) We're going, baby. LATER Yuri and Ava are alone at the window, overlooking Central Park. He hands her a fresh glass of champagne. YURI (raising his glass for a toast) To Manet, Monet...and Ava Cordova. Ava grins, goes to drink when she notices two huge diamond earrings laying at the bottom of the glass. AVA (gasp) Yuri! YURI (shrug) The trip went better than expected. AVA (fishing out the damp baubles) Yuri, they're beautiful. (flirtacious grin) But what am I going to wear them with? YURI (flirting back) I know just the outfit. They kiss. INT. BEDROOM - NEW YORK APARTMENT. NIGHT. CLOSE UP on the diamonds dangling from AVA's ears. She wears the earrings and nothing else as she and YURI make love. YURI (V.O.) I didn't know how much she knew and how much she ignored. I was a good provider and as far as she was concerned - loyal. Despite the other women, I always made love to Ava as if she was the only one. INT. HELICOPTER - MANHATTAN. MORNING. From an unmarked helicopter, JACK VALENTINE and his INTERPOL AGENTS shadow a Mercedes sedan as it weaves through midtown traffic. INT. SEDAN. MORNING. YURI rides in the back seat of the sedan, scouring the world affairs sections of several newspapers. A thought interrupts his homework. He opens the sunroof a crack, spies the helicopter tailing the car. He closes the roof. YURI (to the DRIVER) Take Park. EXT. PARK AVENUE. MORNING. The sedan enters the underpass beneath the Helmsley building - for a moment the car hidden from aerial surveillance. YURI (to the Driver) This is good. The Driver pulls over, never coming to a complete stop before Yuri bails. Horns blare at the illegal drop-off. YURI (cont'd) (to the Driver from the sidewalk) Take them on a tour of the Tri-State. Yuri grabs Ava's painting from the trunk and the sedan pulls back out into daylight minus Yuri - the occupants of the helicopter none the wiser. Yuri hails a taxi. INT. HELICOPTER - MANHATTAN. MORNING. VALENTINE observes the sedan cruising through the heart of Yonkers. VALENTINE Where in God's name is he going? Is he lost? INT. PUBLIC STORAGE FACILITY. MORNING. With some reverence, YURI props Ava's painting against the wall of his private sanctuary, then goes about his business - shuffling passports, deciding who he will be. EXT. NEW YORK APARTMENT. DAY. AVA, dressed in a robe, all smiles, pours herself a cup of coffee. She sips the coffee at the window, glances down. In the courtyard below, INTERPOL AGENTS are picking through the garbage cans under the supervision of AGENT VALENTINE. Valentine curiously examines the toy gun. The smile is wiped off Ava's face. She makes brief eye-contact with Valentine before stepping back from the window. Slightly shaken, she picks up the phone and dials. AVA (into phone) Vitaly...it's Ava. INT. COCKPIT - ILYUSHIN-76 CARGO PLANE. DAY. The cargo hold of an Ilyushin-76 cargo plane. It's so overflowing with weapons, many are strapped into the passenger seats. Sierra Leone - 1999 YURI (V.O.) I was now the best merchant of death alive. I didn't own my own plane. I owned a fleet - running guns into Liberia, Sierra Leone or the Ivory Coast at least once a week. Unfortunately, my friends at Interpol were also starting to find West Africa on the map. Most trips I had phoney paperwork. If the deadline was tight, I had no paperwork at all. In the cockpit, an American PILOT and CO-PILOT keep an idle watch on their instruments as they fly over the endless plains of Sierra Leone. YURI sits in the jump-seat, reading the Wall Street Journal. PILOT (to his co-pilot) --Even taking into consideration the pay-off to the parents, a week with a girl in Burkina Faso is cheaper than a night with a girl in Jersey. CO-PILOT Plus, they're cleaner-- PILOT --and a lot of them speak better English. CO-PILOT (shrug) Personally, I prefer a language barrier-- An unmarked military jet appears through the starboard window. The voice on the radio is familiar. VALENTINE (O.C.) --Charlie, Echo, India. Descend for landing on heading zero...two...nine. The Pilot picks up the radio, looks to Yuri. Yuri shakes his head, dialling his satellite phone. Yuri's call is answered. YURI (into phone, trying not to sound too desperate) Colonel Southern, it's Yuri. Sorry to call you on this number but I've got an Interpol jet and-- The jet outside the window falls back. INT. A PENTAGON OFFICE. DAY. A mid-rank office dominated by a computer terminal. We look over COLONEL SOUTHERN's shoulder. He is admiring a new medal. Two other MEN IN SUITS sit opposite. COL. SOUTHERN (into phone, measured voice) I can't know you right now. It's not a good time. Southern hangs up. INT. COCKPIT - ILYUSHIN-76 CARGO PLANE. DAY. YURI, hearing the response, explodes. YURI (gaping at the phone in disbelief) Not a good time! Suddenly machine gun fire strafes the Ilyushin - bullets tearing through the fuselage, perilously close to Yurirs very combustible cargo. CO-PILOT Motherfucker! The jet appears again at the window. VALENTINE (radio) --Charlie, Echo, India. Comply immediately. That was your last warning. YURI Where was the first fucking warning?! VALENTINE (radio) Rock your wings if you intend to comply. PILOT (to Yuri, anxious) I'm putting us down. YURI (incredulous) You land and we're all going away! I don't have paperwork! PILOT (incredulous) We're in a flying fucking bomb! They're firing bullets at our bullets! Forget about going away! They shoot again, we're going away for good! I'm putting us down. YURI (knowing he's right) Okay! Okay!--Fuck!! The pilot responds on the radio. PILOT (into radio) This is Charlie Echo India. Descending on heading zero two nine. The Interpol jet takes the lead towards a small airport. Yuri surveys the terrain below, getting his head back in the game. YURI (pointing out a narrow highway) Not the airport. There. The highway. It's our only fucking hope. PILOT (concerned) A pothole could set us off. YURI Don't underestimate yourself. You're the best, Tony. The pilot doesn't buy it but reluctantly changes course anyway. INT. INTERPOL JET. DAY. From his own wingseat, VALENTINE observes the Ilyushin's detour, landing on the highway. INTERPOL PILOT I can't land there. VALENTINE (to the pilot) He can't get far. I want a truck waiting on the tarmac. EXT. HIGHWAY. DAY. A heavily-trafficked highway. WOMEN carrying water jars on their heads, a thin COW pulling the carcass of a car, VENDORS selling dry meat, CHILDREN playing war games. The pedestrians look up to see the lumbering Ilyushin making its final approach - they scatter. The Ilyushin weaves on landing, hits a bone-jarring pothole. INSIDE THE PLANE - boxes of grenades, bullets and other munitions jump dangerously up and down. Finally, the Ilyushin pulls up safely on the highway, engines shutting down. YURI's head appears out of the cockpit window. Curious LOCALS, recovered from the shock, are gathering at the side of the road. YURI (to the pilots, sizing up the locals) We're going to be okay. The PILOTS are already halfway out of the plane door, grabbing supplies as they go. YURI (cont'd) (calling out from the window) Where are you going? PILOT As far from the evidence as I can. The pilots start running down the highway. YURI Wait, you idiots! There's not going to be any evidence! Stay with the plane! The pilots ignore him - run for their lives. YURI is left alone. He turns a lever marked, "CARGO BAY". EXT. CARGO BAY. DAY. The rear cargo bay opens. YURI stands beside his incriminating merchandise. YURI (to the gathering locals) Help yourselves. Be my guest. No charge. One LOCAL MAN tentatively approaches the cargo bay. Yuri hands him an AK-47 and a box of shells. More SIERRA LEONESE LOCALS emerge from the side of the road, seemingly out of thin air. Yuri hands out more guns. YURI (cont'd) (to other locals) Take the whole crate. Two men oblige, ferrying the crate away. The other locals become bolder, then brazen. Soon it's a free-far-all. Men, women and children swarm all over the plane pilfering the arms and anything else that isn't bolted down - also a lot that is. Yuri has to exit the plane to avoid being trampled in the rush. EXT. HIGHWAY. DAY. YURI buys a Fanta from a vendor - exchanging it for a box of grenades. He sits on a soda crate for a front row seat at the chaos. Yuri has a calculator out - totalling his losses. YURI (muttering under his breath, shutting off the calculator in disgust) What a fucking disaster. Yuri sees the pilot seats being stolen. YURI Hey, not those! You don't touch the plane! (plaintive moan) Not the fucking seats... Glancing up the highway, Yuri sees an approaching cloud of dust - VALENTINE and two truckfuls of heavily-armed Interpol Agents. Too late. The last of the guns and ammunition are being carted away on the back of a thin cow. Valentine's truck fishtails to a halt beside the stripped plane. Valentine is first off the trucks and into the plane's cargo bay - empty. Other INTERPOL AGENTS fan out - futilely questioning locals. Miraculously the weapons have vanished into the bush. Valentine calls out to the last fleeing local - a BOY with a lifevest. VALENTINE Hey, you! The boy stares back, defiantly inflates the life preserver. VALENTINE (cont'd) (exasperated) Forget it. The entire cargo has gone. An errant bullet falls off a shelf in the plane and rolls down the floor - Valentine picks it up. YURI sits innocently on his soda crate. A frustrated African Interpol Agent, MBIZI, wound-up by the chase, rushes Yuri - slams him to the ground. MBIZI You run from us. (flashing a machete in Yuri's face) Can you run with no legs? Valentine rushes over, pulls Mbizi off Yuri. VALENTINE No, Mbizi. No, no, no. Valentine drags Mbizi out of Yuri's earshot. Mbizi still wants a piece of Yuri - Valentine preventing him getting to the gunrunner. MBIZI Let me disappear him, Mr. Valentine. He is a devil. Let me disappear him. VALENTINE I can't do that. MBIZI Look where we are. Who will know? VALENTINE We will. Mbizi stops struggling against Valentine. MBIZI Turn your back, Mr. Valentine. I will go to hell to stop him. VALENTINE (gently) No. (to his Agents) Find the pilots. Mbizi and another Agent reluctantly head off in a truck. Valentine returns to Yuri who is dusting himself off. Valentine handcuffs Yuri himself, picks up the soda crate and sits Yuri back on it. VALENTINE (cont'd) I've spent my whole career on the right side of the line. You're the first man I've encountered who makes me seriously consider crossing it. YURI What's the charge? VALENTINE What are you doing in Sierra Leone? YURI I'm on safari. VALENTINE (referring to the bullet) Shooting wildebeests with submachine guns? YURI Are you with the park service? Hunting without a license - is that the charge? VALENTINE You're trafficking arms. YURI Trading. But without evidence who can say? VALENTINE Trade or traffic, you make a fortune by keeping the poorest people on the planet killing each other. (hesitates, unsure whether to waste his breath - wastes it anyway) Do you know why I do what I do? Yuri remains handcuffed, sitting on the soda crate - dwarfed by the cargo plane. Valentine paces beside him. VALENTINE (cont'd) (ignoring him) There are more prestigious assignments, you know. Keeping track of the nuclear arsenals. You would think it more critical to world security. It's not. Nine out of ten war victims today are killed by assault rifles and other small arms - like yours. Those missiles just sit in their silos. Your AK-47 - it's the real weapon of mass destruction. Yuri regards his interrogator curiously. Despite the sun beating down, he feels obliged to give him his version of the facts of life. YURI I don't want people dead, Agent Valentine. I admit, a shooting war is better for business. But I'd prefer people to fire my guns and miss. Just as long as they're firing. He regards Valentine with something approaching pity. YURI (cont'd) I realize the unspeakable things that are done with my weapons. I also understand the unspeakable things that are done with Williams Sonoma carving knives and Wilson baseball bats and they aren't taking those off the market any time soon. People will always buy guns. Why not mine? Valentine appears to have no answer. YURI (cont'd) Can I go? You've got nothing on me-- (unable to resist) --but cuffs. Now Valentine smiles. VALENTINE I am legally permitted to hold you for twenty-four hours without charging you. Yuri looks away, knows where this is going. VALENTINE (cont'd) You may ask, why do I bother to do that? I can assure you, it is not because I enjoy your company. And you may be surprised to learn that it is not for any vindictive motive. No. The reason I delay you for every second of the permissible twenty-four hours, is that I am delaying your deadly trade and the deaths of your victims. I don't think of it as taking a day from you but giving a day to them. Some innocent man, woman or child somewhere has one more day on this earth because you are not free. Valentine looks to his watch. VALENTINE (cont'd) See you in twenty-three hours and fifty five minutes. Valentine walks away. Yuri is left to ponder the notion. We see time lapse photography of Yuri waiting out his twenty-four hours, under armed guard on the highway - stretching his legs, eating a suspicious-looking sandwich, going to the bathroom, the sun arcing across the sky - all the while his plane is being cannibalized by the locals. Finally the time lapse slows back into real time. Valentine returns in a Jeep with Mbizi and other Agents. VALENTINE You'll be pleased to know your colleagues were no more co-operative than you. Valentine opens the back of the Jeep. Lying in the back, the bodies of the two PILOTS shot and stripped. VALENTINE (cont'd) The locals got to them before we could. Yuri turns away from the sight. His handcuffs are removed. Returning Yuri's documents, Valentine notices a photo of AVA and NICKI in the wallet. VALENTINE (cont'd) Handsome family. Valentine and the Agents get back in the truck and drive away. EXT. HIGHWAY. DUSK. YURI starts to walk down the deserted highway alone - his cargo plane is now just another carcass in the jungle. A CONVOY of armored personnel carriers barrels past him - the color: U.N. white. The lead car slams on its brakes, bringing the train to a stop. A woman pokes her head out of the window - CAPTAIN VIVIAN CARLISLE. VIVIAN (pleasantly surprised) Yuri! Yuri Orlov! YURI (giving her an embarrassed hug) Vivian... VIVIAN What are you doing here? YURI (approaching the window) You know. Fighting the good fight. VIVIAN An aid program? YURI Uh, yes. In fact, I've just had some transport problems. You couldn't give me a ride to Monrovia, could you? VIVIAN Sure. Climb in. Yuri steps back into a vehicle with which he is very familiar. VIVIAN (cant' d) We're pulling out. It's too dangerous. It's a shame. We were really doing some good things. Yuri nods in understanding. INT. HOTEL AFRICA - YURI'S HOTEL ROOM. NIGHT. A weary YURI enters his room. Sitting on the green sofa - bound and gagged, face reduced to pulp, silver hair matted with blood - SIMEON. YURI Jesus! Simeon! ANDRE JNR., a FLUNKY and his CHEERLEADERS appear from behind the door, laughing at his shocked reaction. YURI (cont'd) Andre! What in heaven is he doing here? ANDRE JNR. A gift for you. Yuri stares into the old gunrunner's terrified eyes. ANDRE JNR. (cont'd) You got here just in time. I was afraid he would die before you got a chance to kill him. He offers Yuri a Beretta. YURI Me?! ANDRE JNR. Who do you think informed on you - cost you your plane? He came to meet my father, hoping to take your place. Yuri spits on Simeon. YURI You stupid old fuck! ANDRE JNR. (knowing smile) He killed your man when he tried to kill you. Andre again offers Yuri the Beretta. YURI No. ANDRE JNR. (confused) You want us to let him go? YURI No. No. I... Andre offers him the gun a third time. Yuri refuses it. ANDRE JNR. So you do want him dead. You just don't want to kill him yourself? I understand. Andre grabs Yuri and presses the gun into Yuri's palm, clasping his own hand over Yuri's. ANDRE JNR. We'll do it together. A bonding experience. Andre forces Yuri's finger onto the trigger as he aims at the terrified Simeon - eyes pleading. Yuri attempts to pull his hand away but Andre is too strong. ANDRE JNR. You can stop if you want - but you do. Just say the word. Andre stares at Yuri not Simeon. ANDRE JNR. (cont'd) Say, "stop". Yuri opens his mouth but no word comes. Andre presses Yuri's finger onto the trigger. The gun goes off. A splash of blood across the sofa's green upholstery. The gunshot echoes around the room. Simeon is very dead. YURI (quietly) Stop. Andre smiles. ANDRE JNR. (surveying the blood-spattered room) I'll get you another room with a nicer view. INT. HOTEL AFRICA - LIBERIA. DAY. YURI collapses on the bar - gestures to the BARMAN who immediately pours a line of cocaine in full view. YURI hoovers it up. YURI (V.O.) I started doing a lot of cocaine in West Africa. I wasn't medicating myself. I was simply playing catch-up. I was constantly dealing with people who are chemically imbalanced without the aid of chemicals. It's just a matter of etiquette. It's rude to act sane in a room full of lunatics. The Barman nods to a patron at a corner table - a SEASONED FIGHTER - no more than eighteen years old. BARMAN He bought you "brown-brown", Mr. Yuri. YURI (wiping his nose) What? BARMAN "Brown-brown". YURI What is it? BARMAN (laughs) A mixture - cocaine and gunpowder. YURI What does the gunpowder do? BARMAN It's magic. They give it to the small boys before battle - they do anything. YURI Some other time. BARMAN You have to try it at least once, Mr. Yuri. The Barman starts chopping another line. YURI Why? BARMAN (laughing) Because it's your gunpowder. Sure enough the Barman pours the gunpowder from one of Yuri's 39mm shells into the cocaine. The SEASONED FIGHTER, assault rifle slung over his shoulder, intimidating air, sidles up to Yuri - stares him down. Yuri has no option, does a line. He washes it down with a swig from a vodka bottle, raises his glass to the fighter. The Barman puts on a Ukrainian folk song. Yuri picks out one of the PROSTITUTES in the bar, starts dancing. He drunkenly dances with one PROSTITUTE after another - the dance almost violent, the prostitutes flung aside, none lasting more than a few seconds - caught in the arms of the other PATRONS. To Yuri, the bar swims before his eyes. The music stops. Yuri, wild-eyed, looks at the stunned bar room. YURI (to no one in particular, whipping his vodka bottle off the bar) I'm going for a walk. EXT. MONROVIA. NIGHT. A MONTAGE OF SCENES FROM YURI'S P.O.V. IN HIS ALTERED STATE. [A MIXTURE OF FORMATS INCLUDING SUPER-8 & VIDEO, SHAKY HANDHELD FOOTAGE, OVER-EXPOSED FOOTAGE, BLACK & WHITE FOOTAGE EDITED OUT-OF- SEQUENCE WITH JUMP CUTS AND FLASH FRAMES] YURI staggers towards the edge of town - still swigging from his bottle. A ROOM WITH A CURVED CEILING ON THE OUTSKIRTS OF MONROVIA YURI, eyes unable to focus, stares at a WOMAN'S FACE in front of him, moving back and forth. The gyrating stops. Yuri realizes he is lying in the mouth of an enormous cement pipe on his back, a prostitute on top of him. She gets to her feet, adjusting her dress. Yuri panics, hurriedly zipping himself. YURI (a mixture of French and English) I didn't fuck you, did I? Did I fuck you? PROSTITUTE (in French, as she counts Yuri's money) It's not what I would call a fuck. The prostitute tosses a couple of bills back to him. Yuri ignores the money, staggers after her. YURI Are you sick? She ignores him. YURI (cont'd) (screaming) Are you sick?! Yuri staggers to his feet - wanders aimlessly across a field. A DANCE IN DUST SOMEWHERE ON THE OUTSKIRTS OF MONROVIA Two dozen pairs of feet chase each other on a dirt field to cheers from a crowd. The dust clears, revealing a bundle of cloth and string doubling as a soccer ball. The game is between two indistinguishable teams of MONROVIAN YOUNGSTERS on a makeshift dirt field, goalposts constructed from tree branches lashed together. YURI wanders onto the field, joins the game without asking. The players humor him by letting him have the ball. Yuri dribbles up field, takes an enormous swipe at the ball, misses completely, clattering to the ground. The crowd and players laugh. The game goes on. Yuri, also laughing but in a far more desperate manner, picks himself up and wanders away. A LIBERIAN BAR CALLED "ZANZI-BAR" YURI throws up at the back of a saloon flimsily constructed from rusted corrugated iron. Rinsing out his mouth with vodka, he is distracted by the sound of two little GIRLS arguing. GIRL #1 (O.C.) They will! GIRL #2 (O.C.) They won't! GIRL #1 (O.C.) They will! GIRL #2 (O.C.) They won't! GIRL #1 They will! GIRL #2 Ask the foreigner. The foreigner will know. The GIRLS approach Yuri - no older than seven, formal white dresses, hands politely behind their backs. YURI Hello. GIRL #1 Sir, will my fingers grow back? One of the girls shows Yuri a healed stump where her hand should be. Yuri runs away. A MODERN SCULPTURE SOMEWHERE IN MONROVIA YURI passes in front of an abstract arrangement of holes that turns out to be a building pock-marked with gunshells. Suddenly a FACE appears in one of the holes - SIMEON. The gunshot wound in his forehead still evident. Yuri gasps. YURI Simeon. Simeon turns and walks away - revealing a large exit wound in the back of his head. YURI (cont'd) Simeon!! Yuri pokes his head through the hole but Simeon has vanished. Yuri turns back to find himself trapped by TWO MEN in flip-flops, shorts, Gap T-shirts and AK-47's. Through Yuri's eyes the two men look like four. The two/four men go through Yuri's pockets, take his watch, shoes. Yuri is oddly compliant - clumsily helping one of the thieves fasten the watch. One of the men, tired of Yuri's antics, aims his gun at Yuri's head. His colleague stops him. MAN #1 Don't. He's Andre's. MAN #2 (keeping his gun raised) Fuck Andre. YURI (seemingly beyond caring) Yeah, fuck Andre. The man fires at Yuri. The gun jams. Yuri looks almost disappointed. The man tries again. Again the gun jams. YURI (referring to the gun) I'm sorry. They don't usually do that. Let me have a look. Maybe I can fix it. MAN #1 (disgusted) Fuck off! The man whips the gun across Yuri's face. A PATH OUTSIDE MONROVIA YURI, face streaked with blood and dirt, wanders aimlessly through the brush outside Monrovia. A HYENA appears on the dirt path in front of him - teeth bared, frenzied eyes. Yuri stares at the wild dog - starts to quietly cry. Tears roll down his cheeks. The hyena runs away. Yuri is alone. DISSOLVE TO: EXT. MONROVIAN DOCKS. DAWN. A vacant-eyed YURI sits in the shadow of an enormous stack of arms, unloaded from a freighter. A presidential motorcade appears on the dock. ANDRE BAPTISTE emerges out of his Mercedes Jeep, gun in his hand. He strides up to Yuri. ANDRE BAPTISTE Yuri, you fucked up! I am going to shoot your face off with your own gun. Yuri doesn't flinch. YURI (unfazed, regarding the man) Not bad. Andre's latest double? The man's face falls. The real ANDRE BAPTISTE emerges from the car with ANDRE JNR. ANDRE BAPTISTE (to Yuri, standing beside his uncanny double) How did you know? YURI He's too eloquent. ANDRE BAPTISTE You have no heart. Baptiste brandishes a copy of the New York Times. ANDRE BAPTISTE Have you seen the news? They accuse me of rigging elections, but after this in your Florida with your Supreme Court of kangaroos-- CLOSE ON the headline, "U.S. SUPREME COURT REVERSES RECOUNT RULING". ANDRE BAPTISTE (cont'd) --now the U.S. must shut up forever. Yuri just smiles. YURI More good news. That's the last aid shipment. The war is so bad, the U.N. is pulling out. Andre shrugs. He regards the inactivity at the dock. ANDRE BAPTISTE Why is nothing happening? ANDRE, JNR. (reluctant to give his father bad news) No trucks. They are trapped on the front lines. YURI There are trucks. You just have to get all that food out of them. Yuri gestures down the dock where food is being loaded into trucks marked, "HUMANITARIAN AID" Andre Baptiste and Andre Jnr. are clearly taken with the idea. ANDRE JNR. Killing certain humans can be considered humanitarian. (thinly disguised reference to the previous night) Isn't that right, Mr. Yuri? Andre Baptiste hands Yuri his payment - a slim briefcase containing a pouch of uncut diamonds. YURI (V.O.) After surviving the last few days I'd started to feel like I was invincible. But there was a weapon that could hurt me. INT. UPPER EAST SIDE APARTMENT. DAY. From behind the cover of a sofa NICOLAI shoots at an unseen foe, his finger as the gun. The camera pans around the room to find AVA in an armchair opposite AGENT VALENTINE. AVA Hush, Nicki. (to Valentine) I don't believe you. Valentine is unfazed. AVA (cont'd) Can you prove any of it? Where is your evidence? VALENTINE I was hoping you could help us with that. (opens an old file containing a copy of a newspaper clipping, headlined, "Cordova Disappearance" ) I understand your parents died tragically in EI Salvador. (meeting Avars gaze) That regime has startling similarities to several of the regimes supplied by your husband. AVA Get out. Valentine rises to leave. Ava holds Nicolai, her mind reeling. INT. FASHION SHOW - NEW YORK. NIGHT. Impossibly thin MODELS strut along a transparent lightbox of a runway, flanked by SOCIALITES and PAPARAZZI. Projected on the wall behind them, the words, "FASHION AGAINST HATE - Dress Not To Kill" and various images from the world's warzones. Each outfit is enthusiastically applauded. MASTER OF CEREMONIES And now, one of the sponsors of tonight's evening, former Miss World, Ava Cordova. AVA appears from behind the wings in a designer gown. She modestly accepts the applause - gradually becomes aware of a projection on her face. She turns to see the projected image of a CHILD holding an AK-47. When she turns back, tears are rolling down her face. INT. NEW YORK HOUSE. NIGHT. Back to us, AVA naked, sits on the end of her bed, clothes laid out beside her. YURI (O.C.) Ava? YURI, still carrying his suitcase, appears in the doorway. He drops the case. YURI Ava, what's wrong? Where's Nicki? AVA (still with her back to us) He's with your parents. Yuri senses something very wrong. YURI Why aren't you dressed? I thought we were going out. He finds a robe from the closet - gently places it around her. She pulls it off her shoulders. AVA (turning back to look at him) I can't wear the clothes. I can't wear the jewelry. I can't drive the car. I can't live in this house. Everything1s got blood on it. Yuri pulls the robe back onto her shoulders, walks to the window. YURI Don't be so melodramatic. Ava pulls the robe to her, follows Yuri to the window. AVA Of course I'm melodramatic. I'm a failed actress, remember? We need to talk about it. YURI Why? We never have before. AVA Now we do. Yuri notices the Interpol business card on the bedside table. YURI These people - you can't trust them-- AVA --I've talked to your parents. Why do you think they don't want your money? They know where it comes from. We all know. Yuri sighs, resigned. YURI I sell people a means to defend themselves, Ava. That's all. I don't hold a gun to any one's head and make them shoot-- AVA --Yuri, I see the news. Sierra Leone-- YURI --I don't sell machetes. AVA --What do you think is pointing at the victims when they use those machetes? I see the pictures. Yuri, the guns are bigger than the boys. YURI (angered) There's nothing illegal about what I do. AVA I don't care if it's legal, it's wrong. Ava meets his eye. AVA (cont' d) I can accept the drugs. I can even accept the other women. I can't accept this. Yuri looks away. AVA Please stop. YURI (looks back) It makes no difference if I stop. Someone will take my place the next day. AVA Let them. We have enough. You're not that little boy in Odessa anymore, lining up for a loaf of bread-- YURI --It's not about the money. AVA What is it? He doesn't answer - perhaps he doesn't have one. Ava looks out of the window at their expensive view. AVA (cont'd) I feel like all I've done my whole life is be pretty. All I've done is be born. I'm not just a failed actress. I'm also a failed writer, failed artist, failed businesswoman. I'm not much good as a mother. Come to think of it, I'm not even that pretty any more. I've failed at everything, Yuri. (turning back to him) But I won't fail as a human being. I'm leaving. The words finally register with Yuri. YURI You can't leave. I'll stop. (as if trying to convince himself) I'll stop. Ava is skeptical. He holds her, reassures her. YURI (cont'd) I've been thinking about it for a while. A lot, lately. (as if trying to convince himself) I'm making more from the oil and timber anyhow. (further reassurance) I'll stop. She interrogates his eyes for the truth. AVA (pleading eyes) You will? You promise? YURI (deadly serious) Yes. (changing the subject a millisecond too fast) Now get dressed. We'll go out. Ava picks up the dress off the bed. Yuri gazes at her. YURI (cont'd) By the way, you're wrong about not being pretty any more. She turns back and smiles. EXT. FIFTH AVENUE AT CENTRAL PARK EAST. DAY. A YOUNG INTERPOL AGENT, carrying a tray of coffee, approaches a plain panel van parked outside Yuri's apartment building. YURI (V.O.) For the next month I stopped running guns. I went legitimate. The van door opens to reveal VALENTINE and other INTERPOL AGENTS, wearing headsets, monitoring a scanner device. The agents read porn to keep themselves amused - except Valentine. YURI (V.O.) No wonder Valentine was confused. INT. UPPER EAST SIDE APARTMENT. DUSK. YURI toys with his old BULLET pendant as he talks on the phone. For once the spreadsheets in front of him deal with oil and timber. YURI (V.O.) Thank God there are still legal ways to exploit developing countries. With the cordless phone to his ear, Yuri wanders to the kitchen. He tosses the pendant down a trash chute. Back in the den, Yuri punches a calculator as he continues his phone call. YURI (V.O.) But the only problem with an honest buck is they're so hard to make. The margins are too low. Too many people are doing it. Finally we are privy to the conversation. YURI (into phone) --Impossible. Two and a quarter? I can't make a profit at two and a quarter. Why don't you take my oil and I'll fucking pay you? Yuri hangs up, stares down from his apartment window. Valentine's panel truck drives away. LATER Night has fallen over Central Park - criss-crossed by a necklace of lights. Yuri continues to stare out of the window. He is perplexed by the sight of a diplomatic motorcade parked in front of his building. Before he can make sense of it, the house phone rings. AVA enters. AVA (confused) Yuri, the President of Liberia is in the lobby. Yuri, stunned for a millisecond, recovers with a smile. YURI (glance to his watch) He's early. INT. LOBBY - UPPER EAST SIDE APARTMENT. DAY. ANDRE BAPTISTE is admiring his new uniform in a gilt edged mirror. ANDRE JNR. is flirting with two TEENAGE GIRLS - residents of the building. The perplexed DOORMAN stares at the motorcade outside his door - flashing lights on the police escort. ANDRE JNR. (to the girls) --You should come to Liberia with me tomorrow. It is beautiful this time of year. TEENAGE GIRL Liberia. Is that on Long Island? YURI, ashen-faced, hurriedly exits the elevator into the ornate lobby - strides up to Andre Snr. ANDRE JNR. Yuri! YURI (nervous as hell) What the fuck are you doing here, Andre? ANDRE BAPTISTE (hugging Yuri) We're here for the peace talks at the U.N. YURI (pulling him out of earshot of the curious Doorman, anxious whisper) So at the same time you thought you'd drop in on your arms dealer?! ANDRE BAPTISTE Is that what you still are? You're a hard man to get hold of all of a sudden. YURI I-- ANDRE BAPTISTE --But now you mention it, we are doing a little shopping while we're here - that is if you open for business. YURI (anxious look past Andre to the motorcade on the street) They've got to be watching. ANDRE BAPTISTE (disdainful shrug) Of course they blame me. They always blame me. They are on a-- YURI (unable to resist) --hunt for a witch? ANDRE BAPTISTE (a smile, for once correcting Yuri) "Witch-hunt". But I have been granted diplomatic immunity due to the escalation in hostilities. (conspiratorial) That is why I need you. They are making life difficult to re-supply. It will require a man of your unusual ingenuity. YURI I can't help you. I'm sorry. ANDRE BAPTISTE (nods) I understand. He shakes Yuri's hand firmly. ANDRE BAPTISTE (cont'd) But you should know that our present difficulties compel us to be unusually generous. Yuri realizes that Andre has placed a huge uncut diamond in his hand. ANDRE BAPTISTE (cont'd) (hugging Yuri) Farewell, Lord of War. ANDRE JNR. You still haven't brought me the gun of Rambo. Andre Baptiste and his son breeze out of the lobby. INT. UPPER EAST SIDE APARTMENT - LIVING ROOM. NIGHT. YURI enters, sits in an armchair. AVA and NICOLAI are cuddled on the sofa - Ava reading him a fairytale. AVA (looking up from the book) Was that about the oil or the timber? YURI Both. Everything. Ava smiles, carries on reading. Yuri looks to his hand - we rack focus to the uncut diamond. Yuri gets up. INT. UPPER EAST SIDE APARTMENT - GARBAGE ROOM. NIGHT. YURI, still in his suit, stands in a dumpster, searching. YURI (V.O.) At four and a half months a human fetus has a reptile's tail - a remnant of our evolution. Amongst a pile of rotten food he finds his necklace containing the BULLET. YURI (V.O.) You can fight a lot of enemies and survive but if you fight your biology you always lose. Yuri places the bullet around his neck. INT. NEW YORK APARTMENT. MORNING. AVA is fastening eight-year-old NICOLAI's coat, readying to go out. YURI, half-dressed, appears in the hallway. YURI Hey, not even waiting to say goodbye? I'm leaving in ten minutes. AVA Sorry, Nicki has swim practice. Nicolai kisses his father. NICOLAI Bye, Papa. YURI (hugging him) See you, big guy. Ava kisses Yuri. AVA (teasing him) Personally, I'm glad you're going. You've been here so long you're starting to get on my nerves. YURI (taking the teasing good- naturedly) This oil concession should be wrapped up by Thursday. I'll be back for the weekend. We'll go somewhere - the sea. AVA That would be fun. A thought occurs to Yuri. YURI You trust me, right? Yuri's turn to interrogate her eyes. Ava smiles. YURI (V.O.) She looked me directly in the eye the way I've looked in the eyes of a thousand customs officials, government bureaucrats and footsoldiers from every law enforcement agency in the world - and she lied without flinching. AVA Yes, I trust you. YURI (V.O.) She'd learned from the best. Ava gives Yuri a final kiss, hurries Nicolai out the door. INT. MERCEDES SEDAN. DAY. From the rear seat of a Mercedes sedan we observe YURI exiting the apartment building and entering a waiting Mercedes sedan of his own. AVA (O.C.) (to the DRIVER) That's him. We reveal AVA and NICOLAI in the car. Yuri's car pulls away and Ava's car follows. NICOLAI (confused) Where are we going, Mama? AVA It's a game. NICOLAI Like hide and seek? AVA Yes. EXT. PUBLIC STORAGE FACILITY. DAY. YURI locks his storage locker, observable from the street, and exits the facility carrying a passport and briefcase. YURI (V.O.) I can always sense when I'm being tailed. I know what to look for. But then I'd never been tailed by the woman I love. Returning to his car, Yuri fails to notice that AVA has witnessed his routine from her own car. Instead of following the car, Ava exits with Nicolai. INT. PUBLIC STORAGE FACILITY. DAY. AVA, NICOLAI in tow, approaches Yuri's locker. She tries a combination - fails. Tries another - fails. A third - same result. YURI (V.O.) I can put myself in Ava's place. She might have understood if the combination was the last four digits of my social, my birthdate, even her birthdate but not Nicolai's. Ava looks to Nicolai, tries one more combination, reluctantly. CLOSE ON the numerals on the lock - "10...6..." YURI (V.O.) My son's birthday unlocked what the government would later describe as, "a catalogue of carnage". "90". The lock opens. AVA (whisper, to herself) Not that. Not that, Yuri. Ava opens the storage room door - at first struck by the exhibition of her paintings inside the locker. Shaking the image from her head, she turns her attention to the briefcases and other documents. She shuffles through the passports in horror - different photos of Yuri, different names: "George Eagleman", "Georges D'Aigle", etc. Who is her husband? Is he any of them? INT. "THE CRIMEAN" RESTAURANT - DAY. VITALY is back at work in the kitchen of the family restaurant. YURI approaches - Vitaly senses something amiss. VITALY Come to see how the other half lives? YURI I miss your borscht. Mom and Dad say you're clean. VITALY You too. They said you went legitimate - hard to believe. YURI That's because it's not true. Vitaly is hardly surprised. Yuri glances to his parents, ANATOLY and IRINA, at the restaurant counter, folding napkins - observing their two sons. They avert their eyes. YURI Only you know. I'm leaving tonight - on a job. I want you to come. VITALY I can't. I'm thinking of opening my own place. YURI Maybe this trip will help. It's good money. VITALY (looking to his parents) I've given my word. YURI They don't have to know. We'll tell them we're going for a little "r" and "r". VITALY Why do you need me all of a sudden? YURI West Africa's fucked-up. (off Vitaly's look) More than usual. I can't trust anybody. I need someone to watch my back. The notion touches Vitaly. Yuri closes the deal. YURI (cant'd) "Brothers in arms". Vitaly looks to his PARENTS. They stare at him until he averts his eyes. Vitaly can't refuse his brother. EXT. HIGHWAY - SIERRA LEONE. DAY. A fork in the road. Two large trucks slog through the bush - take the left fork. Sierra Leone - 2000 YURI, VITALY and ANDRE JNR. are in the cab of the truck, beside the DRIVER. Andre is admiring his new M60 machine gun with attachable grenade launcher - the gun of Rambo. YURI (concerned by the route) Where are we going? ANDRE JNR. RUF - "freedom fighters". Yuri stares out of the window. YURI (V.O.) Every faction in Africa calls themselves by these noble names - "liberation-this", "patriotic-that", "democratic-republic-of- something or other". I guess they can't own up to what they usually are - "federation- of-worse-oppressors-than-the last-bunch-of- oppressors". Often the most barbaric atrocities occur when both combatants proclaim themselves "freedom fighters". The truck passes a checkpoint marked by two skulls. EXT. REFUGEE CAMP - SIERRA LEONE. DAY. A tent city. A Jeep packed with young, machete-wielding FREEDOM FIGHTERS circles the refugee camp, taunting and terrorizing the inhabitants. The mostly WOMEN and CHILDREN are trapped by the circling Jeep. Whenever a refugee attempts to escape, they are driven back by the increasingly manic, shrieking rebels. Yuri's two trucks are parked on the roadway above the camp where the rest of the REBELS are massed - a rag-tag mob wearing over-sized sneakers, carrying machetes and the occasional AK-47. At a small folding table a REBEL LEADER negotiates with YURI and ANDRE JNR. The Leader places a pile of uncut diamonds on the table. VITALY is more interested in the camp - observing the circling Jeep full of Rebels and their smirking comrades on the highway. From a distance, he spies a WOMAN and YOUNG SON make a desperate bid for escape from the camp. Two REBELS, on foot, give chase. The woman appears to be pregnant. Vitaly watches in horror. The Woman is quickly overtaken and hacked to death. Then the Boy. Vitaly can't look, turns away. VITALY Jesus. Vitaly comes to a horrific realization. He hurries to Yuri, still negotiating with the Rebel Leader. VITALY Yuri, I need to talk to you. YURI Not now. VITALY (insistent) Now. YURI (to the Rebel Leader) Excuse me. Vitaly draws Yuri out of earshot. YURI (irritated by the interruption) What? VITALY (anxious whisper) We can't do this deal. YURI (incredulous) The fuck we can't. VITALY (referring to the camp) Look over there. As soon as we leave, they're going to die. YURI (averting his eyes from the camp) It's not our business. VITALY (protesting) They killed a boy just now - as young as Nicki. Yuri flinches. The suspicious Rebel Leader and Andre Jnr. approach the two brothers. REBEL LEADER What's the hold up? YURI (trying to keep his poise) There is no hold up. I'll be right there. Yuri draws Vitaly further away. YURI (cont'd) Vitaly, it's what we always know - we can't control what they do. VITALY Today we can. They're right there - close enough to touch. YURI (angry, impatient) What do you think they'll do if we back out - they'll kill us. VITALY And if we go ahead - they'll kill them. The Rebel Leader approaches again - this time he's not leaving. REBEL LEADER What is he saying? YURI Nothing. Vitaly realizes the futility of the discussion, backs down. VITALY (resigned) Nothing. You're right, Yuri. You're right. (getting his head back in the game) Did I hear you say 300 IPG's, 500 assault rifles and 800 grenades? I thought it was 1,200 grenades. I'd better check. Yuri pats his brother on the back, returns to the negotiating table. Vitaly heads for the trucks. For once we follow Vitaly. Andre Jnr. regards Vitaly warily. INT. TRUCK. DAY. The prongs of a hammer on a box of grenades. VITALY is prying open the lid. Andre Jnr. appears behind him - M60 poised ominously on his hip. ANDRE JNR. What are you doing? VITALY Something for Yuri. ANDRE JNR. Step away - slowly. Vitaly closes the lid - a ruse. He picks up the hammer and in one sudden, violent motion swings it across Andre's face, smashing his jaw, teeth flying, Andre's body flopping like a rag doll. Vitaly grabs two grenades from the box, pulls the pin from one and bowls it into the truck. He runs. The truck explodes in a fireball - instantly incinerating Andre Jnr. Yuri's head whips around. The Rebel Leader's head whips around. YURI Vit!! Vitaly dashes for the second truck. The REBEL LEADER opens fire, raking Vitaly with machine-gun fire - still trying to run with legs torn to shreds. YURI (cont'd) No!! A second hail of gunfire - all REBELS firing. Vitaly's legs betray him. He collapses to the ground in a pile of blood and dust. We focus on Vitaly's still FACE - he has taken enough bullets to kill him three times over. But he is not quite dead. Agonizingly slow, he raises the grenade hand to his mouth - pulls the pin with his teeth. CLOSE on Vitaly's HAND, trying to summon the strength to throw the grenade. A hand appears, grasps Vitaly's hand - gently but firmly removing the grenade. YURI. The Rebels keep their guns trained on Yuri, unsure where his loyalties lie. Yuri holds the fate of the camp in his hands - he could still toss the grenade, destroy the second truck, sacrifice his life. Yuri stares to his brother and then to the grenade in his hand. He reaches down and delicately takes the pin from between Vitaly's lips. The eyes of the brothers meet for the last time. Yuri inserts the pin into the grenade, disarming it - the life goes from Vitaly's eyes forever. Yuri removes any last doubt by tossing the disarmed grenade to the Rebel Leader. Yuri walks away from Vitaly's dead body and returns to the negotiating table - Yuri now the living dead. The Rebel Leader looks to the two trucks - one burning, one not. He removes half of the diamonds from the table. EXT. TRUCK. DAY. YURI sits in the cab, staring out of the window as the truck drives away. YURI (V.O.) Vitaly broke the cardinal rule of gunrunning. Never pick up a gun and join the customers. The truck turns the bend. In the background, true to Vitaly's prediction, the rebels descend on the tent village, firing indiscriminately with their new weapons. Yuri hears the sound - we detect a barely perceptible flinch. INT. REAR OF TRUCK. DAY. A lone gun crate, emptied of its contents has been put to use as VITALY's makeshift coffin. YURI (V.O.) Coffins are hard to come by in Sierra Leone. Demand is so high. Fortunately, we had a lot of boxes just the right size. EXT. SIERRA LEONE MARKET. DAY. "America's Funniest Home Videos" plays on a TV set. The canned laughter appears to be almost directed at YURI who is making a long- distance call on a geriatric telephone. We aren't privy to the conversation. YURI (V.O.) I don't know which is worse, Jewish guilt or Catholic guilt. My parents were like God's tag-team. We pull back to reveal the makeshift coffin sitting at Yuri's feet. YURI (V.O.) But I could not deny them the chance to say goodbye to their eldest son. INT. J.F.K. AIRPORT - CUSTOMS BAY. DAY. CLOSE ON the screen of an X-RAY machine. Innocuous oversize cargo passes in front of the screen - a surfboard, a double bass, then the crate containing VITALY's body. YURI (V.O.) For twenty Monrovian dollars a doctor removed the lead from Vitaly's body and wrote a bogus death certificate. I should have paid more. The OPERATOR of the machine, stops the conveyor belt. YURI (V.O.) I've smuggled millions of rounds of ammunition and the bullet that lands me in jail is found under my dead brother's rib. In Vitaly's chest, a bullet. INT. J.F.K. AIRPORT - CONVEYOR BELT. DAY. The other oversize items move down the conveyor belt for collection - YURI waits with two burly PORTERS. No other items are appearing - finally the coffin containing VITALY. Two ATF AGENTS appear behind Yuri. AGENT (flashing some ID) Yuri Orlov, we're with the Bureau of Alcohol, Tobacco and Firearms. YURI (resigned smile, regarding the insignia on their jackets) Believe it or not, I only use the first two. The agents are not amused - handcuff Yuri. AGENT You have the right to remain silent. Use it. They march him away. INT. NEW YORK APARTMENT. DAY. A phone rings. AVA, out in the hallway, surrounded by suitcases, looks to the phone, senses the identity of the caller. She hustles NICOLAI out of the door, closes it behind her. The phone continues to ring. INT. MANHATTAN CENTRAL JAIL. DAY. YURI, on a payphone, in the jailhouse corridor, reluctantly hangs up. He makes another call. INT. "THE CRIMEAN" RESTAURANT - BRIGHTON BEACH. DAY. ANATOLY, lighting a candle, picks up the phone. ANATOLY "Crimean Restaurant". YURI (O.C.) Papa? Anatoly looks at the telephone receiver in his hand - without another word he passes the phone to IRINA. ANATOLY walks away. IRINA (into phone) Both my sons are dead. INT. INTERVIEW ROOM. DAY. CLOSE ON a SLUG in an evidence bag tossed onto a table - by VALENTINE. The Agent can scarcely contain his excitement. YURI sits at the small table, stares at the slug. VALENTINE One of yours? Yuri doesn't take the bait. Two other AGENTS sit at the back of the room observe the interrogation. VALENTINE (cont'd) (referring to a document) Curiously, the death certificate says he died of heart failure. YURI (shrug) Maybe he did. (referring to the slug) If I saw one of those coming at me, l'd have heart failure. The flippant comment gets under Valentine's skin but he keeps his temper in check. VALENTINE We performed the autopsy and released your brother's body to your family. You tried to do something decent, Yuri. You went against your nature. And now it's cost you. (unable to resist) Your brother's funeral is looking a lot like your funeral. YURI Falsifying a death certificate? That's not going to hold me. VALENTINE You're right, as usual. Yuri not so cocky now - waits to see where this is going. VALENTINE (cont'd) (putting a copy of the New York Times in front of Yuri) Have you seen today's paper? A front photograph of VALENTINE posing beside Yuri's documents including his five BRIEFCASES. The headline reads, "MERCHANT OF DEATH IN CUSTODY". Caption - "Catalogue of carnage." VALENTINE (cont'd) (pacing, lauding it over Yuri) Fake end-user certificates, cut-out companies, all meticulously catalogued. There's hardly a dictator, warlord or despot anywhere in the world you aren't on first name terms with. (producing another evidence bag containing Ava's diamond earrings and an engagement ring) Your trophy wife gave us the prize. She also provided us with these - which we suspect are conflict diamonds. Yuri takes all this in. VALENTINE (cont'd) She has agreed to testify against you. Yuri nods - picks up the newspaper. But instead of reading about his own front page news, he opens the paper, turns to World Affairs - various items on the warzones at the end of the millennium. Yuri reads, takes his time. Valentine cannot believe his audacity. Finally Yuri reacts. A broad smile - his killer smile. YURI Enjoy it. VALENTINE (confused) What? YURI This. Tell me that I am everything you despise, that I am the personification of evil, that I'm responsible for the breakdown of the social fabric of society and world order, that I am a one man genocide. Say everything you want to say to me now - because you don't have long. Valentine is infuriated by Yuri's casual demeanor. VALENTINE Are you not paying attention or are you delusional? You've broken every arms embargo written. There's enough in those briefcases to buy you consecutive life sentences. You'll spend ten years going from a cell to a courtroom before you even start doing your time. Yuri is looking away, apparently completely unconcerned. His attitude further angers Valentine. VALENTINE (cont'd) You don't seem to fully appreciate the seriousness of your situation! YURI (snapping back - his emotion finally showing) My family has disowned me. My wife and son have left me. My brother is dead. Trust me, I fully appreciate the seriousness of my situation. But I promise you I won't spend a single second in a courtroom. Valentine laughs derisively. VALENTINE You are delusional. Yuri is still unfazed. He leans forward to close the deal. YURI I like you, Jack. Well, maybe not. But I understand you. You feel your loyalty to your badge has finally been rewarded. But you haven't counted on the people who gave you that badge. Valentine's turn to hesitate. YURI (cont'd) (meeting Valentine's gaze) Let me tell you what's going to happen so you can prepare yourself. Yuri nods to the interview room door. YURI (cont'd) Soon there's going to be a knock on that door and you're going to be called outside. A montage of scenes - Yuri's prediction plays out accompanied by his commentary. INT. INTERVIEW ROOM. DAY. A knock at the door and an AGENT nods to VALENTINE. YURI (O.C.) In the hall there will be a man who outranks you. INT. HALLWAY - JAIL. DAY. Sure enough, a decorated military OFFICER talks to VALENTINE in the hallway as Yuri describes. YURI (O.C.) First, he will compliment you on the fine job you've done, how you're making the world a safer place and then he is going to tell you that I am to be released. We observe valentine's reaction - vigorously arguing with his superior. YURI (O.C.) You are going to protest, you will probably threaten to resign. The Officer, still turned away from us, tries to calm Valentine. INT. HALLWAY - JAIL. DAY. The door to the interview room opens. YURI (O.C.) But in the end I will be released. Yuri exits the cell to freedom. We return to the present. INT. INTERVIEW ROOM. DAY. VALENTINE's eyes burn into YURI. YURI (glancing to the open newspaper) The reason I'll be released is the same reason you think I will be convicted. I do rub shoulders with the most vile, sadistic men calling themselves leaders today. (referring to the newspaper) But some of those men are the enemies of your enemies. Valentine is starting to get a sick feeling. YURI (cont'd) And while the biggest arms dealer in the world is your boss, the President of the United States - who ships more merchandise in a day than I do in a year - sometimes it's embarrassing to have his fingerprints on the guns. Sometimes he needs a freelancer like me to supply opposition forces he can't be seen supplying. You call me evil, but, unfortunately for you, I am a necessary evil. There is a long silence. Then, A KNOCK AT THE DOOR. Valentine and Yuri exchange a look. Valentine rises from the desk. VALENTINE I would tell you to go to hell. But I think you're already there. Valentine turns on his heel. He is at the door when Yuri finally replies. YURI What if I'm not? What if I sleep fine at night? What if I sleep better than you? I think that's what truly scares you. Valentine doesn't look back, exits. Sure enough, the Officer is in the hall as Yuri predicted - COLONEL SOUTHERN. EXT. MANHATTAN JAIL - REAR EXIT. DAY. A car trunk closes on Yuri's five briefcases and other documents. YURI is escorted out the rear entrance of the city jail to the nondescript sedan by COLONEL SOUTHERN. As he's ushered into the car, Southern hands Yuri yet another briefcase. COLONEL SOUTHERN ushers Yuri into the car, hands him yet another briefcase as the car door closes. INT. NONDESCRIPT SEDAN. DAY. YURI rides alone with the briefcase on his lap. YURI (V.O.) Most people are happy just to get out of jail. I expect to be paid to leave. Yuri opens the case - BALES OF CASH. YURI (V.O.) I'm not a fool. I know that just because they need me one day doesn't mean they won't make me a scapegoat the next. But I was back doing what I do best. EXT. MANHATTAN. DAY. The nondescript sedan melts into rush-hour traffic. EXT. SOMEWHERE IN THE MIDDLE EAST - DESERT CHECKPOINT. DAY. A checkpoint in the desert - the fence a literal line in the sand. YURI accompanies a convoy of trucks. He is joking with a BORDER OFFICER - back to doing what he loves. The Border Officer inspects the crates in a truck, reads the manifest marked, "UMBRELLAS - QTY: 4,040 units". BORDER OFFICER (skeptical) Umbrellas - to Saudi Arabia? YURI Sun umbrellas. Yuri hands the Officer a plain, brown paper bag. The Officer looks inside - a wad of cash. BORDER OFFICER Have a safe trip. The Officer waves the convoy through. EXT. DESERT - BATTLEFIELD. DAY. The desert where we first found YURI, the aftermath of a battle. He speaks directly to camera once again. YURI For someone who's never fired a gun or been in a battle, I have suffered many casualties in my life. I guess that's how I survived. I never went to war... His thought is interrupted by a burst of gunfire. YURI (cont'd) ...especially with myself. Yuri walks away through the charred munitions and black smoke. In the distance the sound of sporadic gunfire. FADE TO BLACK \ No newline at end of file diff --git a/unformated_scripts/Script_Lord of the Rings_ Return of the King.txt b/unformated_scripts/Script_Lord of the Rings_ Return of the King.txt new file mode 100644 index 0000000000000000000000000000000000000000..822b7367350d19ad33aab02b04c026243afbf05e --- /dev/null +++ b/unformated_scripts/Script_Lord of the Rings_ Return of the King.txt @@ -0,0 +1 @@ + For Your Consideration Best Adapted Screenplay By Fran Walsh, Philippa Boyens, Peter Jackson Based on the Book by J.R.R. TolkienTHE LORD OF THE RINGS: THE RETURN OF THE KINGBLACK SCREEN . . .SUPER: New Line Cinema PresentsSUPER: A WingNut Films ProductionBLACK SCREEN:EXT. RIVER ANDUIN - DAYANGLE ON: SMEAGOL and his cousin, DEAGOL, sit in a SMALLCORACLE, their FISHING LINES draped over the side . . . SUNSHINEglinting off the surface of the water.An idyllic image.SUDDENLY . . . DEAGOL's FISHING ROD BENDS under the weight of aLARGE FISH. DEAGOL (excited) Smeagol, I've got one! (he laughs) I've got a fish, Smeagol! SMEAGOL (excitedly) Go on, pull it in.DEAGOL pulls on his ROD, but is HAULED OVERBOARD anddisappears underwater with a SPLASH!ANGLE ON: SMEAGOL leaning over the BOAT . . . CONCERNED. SMEAGOL (cont'd) (worried) Deagol!EXT. UNDERWATER, RIVER ANDUIN - DAYANGLE ON: DEAGOL is towed to the RIVER BED by a LARGE FISH. . . he suddenly lets go of the line . . . eyes fixed on aSHINING GOLD RING, lying in 'the SILT. Final Revision - October, 2003 2EXT. RIVER ANDUIN, GLADDEN FIELDS - DAYCLOSE ON: DEAGOL climbs out of the WATER, onto the RIVERBANK.CLOSE ON: the RING revealed in DEAGOL'S PALM . . .ANGLE ON: SMEAGOL peers over his shoulder . . . the GOLDreflects in SMEAGOL'S EYES!ON SOUNDTRACK: The HUM of the RING growing LOUDER . . . SMEAGOL Give us that, Deagol, my love!DEAGOL turns to look at him, a smirk on his face. DEAGOL Why?CLOSE ON: SMEAGOL moves towards DEAGOL . . . SMEAGOL Because its my birthday, and I wants it.ANGLE ON: SMEAGOL jumps on DEAGOL . . . STRANGLING HIM! SMEAGOLrips the GLITTERING RING from DEAGOL'S LIMP HAND. SMEAGOL (cont'd) My precious!CLOSE ON: SMEAGOL slips the RING onto his FINGER and DISAPPEARS. DISSOLVE TO:INT. MISTY MOUNTAINS CAVES - DAYIMAGES: SMEAGOL descending into madness. His body TWISTS andDISTORTS . . . he becomes a CREEPY, SHRIVELLED wretch . . . finallycrawling into a DARK CAVE beneath the MISTY MOUNTAINS. SMEAGOL V/0 They cursed us. Murderer. Murderer they called us. They cursed us and drove us away. (M∞RE) (CONTINUED) Final Revision - October, 2003 3.CONTINUED: SMEAGOL V/0 (cont'd) And we wept, Precious, we wept to be so alone. And we forgot the taste of bread, the sound of trees, the softness of the wind . . . We even forgot our own name. (in a choking cough) Gollum! Gollum!ANGLE ON: GOLLUM in the CAVE staring at the RING in his hand. GOLLUM It's mine! My own. It came to me. SMEAGOL (ecstatic) My Precious. DISSOLVE TO:EXT. CULVERT, VALE OF MORGUL - DAWNANGLE ON: A GRIM LANDSCAPE, covered in THORN BUSHES and thescars of RECENT FIRES. The DARK MORGUL VALLEY disappears uptowards the MOUNTAINS.SETTLE ON: FRODO and SAM in a FILTHY CULVERT.SAM twitches in a RESTLESS SLEEP. But FRODO is awake . . . Hishand trails down to the CHAIN around his NECK ...A SUDDEN HISS! FRODO quickly hides the RING as GOLLUM peersat them with GLEAMING EYES. GOLLUM Wake up! Wake up! Wake up, sleepies! We must go, yes, we must go at once!SAM STIRS, looks at FRODO . . . SAM Haven't you had any sleep, Mr Frodo?FRODO shakes his HEAD. SAM (cont'd) I've gone and had too much! (CONTINUED) Final Revision - October, 2003 4.CONTINUED:SAM looks at the dead, BROWN TWILIGHT, below the LOWERINGCLOUD. SAM (cont'd) It must be getting late. FRODO No . . . no it isn't. It isn't midday yet. The days are growing darker.The GROUND suddenly QUIVERS, as a ROLLING, RUMBLING NOISEECHOES down the VALLEY. GOLLUM Come on, must go, no time ... SAM Not before Mr Frodo's had something to eat. GOLLUM . . . no time to lose, silly.SAM shoots GOLLUM a HOSTILE LOOK and turns back to rummage inhis KNAPSACK. He holds up a piece of dried LEMBAS BREAD toFRODO. SAM Here. FRODO What about you? SAM (lying badly) I'm not hungry - leastways, not for lembas bread. FRODO Sam. SAM (confessing) Alright. We don't have that much left. (MORE) (CONTINUED) Final Revision - October, 2003 5.CONTINUED: ( 2 ) SAM (cont'd) We have to be careful or we're going to run out. You go ahead and eat that, Mr Frodo. I've rationed it. There should be enough.FRODO looksa t SAM questioningly. FRODO For what? SAM The journey home.FRODO says nothing. .EXT. CULVERT, VALE OF MORGUL - DAYWIDE: FRODO and SAM follow GOLLUM as he leads them on thewining, torturous path ... clambering through BRACKEN andover JAGGED ROCKS. GOLLUM Come, Hobbitses. Very close now. Very close to Mordor! No safe places here. Hurry! Shhh.EXT. THE FOREST OF ISENGARD. DAYGANDALF leads ARAGORN, LEGOLAS, THEODEN and GIMLI throughdark woodland . . .The MOVING FOREST of FANGORN ...opens before them . . .creating an AVENUE of TREES, which allows them access alongthe old ISENGARD ROAD. A THICK, HUMID MIST fills the forest.SUPER: The Return of the KingANGLE ON: The FOEST SEPARATES ahead, REVEALING: the RUINS ofISENGARD.EXT. ISENGARED GATE - DAYWIDE ON: All about, the GREAT STONE WALL is cracked andsplintered into countless jagged shards. (CONTINUED) Final Revision - October, 2003 6.CONTINUED:Far off, half veiled int he swirling STEAM, the TOWER ofORTHANC stands ... Unbroken by the storm. Pale waters lapabout its feet.ANGLE ON: TWO SMALL HOBBITS are sitting on the SMASHED WALL. . . MERRY and PIPPIN! SPREAD before them is a feast ofBREADS, MEATS and WINE. They PUFF on long pipes as they lieback in the SUN. PIPPIN I feel like I ' m back at the Green Dragon, after a hard days work. MERRY Only, you've never done a hard days work.MERRY cuts PIPPIN off before he can respond in kind. MERRY (cont'd) Welcome, my Lords, to Isengard. GANDALFANGLE ON: GANDALF, ARAGORN, LEGOLAS and GIMLI stare at theSIGHT before them . . . GIMLI You young rascals! A merry hunt you've led us on, and now we find you feasting and smoking. PIPPIN (mouth full) We are sitting on a field of victory, enjoying a few well-earned comforts. The salted pork is particularly good. GIMLI (suddenly interested) Salted pork? GANDALF (shaking his head) Hobbits! (CONTINUED) Final Revision - October, 2003 7.CONTINUED: (2) MERRY We're under orders from Treebeard, who's taken over management of Isengard.WIDE: GANDALF leads the company through the flotsam andjetsam which floats upon the muddied waters surrounding theTOWER ... TREEBEARD, the GIANT ENT, strides towards them,ALARMING all but GANDALF. TREEBEARD Huraroom ... Young Master Gandalf, I'm glad you've come. Wood and water, stock and , stone I can master, but there's a wizard to be managed here ... Locked in his tower. GANDALF And there Saruman must remain, under your guard, Treebeard. GIMLI Let's just have his head and be done with it. .GANDALF stares up the long length of the DARK TOWER . . . GANDALF (quietly) No. He has no power any more.THE OLD ENT nods his head wisely . . . TREEBEARD The filth of Saruman is washing away ... Trees will come back to live here, young trees . . . wild trees.CLOSE ON: PIPPIN, his eye caught by something lying in the WATERANGLE ON: The MUDDY waters GLOWING wit a golden light . . .ARAGORN turns as, quick as a FLASH, PIPPIN has jumped off hisho rse an d pi cke d u p -- th e PA LAN TIR ! (CONTINUED) Final Revision - October, 2003 8,CONTINUED: ( 3 ) TREEBEARD (cont'd) Well bless my bark! GANDALF (urgent) Peregrin Took! I'll take that, my lad!PIPPIN doesn't move, his eyes staring in wonder at the smoothblack stone ... GANDALF (cont'd) Quickly, now!RELUCTANTLY, PIPPIN hands the PALANTIR to GANDALF ... whoimmediately smothers it in his cloak.ANGLE ON: GANDALF looks back at PIPPIN . . . troubled.EXT. EDORAS - DAYWIDE: BACK SHOT - a GROUP OF RIDERS gallop towards the ROHANCITY of EDORAS . . .PUSH IN: EOWYN standing alone outside the GOLDEN HALL,waiting . . . CUTINT. EDORAS, GOLDEN HALL - EVENINGWIDE: A ROARING FIRE; a LAMB ROASTING on SPI; LONG TABLESladen with FOOD; BARRELS of WINE; a banquet is-laid ready forthe returning soldiers. THEODEN Tonight we remember those who gave their blood to defend this country. Hail the victorious dead!ANGLE ON: Amidst the cheering crowd, EOWYN moves towardsARAGORN . . . As she proffers the CHALICE their eyes meet. EOWYN Westu Aragorn hal. (CONTINUED) Final Revision - October, 2003 9,CONTINUED:EOWYN watches as ARAGORN moves away . . . a voice speaks in herear. THEODEN I am happy for you.EOWYN looks at her UNCLE, as THEODEN follows her gaze. THEODEN (cont'd) He is an honourable man. EOWYN (smiling) You are both honourable men. THEODEN It was not Theoden of Rohan who led our people to victory.EOWYN looks at him questioningly, disturbed'by his tone. T HE ODE N ( co nt' d) Don't listen to me - you are young, and tonight is for you.ANGLE ON: EOWYN watches concerned as her UNCLE moves away.ANGLE ON: MERRY & PIPPIN are in full voice, on top of one of theTABLES . . . both hold very large mugs of ALE in their hands. MERRY & PIPPIN (singing) Oh, you can search - up and down As many lands as can be found But you'll never find a beer so brown As the one we drink in our home town You can keep your fancy ales You can drink them by the flagon But the only brew, for the brave and true, Comes from the Green Dragon!ANGLE ON: GANDALF laughing and clapping the HOBBITS. ARAGORNsteps up beside him, SMILING at the floorshow. (CONTINUED) Final Revision - October, 2003 10,CONTINUED: (2) ARAGORN No news of Frodo? GANDALF No word ... nothing. ARAGORN We till have time.GANDALF turns quickly to ARAGORN. ARAGORN (cont'd) Every day Frpdo moves closer to Mordor.GANDALF watches his friend's face . . . seeking reassurance. GANDALF Do we know that? ARAGORN (gently) What does your heart tell you? GANDALF (with a small smile) That Frodo is alive. (to himself) Yes - yes, he is alive.EXT. MORGUL VALLEY - NIGHTANGLE ON: FRODO and SAM lie asleep amidst scrubby bushes near astagnant pool. SMEAGOL lies nearby, muttering in his sleep. SMEAGOL Too risky, too risky. The thieves! They stole it from us. Kill them . . . kill them ... kill them both!SMEAGOL wakes suddenly, shaking, his face drenched in SWEAT,eyes wide in horror. SME AGO L (c ont' d) No! (CON TINUED ) Final Revision - October, 2003 11.CONTINUED: GOLLUM (hissed whisper) Shhh! Quiet!SMEAGOL'S features suddenly transform into the MALEVOLENTface of GOLLUM! GOLLUM (cont'd) Mustn't wake them, mustn't ruin it now!SMEAGOL casts a quick glance over his SHOULDER to theSLEEPING figures of FRODO and SAM as he clambers off his ROCK. . . silently sidling towards the EDGE of a STAGNANT POOL. SMEAGOL They knows, they knows, they suspects us.SMEAGOL stares into the MURKY depths of the WATER.The SURFACE RIPPLES as the face of GOLLUM appears as SMEAGOL'SREFLECTION. GOLLUM., . ,.∑ What is it saying,.my Precious, my love? Is . Smeagol losing his nerve?? SMEAGOL : No! Not! Never!! Smeagol hates nasty Hobbitses! Smeagol wants to see: them - dead! GOLLUM And we will . . ,- Smeagol did it once. . . (sly) . . . He can do it again.FLASH INSERT: SMEAGOL choking DEAGOL . . . Fingers locked tightaround his THROAT. GOLLUM (cont'd) It's ours - ours! (CONTINUED) Final Revision - October, 2003 12,CONTINUED: (2) SMEAGOL We must get the Precious. We must get it back. GOLLUM Patience, patience, my love. First we must lead them to her. SMEAGOL We lead them to the windy stairs. GOLLUM (prompting) Yes, the stairs ... and then? SMEAGOL Up, up, up, up the stairs we go . . . until we come to . . . (naughty excitement) ... the Tunnel! GOLLUM (quiet) And when they go in, there's no coming out. She's always hungry, she always needs to feed. She must eat, all She gets is filthy Orcses. SMEAGOL And they doesn't taste very nice, does they, Precious? . GOLLUM (sinister) No . . . not very nice at all, my love. She hungers for sweeter meats . . .CLOSE ON: SAM . . . his EYES flicker OPEN . . . GOLLUM (cont'd) "Hobbit meat." And when She throws away the bones and the empty clothes, then we will find it . . . SMEAGOL And take it for Me! (CONTINUED) Final Revision - October, 2003 13CONTINUED: (3) GOLLUM (correcting) For us . . . SMEAGOL Yes, we, we meant for us . . . (choking cough) Go Hum! Go Hum! GOLLUM (sly) The Precious will be ours once the Hobbitses are dead!SUDDEN ANGLE ON: SAM image mirrored in the water as he SMACKSGOLLUM on the HEAD with his POT! SAM (yelling) ,∑ . You treacherous little toad!SAM drops the POT and FLINGS himself ON TOP of GOLLUM! GOLLUMSCREAMS . . . his ARMS and LEGS FLAILING WILDLY! GOLLUM (crying) No! Not! Help! Master!ANGLE ON: FRODO staggers over to SAM and PULLS HIM OFFGOLLUM. FRODO No, Sam! Leave him alone!CLOSE ON: GOLLUM, huddled on the ground WHIMPERING andSOBBING. SAM (fuming) I heard it from his own mouth he means to murder us! (CONTINUED) Final Revision - October, 2003 14CONTINUED: ( 4 ) SMEAGOL Never! Smeagol wouldn't hurt a fly! He's a horrid, fat Hobbit who hates Smeagol and who makes up nasty lies!SAM makes for SMEAGOL again . . . with a look of MURDEROUSRAGE. SAM You miserable little maggot! I'll stove your head in!FRODO grabs SAM'S ARM. FRODO Sm. . . a SAM Call me a liar! You're a liar! FRODO Sam! If you scare him off, we're lost.SAM pulls away from FRODO . . . SAM I don't care! I can't do it, Mr Frodo. I won' t wait around for him to kill us ! FRODO (fierce whisper) I'm not sending him away.SAM stares at FRODO . . . at a loss. SAM You don't see it, do you? He's a villain! FRODO (lowers voice) We can't do this by ourselves, Sam. Not without a guide. I need you on my side.ANGLE ON: SAM, his face softening. (CONTINUED) Final Revision - October, 2003 15.CONTINUED: (5) SAM (taken aback) I'm on your side, Mr Frodo. FRODO I know, Sam, I know. (whisper) You must trust me.FRODO beckons to GOLLUM. FRODO (cont'd) Come, Smeagol.GOLLUM turns slowly, staring at SAM through hooded, HATE-FILLEDEYES ... and SMILES. CUT TO:EXT. EDORAS, GOLDEN HALL - EARLY DAWNARAGORN joins LEGOLAS on the STEPS to the GOLDEN HALL, obliviousto the CHILL WIND . . . they look out across the SLEEPING CITY tothe LOOMING MOUNTAIN RANGE BEYOND . .-. DARK CLOUDS mark the sky. LEGOLAS The stars are veiled, something stirs in the east . . . A sleepless malice.LEGOLAS looks at ARAGORN . . . realisation in his face. LEGOLAS (cont'd) The eye of the enemy is moving.INT. EDORAS, SLEEPING QUARTERS - EARLY DAWN,CLOSE ON: PIPPIN . . . he is AWAKE! He sits up . . . ANXIOUS,FIDGETY . . .Suddenly he hops out of bed and creeps towards the SLEEPING FORMof GANDALF. MERRY (whispers) What you doing? (CONTINUED) Final Revision - October, 2003 16,CONTINUED:PIPPIN gasps with FRIGHT! MERRY is sitting up, wiping sleepfrom his eyes. He moves on . . .ANGLE ON: A sleeping GANDALF lies with eyes wide open! ButPIPPIN is undeterred . . .MERRY sits up, a worried look on his face. MERRY (cont'd) Pippin? Pippin? Pippin! What are you doing?With quick stealth, PIPPIN lifts the WRAPPED PALANTIR fromGANDALF'S grasp ... MERRY (cont'd) Pippin, are you mad? PIPPIN I just want to look at it. Just one more time. MERRY Put it back! Put - it - back!PIPPIN unwraps the PALANTIR and as MERRY looks on HORRIFIED,he gazes INTENTLY into it. MERRY (cont'd) Pippin!As PIPPIN lays his hands on the CRYSTAL, a SICKLY PALE lightslowly spreads from the GLASS BALL onto PIPPIN'S FACE ... hisEYES WIDEN. MERRY (cont'd) Pippin!EXT. EDORAS GOLDEN HALL - EARLY DAWNOn the STEPS of the GOLDEN HALL, LEGOLAS turns to ARAGORN (CONTINUED) Final Revision - October, 2003 17.CONTINUED: LEGOLAS (urgent) He is here.INT. EDORAS, SLEEPING QUARTERS - NIGHTPIPPIN suddenly starts to HYPERVENTILATE . . . He STAGGERSBACKWARDS, PALANTIR held rigidly before him . . .THE GREAT EYE OF SAURON seems to LEAP from the FIRE . . . PIPPINis bathed in the FIERY RED LIGHT.PIPPIN sinks to his KNEES, his mouth open in a soundless SCREAM. . . He FALLS BACKWARDS, powerless to release the FIERY GLOBE. MERRY Help! Someone help him!GANDALF wakes with a start! Just as ARAGORN enters, andwrenches the PALANTIR from PIPPIN'S HANDS . . . PIPPIN FALLS tothe FLOOR! . . . ARAGORN spins away, reeling backwards, thePALANTIR falling from his HANDS . . .The PALANTIR rolls across the FLOOR, causing EVERYONE in theroom to COWER BACK. ;ANGLE ON: GANDALF throws a BLANKET over it, ANGRY DISBELIEFon his face! He rounds on PIPPIN. , GANDALF Fool of a Took!GANDALF lifts the HOBBIT'S SLUMPED HEAD. MERRY Pippin!PIPPIN is trembling ... GANDALF calms him . . . PIPPIN Gandalf! Forgive me. GANDALF . Look at me! What did you see? (CONTINUED) Final Revision - October, 2003 18.CONTINUED: PIPPIN (disjointed) A tree ... There was a white tree . . . in a courtyard of stone . . . It was dead!FLASH INSERT: A lone white tree silhouetted by flames. PIPPIN (cont'd) The city was burning ... GANDALF Minas Tirith??? (to PIPPIN) Is that what you saw? PIPPIN (terrified) I saw . . . I saw him . . . I could hear his voice in my head. GANDALF And what did you tell him? Speak! PIPPIN He asked me my name, I didn't answer . . . he hurt me . . .CLOSE ON: GANDALF stares at PIPPIN with a FRIGHTENINGINTENSITY . . . GANDALF What did you tell him about Frodo and the Ring?INT. EDORAS, GOLDEN HALL - DAYTHEODEN stands in the GOLDEN HALL, gravely listening toGANDALF ... ARAGORN, LEGOLAS, and GIMLI look on . . . GANDALF There was no lie in Pippin's eyes; a fool, but an honest fool he remains. He told Sauron nothing of Frodo and the Ring.ANGLE ON: GIMLI lets out a sigh of relief. (CONTINUED) Final Revision - October, 2003 19.CONTINUED:GANDALF turns to look at THEODEN. GANDALF (cont'd) We've been strangely fortunate. What Pippin saw in the Palantir was a glimpse of our enemy's plan.GANDALF looks from on to the other of the, gathered company. GANDALF (cont'd) Sauron moves to strike the city of Minas Tirith. His defeat at Helm's Deep showed our enemy one thing.The WIZARD turns towards ARAGORN . . . GANDALF (cont'd) The heir of Elendil has come forth. Men are not as weak as he supposed. There is courage still - strength enough left to challenge him.THEODEN listens intently, saying nothing. GANDALF (cont'd) (wa rningly) Sauro n fea rs this. He will no t risk t he p e o p l es of M i d d l e -e a r t h u n i t i ng u n d e r one b a n n e r. He w i l l r ai s e M i n a s T ir i t h t o the groun d bef ore he sees the ret urn of t he King.CLOSE ON: ARAGORN . . . he knows GANDALF SPEAKS THE TRUTH.ANGLE ON: GANDALF rounds on THEODEN . . . GANDALF (cont'd) If the beacons of Condor are lit, Rohan must be ready for war!THEODEN holds GANDALF'S gaze. (CONTINUED) Final Revision - October, 2003 20CONTINUED: (2) THEODEN (quietly) Tell me. Why should we ride to the aid of those who did not come to ours?ANGLE ON: ARAGORN turns to look at THEODEN. THEODEN (cont'd) What do we owe Gondor? ARAGORN (low and urgent) I will go. GANDALF (hurried) No! ARAGORN They must be warned. GANDALF They will be. (low voice, to Aragorn) You must come to Minas Tirith by another ra ... od (cryptic) Follow the river, look to the black ships. (louder, to all) Understand this . . . things are now in motion that cannot be undone.GANDALF turns on his heel . . . and stares at a surpirsedPIPPIN. GANDALF (cont'd) I ride for Minas Tirith! And I won't be going alone !EXT. EDORAS STREETS - DAWNANGLE ON: GANDALF hurries along the STREETS . . . PIPPIN andMERRY run alongside trying to KEEP UP . . . (CONTINUED) Final Revision - October, 2003 21.CONTINUED: ∑ GANDALF Of all the inquisitive Hobbits, Peregrin, Took, you are the worst. Hurry, hurry!PIPPIN catches up to MERRY. PIPPIN (worried) Where are we going? MERRY Why did you look - why do you always have to look? PIPPIN . (subdued) I don't know . . . I can't help it.MERRY turns away ... MERRY You never can. PIPPIN (lightly) . . . . ,.; ∑ I'm sorry, alright? I won't do it again.This is too much for MERRY. He turns on PIPPIN. MERRY Don't you understand ... the Enemy thinks you have the Ring . . . he's going to be looking for you, Pip. They have to get you out of here! PIPPIN And you. You're coming with me . . . Merry? MERRY Come on!PUSH IN: PIPPIN'S face as MERRY strides away. ' ,., CUT TO: Final Revision - October, 2003 22INT. EDORAS STABLES - DAWNANGLE ON: PIPPIN is dumped unceremoniously onto the back ofSHADOWFAX as GANDALF hurriedly prepares to leave . . . PIPPIN (nervous) How far is Minas Tirith? GANDALF Three days ride as the Nazgul flies and you'd better hope we don't have one of those on our tail.MERRY thrusts a SMALL PACKAGE into PIPPIN'S HAND . . . MERRY Here - something for the road.PIPPIN stares down at the leather-bound bundle of PIPE-WEED. PIPPIN The last of the Longbottom Leaf. MERRY I know you've run out . . . you smoke too much, Pip. PIPPIN But we'11 see each other soon?A WORRIED MERRY exchanges glances with GANDALF. PIPPIN (cont'd) Won't we? MERRY I don't know . . . I don't know what's going to happen.GANDALF mounts SHADOWFAX. PIPPIN (rising panic) Merry? (CONTINUED) Final Revision - October, 2003 23.CONTINUED:GANDALF spurs the GREAT HORSE forward. GANDALF Run Shadowfax, show us the meaning of haste. PIPPIN (panicked) Merry!SHADOWFAX thunders out of the STABLES!CLOSE ON: MERRY'S devastated face.EXT. GATES OF EDORAS - DAYANGLE ON: SHADOWFAX carried GANDALF and PIPPIN out of theGATE and down the WINDING ROAD towards the PLAINS QF ROHAN.EXT. EDORAS GATES LOOK-OUT - DAYANGLE ON: MERRY clambers up a WATCHTOWER, ARAGORN in pursuit.ANGLE ON::The SMALL FIGURE as he watches his best friendDISAPPEAR into the DISTANCE . . .CLOSE ON: ARAGORN . . . he knows what it is to lose someone.EXT. RIVENDELL FOREST - DAYWIDE: ARWEN - escorted by a SMALL ENTOURAGE of ELVES - ridesthrough the gathering darkness of a PINE FOREST ... ELROND V/0 Take her by the safest road. A ship lies anchored in the Grey Havens. It waits to carry her across the Sea . . . The last journey of Arwen Undomiel.SLOW MOTION: As ARWEN rides through the FOREST the FIGURE ofa SMALL BOY of about 5 SUDDENLY runs across the path in frontof her.ARWEN reigns in ASFALOTH ... something about the BOYintrigues her.- but she does not know why . . . (CONTINUED) Final Revision - October, 2003 24.CONTINUED:As ARWEN watches the BOY moves away, the TREES begin to thin. . . the BOY continues running. One by one the TREES TRANSFORMinto TALL WHITE PILLARS ...ARWEN'S POV: The BOY now stands within a VISION of themajestic architecture of the great Gondorian city of MINASTIRITH.A SILHOUETTED FIGURE appears in the distance and movestowards the CHILD . . . the BOY runs to the FIGURE.ARWEN watches as the FIGURE holds out its arms - swinging theLAUGHING CHILD into the AIR . . .The figure turns to reveal ... ARAGORN, a little older,dressed in the casual finery of a GONDORIAN NOBLE.CLOSE ON: The'CHILD, now in ARAGORN'S ARMS looks directly atARWEN . . . it is a QUIET LOOK filled with INFINITE SADNESS.ARWEN'S eyes drop to the CHILD'S CHEST . . . around the CHILD'Sneck hangs the EVENSTAR . . .CLOSE ON: ARWEN as she realizes she is staring at a futurethat can never be, the CHILD she and ARAGORN will never have.INSERT: ELROND speaking to his daughter . . . ELROND V/0 (cont'd) Arwen, there is nothing for you here ... only death.ARWEN shuts her eyes ... when she opens them again the VISIONis gone . . . she is staring at DARK TREES once more. ELF ESCORT O.S. Lady Arwen?ARWEN turns towards her COMPANION who stares at her,concerned. ELF ESCORT We cannot delay.SUDD ENLY: ARWEN wheels ASFAL OTH ar ound . . . riding away. (C O N TI N U ED ) Final Revision - October, 2003 25.CONTINUED: (2) ELF ESCORT (cont'd) (calling) My Lady!EXT. RIVENDELL - DAYWIDE SHOT: ARWEN'S HORSE gallops over the BRIDGE and throughthe GATES into RIVENDELL.EXT. ELROND'S BALCONY, RIVENDELL - DAYANGLE ON: ELROND seated alone ... ARWEN runs up the STEPStowards him ... ARWEN .... What did you see?CLOSE ON: ELROND stands - stunned. ,, ELROND Arwen?ANGLE ON: ARWEN breathing hard, walking towards ELROND with afierce light in her eyes . . . ARWEN You have the gift of foresight - tell me what you have seen.CLOSE ON: ELROND his face grim. ' . ELROND I looked into your future and I saw death. ARWEN There is also life. ,Her father turns away ... ARWEN (cont'd) You saw there was a child . . . you saw my son.ELROND stares into space, the fight seems to go out of him.He won't look at her . . . (CONTINUED) Final Revision - October, 2003 26,CONTINUED: ELROND (quietly) That future is almost gone. ARWEN But it is not lost ... ELROND Nothing is certain.ANGLE ON: ARWEN gently takes her FATHER'S face in her handsand turns him toward her . . . ARWEN Some things are certain. If I leave him now I will regret It forever. (whisper) Ada, it is time.INSERT IMAGE: A HOODED FIGURE ascends a CURVED STAIRCASEtowards a GALLERY ... The FIGURE stops before a STATUE thatholds the BROKEN SHARDS of an ancient sword in its arms. A RW EN ( V .O .) (c on t' d ) From the ashes of fire shall be woken, a light from the shadow shall spring, renewed shall be blade that was broken ...INSERT IMAGE: The BLADE shattering in several fragments asISLIDUR brandishes NARSIL at SAURON. ARWEN (V.O.) (cont'd) The crownless again shall be King . . .CLOSE ON: The HOODED FIGURE looks up into the sorrowful faceof the STATUE ... The figure is ARWEN . . . ARWEN V/0 Reforge the sword.INT. ARWEN'S CHAMBER, RIVENDELL - NIGHTANGLE ON: ELROND stares at his daughter, unwavering . . . (CONTINUED) Final Revision - October, 2003 27.CONTINUED: ARWEN Ada ...ANGLE ON: ELROND turns away . . .ANGLE ON: ARWEN in ANGUISH, sits on her bed, the book fallsto the FLOOR ...CLOSE ON: ELROND picks up her JOURNAL and takes one of herhands in his . . . ELROND Your hands are cold. (distressed) The life of the Eldar is leaving you.CLOSE ON: ELROND'S despair is plain . . . ELROND (cont'd) It has begun. ARWEN This was my choice. Ada ... Whether by your will or not, there is no ship now that can bear me hence.ANGLE ON: ELROND, he understands now that to protect hisdauther, he must trust her . . .INSERT IMAGES: A BROKEN SWORD GLOWS with RED HEAT . . . It'sBLADE in SEVERAL FRAGMENTS.IMAGE: A HEAVY HAMMER pounds the RED-HOT BLADE on an ANVIL. . . As ELVEN-SMITHS TEMPER the STEEL.IMAGE: ELROND'S FACE lit by FLICKERING FIRE as SPARKS fly in.the RIVENDELL FORGE.CLOSE ON: The SWORD is withdrawn from a POOL OF STEAMINGWATER ... LIGHT SHIMMERS as the WATER DROPS slide down theBLADE of NARSIL, the SWORD that was broken has been remade. DISSOLVE TO: Final Revision - October, 2003 28EXT. FOOTHILLS OF WHITE MOUNTAINS - NIGHTCLOSE ON: PIPPIN asleep . . . GANDALF'S PROTECTIVE ARM aroundhim .... . . as SHADOWFAX THUNDERS through the NIGHT. DISSOLVE TO:EXT. FOOTHILLS OF WHITE MOUNTAINS - DAYANGLE ON: SHADOWFAX powers along the COUNTRYSIDE.ANGLE ON: PIPPIN, huddled in front of GANDALF, the WINDsailing through his hair. GANDALF We have just passed into the realm of Condor!EXT. MINAS TIRITH - DAWNANGLE ON: SHADOWFAX gallops up onto a LOW RIDGE . . .ANGLE ON: Before them is the DARK MASS of Mount Mindolluin,its tall WHITE FACE whitening in the RISING SUN. Upon its out-thrust knee is the Guarded City: MINAS TIRITH.With SEVEN WALLS OF WHITE STONE, so strong and old that itseems to have been not built, MINAS TIRITH looks carven bygiants out of the bones of the earth. GANDALF Minas Tirith . . . City of the Kings.Suddenly the SUN climbs over the eastern hills, and sendsforth a SHAFT OF SUNLIGHT that GLEAMS against th e face of theCITY. The TOWER OF ECTHELION stands high within the topmostwalls. WHITE BANNERS break and FLUTTER from the BATTLEMENTSin the morning breeze.EXT. MINAS TIRITH STREETS - DAYGANDALF steering SHADOWFAX up the STEEP STREETS of MINASTIRITH. (CONTINUED) Final Revision - October, 2003 29.CONTINUED:ANGLE ON: The stares of frightened GONDORIANS as GANDALF andPIPPIN gallop through the WINDING STREETS . . .AERIAL SHOT: SHADOWFAX, carrying GANDALF and PIPPIN uptowards the 7th LEVEL.MINAS TIRITH is built in 7 LEVELS - each behind a CIRCULARDEFENSIVE WALL. Each level rises - the city reaches a heightof nearly 1000 FEET on its TOPMOST LEVEL.A towering BASTION of NATURAL ROCK - shaped like a sharpship's prow - bisects the city from the 2nd LEVEL to the TOP.EXT. MINAS TIRITH, COURT OF THE KINGS - DAYSHADOWFAX arrives at a GREAT CITADEL on the SUMMIT of theCITY - 1000 FEET above the PELENNOR FIELDS.GANDALF and PIPPIN dismount, leaving the GUARDS of theCITADEL to tend to SHADOWFAX. GANDALF hurries off . . .CLOSE ON: PIPPIN as he takes in his surroundings, his eyecaught by a DEAD TREE that stands in the middle of the COURT,FOUR SOLEMN CITADEL GUARDS standing sentry around it. PIPPIN ; . (whisper) It's the tree. , (hurrying after GANDALF) Gandalf! Gandalf! GANDALF Yes, the white tree of Gondor. The tree of the King.GANDALF leads PIPPIN across a FLAT COURT of WHITE STONES,surrounded by GREEN LAWNS . . . towards a GREAT HALL benejaththe GLEAMING TOWER. ' \ GANDALF (cont'd) Lord Denethor, however, is not the King. He is a steward only. A caretaker of the throne.GANDALF lowers his voice, as they approach the TOWER HALL. ∑, (CONTINUED) Final Revision - October, 2003 30.CONTINUED: GA ND ALF (c on t'd ) (quietly) Now, listen carefully. Lord Denethor is Boromir's father. To give him news of his beloved son's death would be most unwise ... And do not mention Frodo . . . Or the Ring . . . And say nothing of Aragorn either. (hesitates) In fact, it's better if you don't speak at all, Pippin Took.CLOSE ON: PIPPIN, suitably chastened, nods.INT. MINAS TIRITH TOWER HALL - DAYANGLE ON: A LONG SOLEMN HALL ... with ROWS OF BLACK MARBLEPILLARS. Between the pillars stand a silent company of TALLKINGS carved in cold STONE.GANDALF strides down the HALL, with PIPPIN followingobediently behind.At the FAR END, upon a DAIS OF MANY STEPS, sits a LARGE,EMPTY THRONE . . . and on the wall behind is the IMAGE of aFLOWERING WHITE TREE set in GEMS.At the FOOT of the DAIS, in a small STONE CHAIR, sits an OLDMAN, gazing at his lap: DENETHOR - the Lord Steward ofCONDOR. GANDALF Hail, Denethor, Son of Ecthelion, Lord and Steward of Gondor.DENETHOR does not look up as GANDALF and PIPPIN approach. GANDALF (cont'd) I come with tidings in this dark hour - and with counsel.DENETHOR slowly raises COLD EYES . . . DENETHOR (bitter) Perhaps you come to explain this? (CONTINUED) Final Revision - October, 2003 31.CONTINUED:DENETHOR holds up BOROMIR'S BROKEN HORN ... DEN ETH OR (c ont 'd ) Perhaps you come to tell me why my son is dead?CLOSE ON: PIPPIN remembering . . .INSERT IMAGE: BOROMIR, as URUK-HAI arrows thud into his body,he falls to his KNEES . . .PIPPIN starts forward unable to say nothing . . . .. PIPPIN Boromir died to save us . . . my kinsman and me . . . he fell, defending us from many foes.CLOSE ON: DENETHOR pain flickers in his eyes. GANDALF (hurried whisper) Pippin!PIPPIN drops to his knee offering DENETHOR his SWORD . . . PIPPIN I offer you my service, such as it is, in payment of this debt.DENETHOR looks at PIPPIN blankly, overcome with grief.: GANDALF (to PIPPIN) Get up! (a ddre ssin g D ENET HOR) My Lord, there will be a time to grieve for Boromir, but it is not now. War is coming ... the Enemy is on your doorstep. As Steward, you are charged with the defence of this city. Where are Condor's armies?DENETHOR gaze turns slowly on GANDALF . . . (CONTINUED) Final Revision - October, 2003 32.CONTINUED: ( 2 ) GANDALF (cont'd) You still have friends - you are not alone in this fight. Send word to Theoden of Rohan. Light the beacons.DENETHOR smiles at GANDALF, as if amused by something. DENETHOR (softly) You think you are wise, Mithrandir, yet for all your subtleties.you have not wisdom. Do you think the eyes of the White Tower are blind? I have seen more than you know. With your left hand you would use me as a shield against Mordor and with your right you would seek to supplant me.CLOSE ON: GANDALF looks shocked, DENETHOR'S eyes NARROW. DENETHOR (cont'd) (contemptuous) I know who rides with Theoden of Rohan. Oh, yes. Word has reached my ears of this Aragorn, son of Arathorn, and I tell you now, I will not bow to this Ranger from the North - last of a ragged house, long bereft of Lordship. GANDALF (stung) Authority is not given to you to deny the return of the King - Steward! DENETHOR (explosive) The rule of Condor is mine, and no others!CLOSE ON: PIPPIN, horrified. GANDALF looks at Denethorclosely for a moment, then turns on his heel to leave, PIPPINfollows. GANDALF Come.GANDALF and PIPPIN stride from the TOWER HALL ... DENETHORslumps back into his SEAT. Final Revision - October, 2003 33.INT. MINAS TIRITH, PIPPIN'S QUARTERS - NIGHTANGLE ON: PIPPIN is carefully laying out a SMALL UNIFORM ofthe ROYAL GUARD on a bed. PIPPIN So, I imagine this is just a ceremonial position . . . I mean, they don't actually expect me to do any fighting . . . do they?WIDE: GANDALF STANDING QUIETLY on a BALCONY that overlooksthe GREAT CITY. GANDALF You're in the service of the Steward now - you're going to have to do as you're told, Peregrin Took . . . (under his breath) Guard of the Citadel!EXT. MINAS TIRITH BALCONY - NIGHTANGLE ON: PIPPIN as he stares up at the vast NIGHT SKY., PIPPIN It's so quiet.GANDALF watches the young HOBBIT. GANDALF It's the deep breath before the plunge. PIPPIN I don't want to be in a battle . . . but waiting on the edge of one I can't escape is even worse. L (tense) : Is there any hope, Gandalf - for Frodo and Sam?GANDALF joins PIPPIN as they look towards the distant, jaggedMOUNTAINS of MORDOR . . . (CONTINUED) Final Revision - October, 2003 34.CONTINUED: GANDALF There never was much hope.PIPPIN looks up at him, unnerved. GANDALF gives him a smallself-deprecating smile . . . GANDALF (cont'd) Just a fool's hope.GANDALF and PIPPIN share a quiet moment as they stare outtowards the FIERY SKY over MORDOR . . . GANDALF V/0 (grim) Our enemy is almost ready, his full strength gathered. Not only Ores, but men as well.INSERT IMAGE: GIANT MUMAKIL carrying ARMIES upon their backs GANDALF V/0 (cont'd) Legions of Haradrim from the South ......INSERT IMAGE: CORSAIR SHIPS sail up the RIVER . . . GANDALF V/0 (cont'd) Mercenaries from the coast . . . All will answer Mordor' s call.ANGLE ON: GANDALF . . . he is almost talking to himself now ..like a man unable to prevent a sure disaster. GANDALF This will be the end of Gondor as we know it. Here the hammerstroke will fall hardest.INSERT IMAGE: The BATTLE-SCARRED CITY of OSGILIATH - lastbastion between MINAS TIRITH and MORDOR . . . GANDALF V/0 If the river is taken, if the garrison at Osgiliath falls, the last defence of this city will be gone. (CONTINUED) Final Revision - October, 2003 35.CONTINUED: ( 2 )CLOSE ON: PIPPIN ... desperately seeking reassurance. PIPPIN But we have the White Wizard. That's got to count for something.GANDALF looks down at PIPPIN, he says nothing ... PIPPIN (cont'd) (nervous) Gandalf?GANDALF stares into the distance as if seeing something inhis mind's eye.INSERT IMAGE: A TOWERING, HOODED FIGURE, DRESSED in BLACK, isbeing dressed in ARMOUR by attendant ORCS ... GANDALF V/0 Sauron has yet to reveal his deadliest servant . . . The one who will lead Mordor's armies in war, the one they say no living man can kill.CLOSE ON: GANDALF still staring intently as if facing hisenemy in .person. GANDALF The Witchking of Angmar . . . (he looks down at a startled PIPPIN) , . ; You've met him before . . .ANGLE ON: PIPPIN looks up at GANDALF, afraid to ask . . . GANDALF (cont'd) He stabbed Frodo on Weathertop.INSERT IMAGE: FRODO screaming as the MORGUL BLADE is driveninto his SHOULDER . . .PIPPIN blanches at the MEMORY . . . (CONTINUED) Final Revision - October, 2003 36.CONTINUED: ( 3 ) G AN DA LF ( co nt 'd ) He is the Lord of the Nazgul - the greatest of the nine . . .EXT. MINAS MORGUL - NIGHT GANDALF V/0 And Minas Morgul is his lair.ANGLE ON: FRODO and SAM clamber into a SMALL GULLY beside aROUGH-HEWN ROAD ... GOLLUM CAREFULLY.peers OVER the lip ofthe GULLY ___ANGLE ON: MINAS MORGUL, a MASSIVE DEAD CITY, set upon a ROCKYKNEE at the HEAD OF THE morgul valley. CORRUPT and LOATHSOME,it glows with a SICKLY LUMINOUS LIGHT - like a CORPSE CANDLE.TWO HUGE, BESTIAL STONE STATUES guard the BRIDGE that leadsto the CITY ... GOLLUM (whisper) The Dead City, very nasty place, full of ... enemies.GOLLUM, FRODO and SAM hurry from their COVER scampering inthe SHADOWS towards MINAS MORGUL ... GOLLUM (cont'd) (hissed whisper) Quick! Quick! They will see, they will see.CLOSE ON: FRODO . . . he LOOKS UP at the HIDEOUS STATUES. HisSENSES START REELING. GOLLUM (cont'd) Come away, come away. Look! We have found it.FRODO and SAM look AGHAST at the sight of a NARROW, NEAR-VERTICAL STAIRCASE, cut into the ROCK-FACE ... Directly inFRONT of the MINAS MORGUL GATES. GOLLUM (cont'd) The way into Mordor! (CO NTINUE D) Final Revision - October, 2003 37.CONTINUED:ANGLE ON: Following the STAIRS . . . HIGHER and HIGHER up thesheer western side of the MORGUL VALLEY - to the HIGH PEAKSof the razor-like MOUNTAINS OF MORDOR. GOLLUM (cont'd) The secret stairs . . . climb!SUDDENLY! FRODO staggers across the ROAD . . . as if someFORCE, other than his own will, is at work! He lurchestowards the BRIDGE . . . towards MINAS MORGUL! SAM No, Mr Frodo! GOLLUM (desperate) Not that way!SAM runs after FRODO, catching him in his arms as he STUMBLES, GOLLUM (cont'd) What's it doing? SAM No!SAM and GOLLUM pull FRODO from the BRIDGE. FRODO (disorientated) They're calling me!FRODO falls to the GROUND.AT THAT MOMENT: the GROUND QUIVERS, and a great RUMBLINGNOISE rolls across the ground and ECHOES in the mountains.The cold, dull MORGUL VALLEY is suddenly VIOLENT and FIERCE,as UPRUSHING FLAME springs from MOUNT DOOM.MINAS MORGUL ANSWERS: A FLARE of LIVID LIGHTNING, FORKS ofBLUE FLAME, SPRING UP from the TOWER into the SULLEN CLOUD. INTERCUT WITH: Final Revision - October, 2003 38,EXT. MINAS TIRITH BALCONY - NIGHTANGLE ON: VIOLENT FIERY FLASHES light the CLOUD above MORDOR. . . SHARP THUNDER rolls across 40 MILES to MINAS TIRITH.CLOSE ON: PIPPIN looking on in FRIGHTENED AWE. GANDALF'Scomforting HAND rests on his shoulder. INTERCUT WITH:EXT. MINAS MORGUL - NIGHTSAM and GOLLUM lead FRODO to the STAIRS ...ABOVE MINAS MORGUL the SKY is BRIGHT with LIGHT as the CITY,erupts . . . GOLLUM Hide! Hide! INTERCUT WITH:EXT. MINAS TIRITH BATTLEMENTS - NIGHTANGLES ON: FACES of SOLDIERS and CIVILIANS of MINAS TIRITH asthey watch from the PARAPETS of the CITY. INTERCUT WITH:EXT. MINAS MORGUL - NIGHTFRODO and SAM sink to the ground, holding their hands againsttheir ears, as out of the CITY comes a RENDING SCREECH . . .SHIVERING, rising swiftly to a PIERCING PITCH beyond therange of hearing. The terrible CRY ends, falling back througha long sickening WAIL, to SILENCE.ANGLE ON: FRODO slowly RAISES HIS HEAD . . . across the NARROWVALLEY, directly opposite the HOBBITS, the LORD OF THE NAZGUL- the WITCH KING - suddenly RISES UP out of the DEAD CITY onhis FELL-BEAST!. .. ,as the WITCH KING settles on the BATTLEMENTS of MINASMORGUL. His DARK HEAD turns this way and that, sweeping theshadows with unseen eyes - as if SENSING the RING ! (CONTINUED) Final Revision - October, 2003 39.CONTINUED:ANGLE ON: FRODO breaking out into a COLD SWEAT. He squeezeshis eyes shut, clutching at his SHIRT as if it's on FIRE! FRODO . (gasping) I can feel his blade!THE CAVERNOUS GATE of MINAS MORGUL swings OPEN .... . . and. a HUGE ARMY MARCHES OUT!RANK upon RANK of ARMOUR CLAD ORCS, moving SWIFTLY andSILENTLY, pass close to FRODO and SAM in an ENDLESS STREAM ofRAGGED COLUMNS!EXT. MINAS TIRITH BALCONY - NIGHTCLOSE ON: GANDALF . .. . GANDALF (quiet) We come to it at last ... the great battle of our time. INTERCUT WITH:EXT. MINAS MORGUL - NIGHTANGLE ON: 75,000 ORCS MARCHING TO WAR, just below FRODO and SAM. GANDALF V/0 This war is long planned. Sauron has hated the west through many ages . . . It is a hatred that flows from the depths of time, across the deeps of the Sea.The WITCH KING SWOOPS down the VALLEY to join the HEAD of hisARMY. He vanishes into the GLOOM - a shadow into shadow.CLOSE ON: GOLLUM peers out from his stony hiding place. GOLLUM (urgent) Come, hobbits. We climb - we must climb! (CONTINUED) Final Revision - October, 2003 40.CONTINUED:ANGLE ON: FRODO, SAM and GOLLUM climb the STONY STAIRS highabove the MARCHING ARMY.EXT. MINAS TIRITH BALCONY - NIGHTANGLE ON: GANDALF . . . thinking, calculating . . . GANDALF (to himself) The board is set, the pieces are moving.EXT. MINAS TIRITH SIXTH LEVEL - NIGHTANGLE ON: GANDALF striding BACK STREETS of the CITY . . . soDETERMINED and PURPOSEFUL is he, that PIPPIN has to RUN tokeep up. GANDALF suddenly stops and looks down at PIPPIN . . . GANDALF Peregrin Took, my lad, there is a task to be done. Another opportunity for one of the Shire-folk to prove their great worth!GANDALF kneels down and looks at PIPPIN earnestly, his handon PIPPIN'S shoulder. GANDALF (cont'd) You must not fail me.GANDALF watches as PIPPIN hurries away.EXT. WEST OSGILIATH, RIVER ANDUIN - NIGHTWIDE ON: An ANCIENT STONE BRIDGE which spans the RUINS ofEAST and WEST OSGILIATH - a once MIGHTY GONDORIAN CITY.WIDE ON: ITHILIEN RANGERS patrolling the BRIDGE and theRIVERBANK.WEST OSGILIATH has fallen into disrepair, but the DESOLATIONof EAST OSGILIATH is more pronounced - it is held by theFORCES of MORDOR.CAMERA tracks down beneath the BRIDGE to the DARK WATERS . . .catching a STEALTHY MOVEMENT . . . (CONTINUED) Final Revision - October, 2003 41.CONTINUED:ANGLE ON: MANY BOATS, carrying MURDEROUS-LOOKING ORCS, arequietly tracking down the RIVER. On board several HUNCHEDFIGURES steer with LONG OARS. GOTHMOG (to his oarsmen) Quiet!EXT. WEST OSGILIATH, RIVER ANDUIN - NIGHTCLOSE ON: FARAMIR, CAPTAIN OF CONDOR, as he issues orders tohis SOLDIERS. FARAMIR (urgent) To the river - quick!ANGLE ON: ITHILIEN RANGERS take position; they are allWEATHERED, HARDENED, PROFESSIONAL SOLDIERS . . . Watchful,ready, waiting . . . GOTHMOG Faster!ON THE RIVER the BOATS quietly advance. ORC COMMANDER Draw swords!ANGLE ON: FARAMIR and his SOLDIERS lie in wait. As the BOATSarrive HUNDREDS of ORCS race ashore. FARAMIR steps out, hisSWORD drawn. A FIERCE BATTLE ensues, but FARAMIR is unable tostop the advance as HUNDREDS OF ORCS cross the WIDE BRIDGEinto WEST OSGILIATH.EXT. MOUNT MINDOLLUIN - DAWNHIGH ANGLE ON: A DIZZYING VIEW . . . Looking down on MINASTIRITH, 1000 FEET BELOW, as PIPPIN desperately scrambles upthe ROCKY MOUNTAINSIDE.EXT. MINAS TIRITH BEACON - DAWNPIPPIN clambers over a ROCKY LEDGE and ducks behind a STONEWALL . . . panting HEAVILY. (CONTINUED) Final Revision - October, 2003 42,CONTINUED:ANGLE ON: An ancient STONE LEDGE holds a GREAT PILE ofFIREWOOD, secured in stacked bundles ... The MINAS TIRITHBEACON!TWO bored CITADEL GUARDS sit chatting ... passing the longhours. INTERCUT WITH:EXT. MINAS TIRITH STREETS - DAWNANGLE ON: GANDALF as he waits tensely below . . . INTERCUT WITH:EXT. MINAS TIRITH BEACON - DAWNANGLES ON: PIPPIN as he stealthily manages to POUR OIL on theWOOD and set a FLAME to it!Within SECONDS, the GREAT PYRE is alight! The GUARDS look onin TOTAL SURPRISE as the FLAMES ERUPT into the TWILIGHT SKY. INTERCUT WITH:EXT. MINAS TIRITH STREETSANGLE ON: GANDALF as the BEACONS burst into FLAMES ... His.eyes flash briefly with TRIUMPH before he hurries off ...EXT. MINAS TIRITH BATTLEMENTS - DUSKANGLE ON: The BEACON glows BRIGHTLY on the slopes of MOUNTMINDOLLUIN, high above MINAS TIRITH ...PULL BACK: GANDALF hurries to the BATTLEMENT, looking furtherwest along the WHITE MOUNTAINS. GANDALF (to himself) Amon Din ... come on . . .ANGLE ON: a bright FIRE ignites on a DISTANT MOUNTAIN PEAK. (CONTINUED) Final Revision - October, 2003 43.CONTINUED:NOISY COMMOTION in the city as PEOPLE realise the BEACONShave been lit! SOLDIER (yelling) The beacon! The beacon at Amon Din is lit!FLASH INSERT: DENETHOR staring∑at the BEACON from the CITADELWINDOW . . . a look of BLACK FURY on his face.ANGLE ON: GANDALF, a strange smile plays on his face . . . GANDALF (to himself) Hope is kindled. CUT TO:EXT. WHITE MOUNTAINS AERIAL - NIGHTAERIAL SHOT: MOVING over the WHITE MOUNTAINS . . . as the TRAILof GREAT FIRES slowly winds from PEAK TO PEAK.EXT. EDORAS COURTYARD - DAWNANGLE ON: A ROCKY PEAK high above EDORAS . . . a GREAT BEACONFIRE is IGNITED.ON THE SOUNDTRACK: A BELL TOLLS urgently!CLOSE ON: ARAGORN looks tensely out across the MOUNTAINS . . .PULL BACK . . . ARAGORN runs towards the GOLDEN HALL.INT. EDORAS, GOLDEN HALL - DAWNCLOSE ON: ARAGORN bursts into the GOLDEN HALL. ARAGORN The beacons of Minas Tirith! The beacons are lit! Condor calls for aid!ANGLE ON: THEODEN looks up startled. (CONTINUED) Final Revision - October, 2003 44,CONTINUED:CLOSE ON: EOWYN, EOMER turn to look at their UNCLE ... tensionbuilds.CLOSE ON: THEODEN his head lowered . . . Slowly it rises - helooks ARAGORN in the EYE. THEODEN Then Rohan will answer. Muster the Rohirrim!EXT. EDORAS COURTYARD - DAWNWIDE ON: EDORAS LOOKOUT . . . A SOLDIER RINGING the GREAT BELLin alarm as below, in the COURTYARD, SOLDIERS mount theirSTEEDS amid great activity.ANGLE ON: THEODEN striding purposefully outside, flanked byEOMER and his SOLDIERS ... THEODEN Assemble the army at Dunharrow - as many men as can be found. You have two days ... On the third, we ride for Condor ... and war!ANGLE ON: THEODEN strides onto the PARAPETS . . . THEODEN (cont'd) Gamling, make haste across the Riddermark ... Summon every able-bodied man to Dunharrow!ANGLE ON: THEODEN watches as below the SOLDIERS prepare.ANGLE ON: EOWYN hurriedly pulling on RIDING GLOVES, preparingto mount her HORSE. ARAGORN You ride with us?EOWYN turns and runs SMACK into ARAGORN ... EOWYN Just to the encampment. It's tradition for the women of the Court to farewell the men. (CONTINUED) Final Revision - October, 2003 45.CONTINUED:ARAGORN smiles . . . reaching past her, he lifts a cover to reveala SWORD, strapped to the side of the saddle of her HORSE.EOWYN deftly pulls the cover back down. She looks at ARAGORN. EOWYN (cont'd) (softly) The Men have found their Captain - they will follow you into battle, even to death. (quietly) You have given us hope.PULL BACK: to reveal THEODEN stares around at the STREETS andPEOPLE of EDORAS . . . it is as if he knows he will not seethis place again. THEODEN V/0 So . . . It is before the walls of Minas Tirith that the doom of our time will be decided.ANGLE ON: EOMER astride his horse, calls to the assembledSOLDIERS . . . EOMER Now is the hour! Riders of Rohan - oaths you have taken. Now, fulfil them all - to Lord and land!EXT. PLAINS OF ROHAN - DAYANGLE ON: THEODEN astride SNOWMANE, as he, EOMER, ARAGORN &MERRY and LEGOLAS & GIMLI ride out AMID a GREAT COLUMN ofROHIRRIM, THUNDERING towards DUNHARROW in the MOUNTAINS.EXT. WEST OSGILIATH, RIVER ANDUIN - DAYANGLE ON: FARAMIR and his MEN are fighting a losing BATTLEagainst the MORDOR invasion. MADRIL We can't hold them. The city is lost! (CONTINUED) Final Revision - October, 2003 46.CONTINUED: FARAMIR Tell the men to break up. We ride for Minas Tirith.ON THE SOUNDTRACK: OMINOUS SOUNDS of WIND RISING ... HUGEWINGS BEATING ... RANGER Nazgul!SPINNING ANGLE: FARAMIR looks up at the SKY . . . ITHILIENRANGERS are suddenly nervous, frightened . . . A HUGE SHADOWpasses overhead! FARAMIR Take cover!A SUDDEN TERRIFYING SHRIEK rends the AIR! FARAMIR (cont'd) Pull back! Pull back to Minas Tirith!ANGLE ON: SOLDIERS RETREATING through the RUINS of the CITYas, high in the sky above, the NAZGUL swoop ...ANGLE ON: MADRIL as he is cut down by an ORC . . .CLOSE ON: MADRIL . . . his breathing quick and shallow . . .footsteps approach . . .ANGLE ON: The HIDEOUSLY deformed features of GOTHMOG standingover the prone figure of the INJURED RANGER.Grabbing a spear from a nearby underling, GOTHMOG drives theshaft into MADRIL'S chest . . .CLOSE ON: GOTHMOG surveys the carnage with satisfaction. GOTHMOG The age of men is over. The time of the Ore has come. Final Revision - October, 2003 47.EXT. PELENNOR FIELDS - DAYFARAMIR and a few survivors flee WEST OSGILIATH, desperatelyriding toward MINAS TIRITH . . . in the SKY above DARK SHAPESpursue them ...ANGLE ON: SUDDENLY, from on HIGH, the NAZGUL strike!TILT DOWN ... following the NAZGUL as it SWOOPS out of LOW-LYING, MURKY CLOUDS tossing MEN in the AIR like LIMP RAG-DOLLS!AT THAT MOMENT: Across the PLAIN, a FIGURE clothed in WHITErides towards them!From the BATTLEMENTS of MINAS TIRITH, a call . . . "The WhiteRider!"EXT. PELENNOR FIELDS - DAYWIDE ON: GANDALF as he spurs SHADOWFAX forward! PIPPIN clingstightly to the great horses MANE.ANGLE ON: FARAMIR, SWORD in hand, remains at the REAR, tryingdesperately to fend off the DEADLY ASSAULT . . .AGAIN the FELL-BEASTS DIVE low ...GANDALF thunders into view, raising his STAFF ...A SHAFT OF WHITE LIGHT suddenly stabs upwards! The NAZGULSWERVES AWAY from the LIGHT, as it pierces the LOW CLOUD!For a BRIEF MOMENT, SUNLIGHT streams through the hole ontoPELENNOR FIELDS . . . The NAZGUL circle away from the SUN RAYS,swiftly spiralling higher and higher.The NAZGUL defeated, GANDALF and the RANGERS ride towards thesafety of MINAS TIRITH.EXT. MINAS TIRITH GATES - DAYANGLE ON: IORLAS runs towards the GATES, yelling . . . IORLAS Open the Gates! Pull! (CONTINUED) Final Revision - October, 2003 48,CONTINUED:The GREAT GATES OPEN, allowing GANDALF, PIPPIN, FARAMIR andthe OSGILIATH SURVIVORS to RIDE IN . . . Nearly 100 WOUNDED ANDSHOCKED MEN.AS GANDALF pulls SHADOWFAX up . . . FARAMIR Mithrandir!ANGLE ON: FARAMIR STEERS HIS HORSE through the CROWD towardsGANDALF ... FARAMIR (cont'd) They broke through our defences. They have taken the bridge a nd the West Bank. Battalions of Ores are crossing the River. IORLAS It is as the Lord Denethor predicted - long has he foreseen this doom! GANDALF Foreseen and done nothing!FARAMIR suddenly STARES at PIPPIN. GANDALF reads the surprisein his eyes. GA ND ALF (c on t'd ) Faramir? ... This is not the first halfling to have crossed your path ...FARAMIR shakes his head. FARAMIR No. PIPPIN (disbelief) You've seen Frodo and Sam?FARAMIR NODS. GANDALF Where? When? (CONTINUED) Final Revision - October, 2003 49.CONTINUED: ( 2 ) FARAMIR In Ithilien, not two days ago. Gandalf - they are taking the road to the Morgul Vale. GANDALF (shocked realisation) . . . And then the Pass of Cirith Ungol.CLOSE ON: GANDALF, deeply troubled. PIPPIN What does that mean? What's wrong? GANDALF (urgent) Faramir . . . Tell me everything.EXT. CIRITH UNGOL STAIRS - NIGHTANGLE ON: FRODO and SAM following GOLLUM up the dizzyingSTAIRWAY, carved into the SHEER CLIFF.The STEPS are NARROW, UNEVENLY SPACED, and many are BROKEN.They are so STEEP that FRODO and SAM climb as if on a LADDER ∑their desperate FINGERS clinging to the STEPS ABOVE - tryingnot to look at the LONG BLACK FALL below them.ANGLE ON: FRODO'S foot slips and for a brief moment he isHANGING PRECARIOUSLY from the ROCK-FACE. GOLLUM Careful, Master - careful! Very far to fall. Very dangerous on the stairs.EXT. CIRITH UNGOL LEDGE - NIGHTANGLE ON: GOLLUM peering down from ABOVE . . . he has reached aSMALL LEDGE. GOLLUM Come, Master. (CONTINUED) Final Revision - October, 2003 50.CONTINUED:CLOSE ON: FRODO tries to CLAMBER UP onto the LEDGE . . . as hedoes, the RING slips out of his SHIRT and DANGLES in FULLVIEW of GOLLUM!CLOSE ON: GOLLUM rears back in shock . . . tenses like a CAT,EYES WIDENING. GOLLUM (cont'd) (dreamlike) Come to Smeagol.ANGLE ON: FRODO, head bowed, trying to pull himself up. Hedoesn't notice GOLLUM'S HAND reaching for the RING !CLOSE ON: GOLLUM'S FINGERS . . . closing in on the RING ...ANGLE ON: SAM, still TEETERING on the PRECIPITOUS STAIRSDRAWS HIS SWORD! SAM (alarmed yell) Mr Frodo!STARTLED, FRODO looks down at SAM, losing his footing in theprocess . . . SAM (cont'd) Get back, you. Don't touch him!ANGLE ON: SAM'S horrified face as . . .GOLLUM'S out-stretched HAND suddenly GRASPS FRODO'S ARMpulling him SAFELY onto the LEDGE.GOLLUM glares down at SAM. GOLLUM Why does he hates poor Smeagol? What has Smeagol ever done to him? Master?CLOSE ON: GOLLUM blinks, masking the MALICE of his EYES withtheir heavy pale lids. (CONTINUED) Final Revision - October, 2003 51.CONTINUED: (2) GOLLUM (cont'd) Master carries heavy burden . . . Smeagol knows . . . Heavy, heavy burden. Fat one cannot know. Smeagol look after Master.CLOSE ON: GOLLUM creeps CLOSE to FRODO and WHISPERS in hisear: GOLLUM (cont'd) (rasping whisper) He wants it - he needs it. Smeagol sees it in his eye. Very soon he will ask you for it - you will see . . . the Fat One will take it from you.CLOSE ON: FRODO looking at SAM . . . his hand strays to hisNECK, closing tight around the RING. CUT TO:EXT. OSGILIATH - DAYHIGH ABOVE OSGILIATH, the SINISTER PROFILE of the WITCH KINGseated on a FELL BEAST as GOTHMOG stands, awaiting hisorders. WITCH KING (clinical) Send forth all legions. Do not stop the attack until the city is taken. Slay them all. GOTHMOG What of the Wizard?SLOWLY the WITCH KING' S HEAD turns . . . WITCH KING I shall break him.EXT. MINAS TIRITH BATTLEMENTS - DAYREACTIONS: OF GONDORIAN SOLDIERS upon the MINAS TIRITHBATTLEMENTS . . . AWE . . . FEAR . . . TERROR! (CONTINUED) Final Revision - October, 2003 52,CONTINUED:ANXIOUS SOLDIERS crowd around GANDALF. SOLDIER 1 (worried) Where are Theoden's riders? SOLDIER 2 Will Rohan's army come? SOLDIER 1 Mithrandir? G AN DA LF (grim) Courage is the best defence that you have now. CUT TO:INT. MINAS TIRITH TOWER HALL - DAYCLOSE ON: PIPPIN . . . DRESSED in OVER-SIZED ARMOUR . . . kneelsbefore DENETHOR . . . PIPPIN (nervous) Here do I swear fealty and service to Gondor, in peace or war, in living or dying, from this hour henceforth, until my lord release me, or death take me. DENETHOR And I shall not forget it, nor fail to reward that which is given ...ANGLE ON: DENETHOR proffers his RING which PIPPIN kisses . . . DENETHOR (cont'd) ... fealty with love ...DENETHOR gently raises PIPPIN'S head . . . DENETHOR'S eyes meetFARAMIR' S. DENETHOR (cont'd) ... valour with honour ... (CONTINUED) Final Revision - October, 2003 53.CONTINUED:DENETHOR crosses to a table ... Attendants BEGIN SERVING hima ME L . . . A DENETHOR (cont'd) ... disloyalty with vengeance.DENETHOR addresses his meal . . . DENETHOR (cont'd) (reasonable) I do not think we should so lightly abandon the outer defences; defences that your brother long held intact. FARAMIR What would you have me do? DENETHOR I will not yield the River and Pelennor unfought - Osgiliath must be retaken. FARAMIR My Lord, Osgiliath is overrun. DENETHOR Much must be risked in war. Is there a Captain here who still has the courage to do his Lord's will?CLOSE ON: FARAMIR as he finally realises the truth. FARAMIR (quietly) You wish now that our places had been exchanged, that I had died and Boromir had lived?CLOSE ON: For a brief second, DENETHOR seems to hesitate,then ... (CONTINUED) Final Revision - October, 2003 54,CONTINUED: ( 2 ) DENETHOR (coldly) Yes, I wish that. FARAMIR Since you are robbed of Boromir, I will do what I can in his stead.ANGLE ON: FARAMIR bows low to DENETHOR, then turns to leave,stops, turns back ... FARAMIR (cont'd) If I should return ... think better of me,. father. DENETHOR That will depend on the manner of your return.DENETHOR continues with his meal. FARAMIR exits. CUT TO:EXT. CIRITH UNGOL LEDGE - DAWNAERIAL SHOT: . . . HIGH above MINAS MORGUL, on the SMALL LEDGEnext to the STAIRS, LIE the FIGURES of FRODO, SAM and GOLLUM.SAM watches a sleeping GOLLUM suspiciously as he desperatelytries to stay awake. SLOWLY, INEVITABLY, SAM, falls asleep.CLOSE ON: GOLLUM'S EYES SNAP OPEN . . . he sits up and quietlycrawls towards SAM'S KNAPSACK.SAM breathes deeply now, heavily asleep.GOLLUM grimaces in DISTASTE as he pulls out the LEMBAS BREAD. .. Quietly he SPRINKLES CRUMBS over the sleeping SAM.ANGLE ON: GOLLUM as he throws the remaining LEMBAS BREAD overthe cliff.CLOSE ON: SAM'S EYES flick open . . . GOLLUM spins around,caught off guard . . . (CONTINUED) Final Revision - October, 2003 55.CONTINUED: SAM What are you up to? Sneaking off, are we? SMEAGOL (prevaricating) Sneaking? Sneaking? Fat Hobbit is always so polite. Smeagol shows them secret ways that nobody else could find and they say "Sneak!", "Sneak!". Very nice friends, oh yes, my Precious, very nice. SAM Alright, alright - you just startled me is all. (peering over the cliff's edge) What were you doing? SMEAGOL (sly) Sneaking!Too exhausted to argue, SAM turns away. SAM Fine, have it your own way.SAM gently shakes FRODO'S shoulder. - SAM (cont'd) Sorry to wake you, Mr Frodo. We have to be moving on.SAM rummages through his KNAPSACK, looking for a bite to eat.FRODO sits up slowly. FRODO . It's dark still. SAM It's always dark here -CLOSE ON: SAM stops rummaging . . . SHOCK on his face. SAM (cont'd) It's gone . . . the Elven bread! (CONTINUED) Final Revision - October, 2003 56.CONTINUED: ( 2 ) FRODO (alarmed) What? That's all we have left!SAM slowly turns to GOLLUM ... SAM (dawning realisation) He took it! He must have! GOLLUM (shocked) Smeagol? No, no, not poor Smeagol. Smeagol hates nasty Elf bread! SAM You're a lying wretch! What did you do with it? FRODO He doesn't eat it . . . he can't have taken it.CLOSE ON: GOLLUM slaps his hand against SAM'S JACKET . . .sending LEMBAS CRUMBS RAINING DOWN! GOLLUM What's this? Crumbs on his jacketses! (fake outrage) He took it! He took it! I seen him, he's always stuffing himself when Master's not looking! SAM (angry) That's a filthy lie!SAM is ENRAGED . . . he throws himself at GOLLUM .. punchinghim! SAM (cont'd) (yelling) You stinking two-faced sneak! Call me a thie . . . f (CONTINUED) Final Revision - October, 2003 57.CONTINUED: ( 3 ) FRODO (yelling) Sam! Stop it!FRODO pulls SAM off GOLLUM ... SAM (yelling) I'll kill him! I'll kill him! FRODO No, Sam!FRODO COLLAPSES on the GROUND!CLOSE ON: SAM'S horrified face! SAM Alight, I'm sorry, I didn't mean for it to go so far, I was so angry . . . Here, let's rest up a bit.SAM attempts to fuss around FRODO ... FRODO (exhausted) I ' m alright. SAM No, no, you're not alright! You're exhausted! It's that Gollum; it's this place; it's that thing around your neck. I could help a bit . . . I could carry it for a while - share the load.CLOSE ON: A terrible light comes into FRODO'S eyes as heSTARES into the EARNEST eyes of SAM. FRODO Get away!FRODO pushes SAM away, clutching at the RING beneath his shirt (CONTINUED) Final Revision - October, 2003 58.CONTINUED: ( 4 ) SAM (confused) I don't want to keep it . . . I just want to help!FRODO rises to his FEET, as if empowered with a frighteningintense ENERGY. GOLLUM See! See! He wants it for himself. SAM (beside himself) Shut up, you! Go away. Get out of here.CLOSE ON: FRODO ... FRODO (quietly) No, Sam . . . it's you.SAM stares at FRODO with DISBELIEF. / FRODO (cont'd) I'm sorry, Sam ...CLOSE ON: TEARS WELL in SAM'S eyes . . . SAM (hopelessly) But . . . he's a liar . . . he's poisoned you against me. FRODO You can't help me anymore. SAM You don't mean that. FRODO (eerie calm) Go home.CLOSE ON: TEARS spill down SAM'S cheeks . . . as FRODO TURNS AWAY! (CONTINUED) Final Revision - October, 2003 59.CONTINUED: (5)ANGLE ON: FRODO and GOLLUM leave . . . SAM is in completeMISERY.EXT. MINAS TIRITH STREETS - DAYANGLE ON: FARAMIR leading a COLUMN of 200 KNIGHTS through theSTREETS towards the CITY GATE ... PEOPLE are rushing forward,THROWING FLOWERS over the KNIGHTS.CLOSE ON: GANDALF hurries alongside FARAMIR'S HORSE. GANDALF Faramir! Your father's will has turned to madness! Do not throw away your life so rashly! FARAMIR (deadened) Where does my allegiance lie if not here?GANDALF reads the PAIN in FARAMIR'S eyes . . . he calls afterhim, trying one more time to stop the YOUNG MAN. GANDALF Your father loves you, Faramir! (quietly) And will remember it before the end.EXT. MINAS TIRITH BATTLEMENTS - DAYHIGH ANGLE: FARAMIR leads the 200 MOUNTED KNIGHTS through theGATES OF MINAS TIRITH and across the PELENNOR FIELDS towardsthe RUINS of OSGILIATH.ANGLE ON: The people of MINAS TIRITH watch from theBATTLEMENTS.HIGH WIDE: FARAMIR'S KNIGHTS FAN OUT . . . to form one straightline of 200 HORSEMEN.EXT. WEST OSGILIATH - DAYGOTHMOG and his MEN watch as the KNIGHTS approach. Final Revision - October, 2003 60,INT. TOWER HALL, MINAS TIRITH - DAYFAST PUSH IN . . . to PIPPIN looking on as DENETHOR eats. DENETHOR Can you sing, Master Hobbit? PIPPIN (uneasy) Well . . . yes, at least, well enough for my own people ... but we have no songs for great halls and evil times . . . we seldom sing of anything more terrible than wind or rain. DENETHOR And why should your songs be unfit for my halls, or for hours such as these. Come - sing me a song!PIPPIN'S simple, clear voice echoes through the VAST HALL. PIPPIN V/0 Home is behind, the world ahead, And there are many paths to tread. Through shadow to the edge of night Until the stars are all alight. Mist and shadow, cloud and shade: All shall fade, all shall fade. INTERCUT WITH:EXT. PELENNOR FIELDS/OSGILIATH RUINS - DAYANGLE ON: SLOW MOTION . . . TRACKING WITH THE 200 MOUNTEDKNIGHTS.ANGLE ON: SLOW MOTION . . . GOTHMOG rises amidst the RUINS ofOSGILIATH.ANGLE ON: SLOW MOTION . . . FARAMIR'S KNIGHTS - 75 yards away -thundering towards camera.PULL BACK . . . to GOTHMOG . . . he turns to CAMERA and RAISESHIS BOW. (CONTINUED) Final Revision - October, 2003 61CONTINUED:ANGLE ON: SLOW MOTION . . . Behind GOTHMOG - all over theRUINED CITY - 5000 ORC ARCHERS rise to their feet . . . BLACKARROWS already strung on their BOWS!CLOSE ON: SLOW MOTION . . . FARAMIR YELLING defiantly.WIDE PROFILE: SLOW MOTION . . . FARAMIR'S 200 KNIGHTS ridestraight into a BLACK WALL of FLYING ARROWS . . .AS ONE, the HORSES and HORSEMEN collapse into a CARTWHEELING,TUMBLING HEAP . . . within seconds all are MOTIONLESS.CLOSE ON: NORMAL SPEED . . . FAST CUTS of SCREAMING ORCS . . .INT. TOWER HALL, MINAS TIRITH - DAYTHROUGHOUT the above sequence DENETHOR has continued to EAT.ANGLE ON: PIPPIN finishes his bittersweet song . . . he looksup at DENETHOR who continues as if he has not sent his son tohis death.ANGLE ON: PIPPIN turns away, his SORROW etched on his YOUNGFACE ...EXT. MINAS TIRITH COURTYARD - DAYGANDALF sits quietly in a COURTYARD, alone, defeated.EXT. OSGILIATH BRIDGE - DAYGREAT SIEGE TOWERS and CATAPULTS are ROLL along the REPARIEDBRIDGE which spans both sides of OSGILIATH ... They headstraight towards MINAS TIRITH ...EX. DUNHARROW ENCAMPMENT - DUSKANGLES ON: ARAGORN, THEODEN, EOMER, MERRY, LEGOLAS and GIMLIGALLOP into a VAST CAMP beneath the COVER OF TREES ...TEEMING with MEN, HORSES and TENTS.ANGLE ON: THEODEN acknowledges GRIMBOLD, a MARSHALL OF ROHAN,as he passes by a GROUP of SOLDIERS. (CONTINUED) Final Revision - October, 2003 62CONTINUED: THEODEN Grimbold, how many? GRIMBOLD I bring five hundred men from the Westfold, my Lord. ROHAN MARSHALL (0.S.) We have three hundred more from Fenmarch, Theoden, King.THEODEN smiles grimly as he rides on. DENETHOR (quietly) Where are the riders from Snowbourne? GAMLING ( O . S . ) None have come, My Lord.EXT. DUNHARROW PLATEAU - DUSKARAGORN joins THEODEN on a BLUFF overlooking the ENCAMPMENTBELOW ...CAMERA CRANES to REVEAL: THOUSANDS of MEN and HORSES! Smokefrom many small CAMP-FIRES has filled the VALLEY with aTWILIGHT HAZE. THEODEN (quietly) Six thousand spears . . . less than half of what I had hoped for . . .ANGLE ON: ARAGORN turns to THEODEN ... ARAGORN Six thousand will not be enough to break the lines of Mordor. THEODEN More will come. (CONTINUED) Final Revision - October, 2003 63.CONTINUED: ARAGORN ; Every hour lost hastens Condor's defeat. We have till dawn. Then we must ride.CLOSE ON: THEODEN realising what ARAGORN is saying - nomatter the numbers he must commit to war by the morning.THEODEN nods.The HORSES whinny loudly in the distance ... THEODEN looks upat the MOUNTAIN which looms behind them . . .EXT. DUNHARROW PLATEAU - DUSKANGLE ON: HORSES rearing in terror as ROHAN SOLDIERS try toquieten them ...ANGLE ON: LEGOLAS and GIMLI move through the CAMP . . .CLOSE ON: LEGOLAS looking at a group of ROHAN SOLDIERS . . .they sit quiet and hunched ... no-one speaking ...LEGOLAS looking toward EOMER who is unsaddling his HORSE ... LEGOLAS (uneasy) The horses are restless . . . And the men are -;. quiet ..? EOMER They grow nervous in the shadow of the mountain . . .GIMLI'S eyes travel to a ROW of ANCIENT STANDING STONES thatmark the ENTRANCE to a ROAD leading away from the ENCAMPMENTand INTO the MOUNTAIN. GIMLI That road there - where does that lead? LEGOLAS It is the road to the Dimholt ... The door under the mountain. (CONTINUED) Final Revision - October, 2003 64CONTINUED: EOMER None who venture there ever return. (under his breath) That mountain is evil . . .ANGLE ON: ARAGORN stands before the road as though transfixed... before him a HORSE whinnies and pulls at his ropesnervously . . .ARAGORN POV: A GHOSTLY FIGURE seems to emerge from the gloom... ARAGORN starts in fright as . . . GIMLI O.S Aragorn!ANGLE ON: ARAGORN stares down at the LITTLE DWARF . . . GIMLI Let's find some food.ARAGORN casts another look back at the ANCIENT STANDINGSTONES before following GIMLI.EXT. DUNHARROW PLATEAU - DUSKANGLE ON: All is quiet in the ENCAMPMENT...INT. EOWYN'S TENT, DUNHARROW - NIGHTANGLE ON: EOWYN kneels before MERRY, adjusting his HELMETSTRAP. EOWYN There! A true Esquire of Rohan.MERRY exhales - excited and terrified in equal measure. Inhis EXCITEMENT, he draws his SWORD ...EOWYN steps back, laughing ... MERRY Sorry. It isn't all that dangerous. (despondent) It isn't even sharp. (CONTINUED) Final Revision - October, 2003 65,CONTINUED: EOWYN Well, that's no good. You won't kill many Ores with a blunt blade. Come on.EXT. DUNHARROW PLATEAU - NIGHTAs EOWYN and MERRY leave the tent, EOMER and GAMLING aresitting nearby, finishing a meal ... EOWYN ushers MERRY off. EOWYN To the Smithy .- go!MERRY hurries off . . . EOMER watches the YOUNG HOBBIT leave. EOMER You should not encourage him. EOWYN And you should not doubt him. EOMER I do not doubt his heart ... Only the reach of his arm.CLOSE ON: GAMLING stifles a laugh . . . EOWYN turns on both ofte .. . hm . EOWYN Why should Merry be left behind? He has as much cause to go to war as you. (to herself) Why can he not fight for those he loves?ANGLE ON: At the PLATEAU edge, a GUARD looks down the STEEPPRECIPICE as a HORSE and RIDER move along the RIDGE ...EXT. DUNHARROW TRACK - NIGHTANGLES ON: The HOODED FIGURE slowly RIDES up the NARROW ZIG-ZAG TRACK leading up to the PLATEAU ...INT. ARAGORN'S TENT, DUNHARROW - NIGHTANGLE ON: ARAGORN tosses in his SLEEP, disturbed by imagesand voices . . . (CONTINUED) Final Revision - October, 2003 66.CONTINUED: GANDALF V/0 Look to the Black Ships . . .In ARAGORN'S dream ARWEN suddenly WAKES ... ARWEN V/0 I choose a mortal life . . . I wish I could have seen him, one last time ...As ARWEN lies dying, the EVENSTAR falls from her fingers ...At that moment, ARAGORN wakes, his SWORD quickly in his HAND. . . A GUARD stands in the DOORWAY ... GUARD King Theoden awaits you, my Lord.EXT. DUNHARROW PLATEAU - NIGHTARAGORN hurries towards THEODEN'S TENT ...INT. THEODEN'S TENT, DUNHARROW PLATEAU - NIGHTANGLE ON:- THEODEN looks up as ARAGORN enters. THEODEN I take my leave.ANGLE ON: THEODEN bows slightly to the HOODED FIGURE andLEAVES, shooting ARAGORN a strange look as he goes ...CLOSE ON: The FIGURE stands and pulls back the HOOD . . . toreveal ... ELROND. ARAGORN My Lord, Elrond. ELROND I come on behalf of one whom I love.ELROND'S face is ETCHED with PAIN ... ELROND (cont'd) Arwen is dying.ANGLE ON: ARAGORN receiving this news ... ASHEN-FACED. (CONTINUED) Final Revision - October, 2003 67.CONTINUED: ARAGORN She stayed? ELROND She will not long survive the evil that now spreads from Mordor.ELROND'S eyes fall to the EVENSTAR which hangs aroundARAGORN'S neck . . . ELROND (cont'd) The light of the Evenstar is failing. As Sauron's power grows, her strength wanes. Arwen's life is now tied to the fate of the Ring. The Shadow is upon us, Aragorn, the end has come. ARAGORN It will not be our end, but his. ELROND You ride to war, but not to victory. Sauron's armies march on Minas Tirith - this you know - but in secret he sends another force which will attack from the river . . .CLOSE ON: ARAGORN looks at ELROND in shock. ELROND (cont'd) A fleet of Corsair ships sails from the South.FLASH INSERT: A FLEET of BLACK SAILS moving along a SILVERRIBBON of WATER . ELROND (cont'd) They will be in the city in two days . . . You're out-numbered, Aragorn. You need more men. ARAGORN There are none.ELROND hesitates a BEAT ... (CONTINUED) Final Revision - October, 2003 68CONTINUED: (2) ELROND (quietly) There are those who dwell in the mountain.A SUDDEN WIND rushes through the TENT, lifting HANGINGS,scattering MAPS, knocking over GOBLETS . . .As ARAGORN looks at ELROND, an IMAGE FLASHES in his MIND'SEYE . . . The GHOSTLY FIGURE on the DIMHOLT ROAD . . .ARAGORN looks at ELROND in shock . . . ARAGORN Murderers, traitors - you would call upon them to fight? They believe in nothing. They answer to no-one. ELROND They will answer to the King of Condor.ARAGORN' S eyes fall to a PLAIN BLACK SCABBARD, which ELRONDdraws from beneath his robes.CLOSE ON: ELROND' S long white fingers draw the hilt of aSWORD from the scabbard to reveal . . . a ELVEN SWORD glints inthe firelight! ELROND (cont'd) Anduril, flame of the West . . . forged from the shards of Narsil.ARAGORN takes the sword . . . staring at it in wonder. ARAGORN Sauron will not have forgotten the sword of Elendil . . .ARAGORN draws the long blade from its sheath . . . A RAG OR N (c on t' d) . . . the blade that was broken shall return to Minas Tirith. (CONTINUED) Final Revision - October, 2003 69.CONTINUED: ( 3 ) ELROND The man who can wield the power of this sword can summon to him an army more deadly than any that walks this earth.ELROND stares hard at ARAGORN . . . ELROND (cont'd) Put aside the Ranger - become who you were born to be - take the Dimhplt Road.A HEAVY SILENCE hangs in the room. ELROND (cont'd) (ELVISH: with subtitles) Onen i-estel Edain. /, ,-,